oggiesnr

I play a breathed upon Antoni bass, my teacher has a much more expensive German bass. The sustain and quality of my E string is a hell of a lot better (a fact she admits) than hers. As I play a lot of stuff in G and Em that resonant E is great. Start playing a lot of basses and find the one that sings for you. All musical instruments are (or should be) very personal, you have to be happy with the feel, the sound, the connection you can make with the instrument, the name on the instrument (unless you're planning on flipping it over on the basis of that name) is not the most important thing about it. In my quest for a new acoustic guitar I've played over a hundred guitars, my latest melodeon was the result of playing fifty others. In the case of the guitar I still haven't found one that sings for me, the melodeon was mid priced, not anything like the most expensive (I tried them and they left me cold) but one I felt I could make music on. The fun is in the chase but it can only be done by playing instruments. Stev

My take on the APX (and a lot of other electro acoustic guitars) is that it depends what you want. If you want a guitar that you can practice with acoustic and then plug in for a gig (put through a pedal board etc) the the APX is fine, depends on the price and there might be better out there (I have a Tanglewood 12 string that does that and can be played acoustically at half the price). That probably gives you the clue as to why I don't particularly like them, I want a decent acoustic instrument where the pickups are an add on rather than essential. There is also the issue that not all pick ups ar created equal and so your nice acoustic sound may be a mess by the time the piezo has done it's work. As I said it's horses for courses but I ended up playing a lot of instruments when looking for an electro. Steve

I was having a chat with the guy who does my bass work some time ago and his take was that there's a big leap in quality and tone etc from "starter" basses to those (both new and second hand) that cost around £3,000 (my probable next purchase point) but to get an equivalent jump beyond that you were probably looking at around £10K. That's not to say that there won't be some brilliant instruments below that (and if you can afford to jump to £5K there's more choice) but as you go up the scale you get less "improvement" per pound than you do at the lower end. I may have seen my next bass (subject to exam results and good trading at Christmas), a rebuilt (ie all work done and stable) ex music centre bass solid front and back, German about a hundred years old. Having all the work done first is one of the attractions of the instrument. Steve

You play what you're comfortable with. For me I enjoy playing my Antoria and it does what it needs to do, ditto the cab. I've had them a long time and don't feel the need to get a different bass for what I use them for. Depreciation etc and economic costs are irrelevant. My most expensive instrument is a melodeon which I've played in public twice (unpaid at charity gigs) but again I enjoy it and don't begrudge the two grand it cost. I play instruments that I enjoy playing, I've tried a lot of expensive basses and guitars that left me cold, superb instruments but not for me. It's not what you play it's the way that you play it Steve

[quote name='Les' timestamp='1379976368' post='2219149'] Can't see anyone bettering that Steve, Is that your actual gigging set up ? Les [/quote] When I gig with a four string, yes. I've got a fretless five string which I use through an Ashdown but the Antoria doesn't sound as good through it as through the Carlsboro. Steve

Bilbo, did you play the same line or did you go up into the high end because you could? This, to me, is the big difference. Although the upright bassists can and do go up into thumb position the bulk of their work seems to stay down low. The electric bassists (as per the video clip) go up high. Steve

Antoria EB-3 copy - £45 Carlsboro Cobra - £50. Steve

On both fretless and double bass I spend part of my practice time playing scales and arpeggios slowly against the tuner. It's then a question of listening and adjusting, as time has progressed I adjust less and am gradually playing faster with good intonation. Even when practicing pieces I'll have the tuner running and every so often I'll stop and just check against the tuner. What really messes me up though is that I also play with a cajun box player and his squeezebox is not in concert, it's in a hybrid tuning which is flat in part and sharp in others. When playing with him I really have to listen hard to both myself and to him as the reference pitch. Great fun! Steve

T-cut on a duster or muslin or stockinette cloth.

I have small hands so five is the limit for me. As I play a lot in D and G I find that the low B is more useful as I prefer to stay down low and keep out of the way of guitars and accordion bass ends. Steve

[quote name='SevenSeas' timestamp='1379792666' post='2216875'] I'll have to check out Emanuel Wilfer thanks for the suggestion, would there be any additional costs from bringing it over from Germany? [/quote] It's in the EU Open Market so, apart from shipping, no (same as buying from Thomann). Steve

The problem I have with this is that not all basses are created equal, even basses of the same nominal name. For whatever reason one (for example Stentor) can sound brilliant, another like a cat howling, one can have superb build quality, another be a right mess. I found the same when I was looking for a new acoustic guitar, found a brilliant one at a music shop in Nottingham but didn't have the cash, one turned up at our local music shop, tried it and the let down was huge. Your price range is what I'm in when I look for an upgrade and I fully intend to play the one I buy before purchase. The chase is part of the fun Steve

Silly question, are you planning on visiting the States anyway or would this be an extra trip (OK with the advantage of seeing relatives). If the latter then you should add that to the cost of the bass. Steve

[quote name='Beedster' timestamp='1379712998' post='2216197'] You have to declare it, as you would have to on an eBay sale from a private seller. Repeat, Customs aren't stupid. I'm sure there'a a very good chance that if you walked through the 'nothing to declare' corridor with a DB on your back you'd get away with it, but for the money in question and the stress, I wouldn't risk it. An impounded instrument and a fine wouldn't be funny. [/quote] Yup. As per my post earlier, they had to complete a carnet when they bought it in, when they didn't have it with them on the way out they got a huge bill for import duty based on a notional value (way inflated) plus a penalty of 100% of that amount. If it's worth importing it's worth doing properly. Personally, in your price range, I think there are plenty of UK basses (both new and second hand) that would fit the bill. Also remember if there are any issues with the bass, a - the company is in the States so how are you going to get aftercare and b - if your relative is the purchaser of record then the contract and guarantee are with them, you have no rights with the supplier. Steve

When I first played (early seventies) the pick was the natural/common way to go for most music so that's what I did. I also used a pick on both guitar and mandolin so it also felt natural. These days, because I play Double Bass I tend to use my fingers more but I still enjoy playing with a pick. One thing I have learnt which comes from being a folkie playing mandolin. I can use the pick in either direction but you get a better result if you make sure that the beat is on a down beat and only use the up-stroke for passing notes etc. Steve

Also registered, thank you. Steve

Somewhere in the back of mind I've heard of this dodge before and it went horribly wrong. I try and rake up the details. Steve

Spirocore mediums. Peter (Beverley Music Centre) who does my bass work suggested them as good all round set for what I do. When I get good enough that a different string might make a significant difference (and I have some cash) then I may experiment with strings. Until then I'm happy using this set which at least gives a steady reference point to judge my progress and sound. Steve

Good news Ian, who's doing the work? Steve

If you want to build one start with one of those cheap spanish guitars (about £10 at a car boot or charity shop) and adapt it. I'm part way through converting one to a fretless. As far as the Kala etc are concerned, basic physics are against them, the body is too small to resonate and project well and in the company of more than a couple of ukes you need to use an amp. When I play in the local uke group I use either my double bass or Tacoma Thunderchief acoustic. Steve

I've just started playing jazz (trad and gypsy swing). The advice I've been given is to listen to the right hand. Steve

[quote name='Beedster' timestamp='1379528707' post='2213811'] Mic it Steve (the thread isn't about how to record DB per se, more about whether there are any qualities of a DB that make it inherently more recordable). Cheers C [/quote] Hi Chris. In which case It's a question of finding a DB whose tone you like. It's almost the same as those interminable threads that electric bass players have about "the sound". It's also a question of hearing the sound from further away than you are as a player. When looking for an acoustic guitar I always take a guitar playing friend with me who (when I think I've found the guitar I want) can play it so I can hear it, it sounds so different! If you want a really nasty shock then record your singing voice and play it back! In all seriousness I don't think there is any one factor that says "this is the bass to record" (well maybe if you are getting into silly money) it's more about how you want to sound and how you can play the bass. I used to have a lovely Gibson A2 mandolin (made in 1908), absolutely beautiful instrument but every string I didn't hit cleanly, every mistake I made rung out like a bell. I now play a much cheaper mandolin but I actually sound better. Have fun on the trip to find your perfect bass (I''ll be following in your footsteps ) Steve

There's a huge difference between recording a DB through it's pickups and recording it through a proper microphone correctly placed. Which do you want to do? Steve

[quote name='stingrayPete1977' timestamp='1379352423' post='2211619'] I am having a wrist Op tomorrow so I will have to be a passive learner for a few weeks, [/quote] Good luck Pete, hope it goes well. Just a thought, this could be a good time to brush up on some music theory? Steve

I don't even bother to rout a pocket. I just use a square of 3mm ply of whatever size I have lying about. I usually have a rubber foot on the end of the endpin and I've never had a problem, Steve