chrkelly

It finally looks like I've sold my Mentec so the hunt begins a new cheaper second bass. It will mostly be for west end pit work and for tours when I don't want to risk taking my Tarantino on the plane. I'd prefer- 3/4 size D neck Not a brand new instrument 4 string with a C extension Under £2000 Within reasonable distance from London. Ideally a turn of the century German gamba shaped bass (if I can get one cheap enough) I'm in no real hurry to buy, just seeing what's available at the moment. Cheers, Chris

I use a fingered one with a capo on C sharp, D and E (don't know why the previous owner didn't get the D sharp one installed). They are a pain to play on but luckily there's not many fast passages written that low. I find the machined ones very difficult to get the hang of. I always shred my knuckles on them. I'd imagine with all the moving parts they'd be prone to rattling too. It's all just down to personal preference though.

Tom makes very good new instruments. I played one of his fives for a few months on a gig in Ireland and it was a good bass. Not sure how much he charges now but I'd imagine it's around the 14/15 grand mark. Having 5 strings is good for the low stuff but you will never need to play a low B in written music. Lowest you need is a C. I also think C extensions work far better (longer scale length, less pressure on the belly of the instrument and much less expensive stringsets)

[quote name='Jimelliottbassist' post='418382' date='Feb 24 2009, 01:52 PM']hi looking for a tutor that can show me how to read music, learn more theory and improve my playing! Dartford, kent. willing to travel upto 10 miles.[/quote] Hi Jim, I'm just off the A205 in Catford if that's any use. Think it maybe over 10 miles but very easy to get to from Dartford (A2 - A205). Send me a pm if you're interested. Chris

Most of the time I use my 1925 Marino Tarantino bass with a Schertler Dyn b straight to the desk. Sounds brilliant though it took me a few weeks to find the best place for the pickup. Mine's about an inch below the bridge directly over the bass bar. When I need an amp I use an AI Clarus 2R into an Aguilar DB112 but I'll be changing that cab soon to something smaller (probably to an Epifani 110).

Not really my thing but very interesting all the same. Check out these videos on Contrabass Conversations for a bit about the Rabbath pivot technique [url="http://contrabassconversations.com/guests/episodes/hans-sturm/"]http://contrabassconversations.com/guests/...des/hans-sturm/[/url] The Rabbath method books are available however they are ridicuously expensive and even more so now due to the exchange rate.

I haven't seen the Rabbath dvd but I really should buy it at some point. It's bloody expensive though. Also Check out Neil Tarlton's edition of Sevcik. It's the violin bowing method adapted for bass. There's years worth of material to work at in that book. Oh and practice in front of a mirror, it's a lot easier to spot when the bow's not straight or moving around too much on the string.

Not mine but could be a potential bargain for someone. I'd never do an amplified gig without my one. [url="http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&rd=1&item=170303685767&ssPageName=STRK:MEWA:IT&ih=007"]http://cgi.ebay.co.uk/ws/eBayISAPI.dll?Vie...A:IT&ih=007[/url]

Best thing to do is to head down to Tony's to try it. It may be good or it may not. Also if anyone's interested there's a Boosey & Hawkes 3/4 on musical chairs at the mo. It's for sale at £400. Decent starter bass at a decent price. I had one as my first bass. [url="http://www.musicalchairs.info/OrchJobsEurNavEnglish.htm"]http://www.musicalchairs.info/OrchJobsEurNavEnglish.htm[/url] Click on the instrument sales tab on the left

Those ultra practice mutes are very good practice tools anyway. Practice trying to get the same sound as when you play without the mute. Then when you play without it, the sound will be huge. Practice-wise concentrate on technique. Pick a 3 octave scale and arpeggio, play it slowly in different permutations to practice nice slow shifts and intonation. Stop on certain notes and check the intonation against open strings, harmonics etc. Shifting on one string in 4ths, augmented 4ths, 5ths octaves etc. Stick the metronome on, slow tempo and pizz 1 in a bar, 2, 3 and so on. Then do the same incorporating different string crossings. The list is endless. Don't try and get through everything you can think of though, it's better to concentrate on just a few things in that half hour and do them very well rather than cram and get nowhere.

There's also the Rabbath method books which are based on pivoting on the thumb and can reach a lot more notes per position. Very interesting stuff though I stick to Simandl. Petracchi simplified higher technique is a good one for all the thumb postion and beyond stuff. Not really a bible (more like 2 pages) but Duncan McTier's daily exercises are a good workout for advanced players (scales in 5ths, 6ths, octaves etc) Also, Neil Tarlton's edition of Sevcik is amazing. The entire bowing method bible adapted for bass from the original violin verson. Not seen the Portnoi before, I'll have to check it out.

[quote name='andyjingram' post='387322' date='Jan 21 2009, 11:29 AM']I hear everything you're saying there. For the record I own a £600 bass and a bass that must have cost £800 when new- but the bass I grab for all but gigs where I need the 5-strings cost me £100 [i]including[/i] a new pickup! And I'm sort of proud of that fact. I'm sure that as you say, a bass that cost a grand will be 'better' but I would be far less happy to drag it 'round London, exposing it to all matter of temperature and humidity changes, other peoples food, drink and flailing limbs, and the occasional low/narrow doorway. I guess I'm still having trouble getting my head around the fact that a bass that cost £1000 barely registers on some peoples scale of useability, when £600 is the most I [i]ever[/i] spent on an electric, but thanks for your answers- it gives me bit more to chew over whilst weighing up all the other size/weight/fragility issues![/quote] The whole price thing is a very grey area with uprights. Just because it costs more doesn't mean it's better. If it works (vibrates properly and makes a good sound) it's worth far more than an instrument that's made with better woods and has a higher level of craftmanship that doesn't work. A cellist I know plays a £1000 Chinese instrument for his full-time orchestral job and absolutely loves it. The only thing is you never know if a new instrument is going to improve or go off with time.

It lets you go down to a C and sounds absolutely massive due to the extra scale length. A lot of romantic/20th century classical stuff goes down low and it's an essential piece of kit for sessions.

Cheers for the recommendation matey, much appreciated