ubassman

Could I go on the list Daf. Cheers

Am I correct in thinking that the buzzing occurs only on an open G string and its the sound of the string hitting the fingerboard rather than the buzz coming from the peg box, tailpiece or elsewhere? All other things being unchanged ( from when your bass was working perfectly ), seems that the only two variables in the mix are the choice of new string ...or the fingerboard moving being out of shape. Have you got a thicker gauge string you could experiment with ? If a higher tension string solves the problem then you have two choices if you want to revert back to your Blacks :- 1/. Get a luthier to add more camber 'relief' to the fingerboard so that theres more clearance for your Blacks to vibrate. Will involve quite a lot of planing and refinishing. 2/. Raise the height of the strings with a new bridge or get a bridge adjuster fitted to your existing which gives you flexibility to tweak. If Geraldine has been dormant for a good few years and is now much loved and in a centrally heated home perhaps the fingerboard needs to be re-shaped anyway . Theres a good chance that it may have warped and twisted a bit over the years and the original set up may be out. Finally good luck and let us know how you get on !!

[quote name='icastle' timestamp='1360679558' post='1974461'] Here's a question for my fellow NS users - the neck to stand join, is it a bare metal plate surrounding the screw or does it have some sort of padding on it? [/quote] ...nice soft big black rubber gasket about 1mm thick between the chrome and the wood.

[quote name='lowlandtrees' timestamp='1360654600' post='1973931'] Are these 2 videos not giving conflicting advise? [/quote] Instrument leaners on the left ...body benders on the right ! http://www.youtube.com/watch?v=kvPZkFN73Z8

Tried the Major's Boot Camp ? http://basschat.co.uk/topic/78653-the-majors-bass-boot-camp-session-16/page__fromsearch__1

Its quite a leap to make ....drilling another hole into the bottom block at an angle on an instrument that is much loved and precious!

[quote name='sarah thomas' timestamp='1360312189' post='1968322'] Ahah! Tuning the string to a different note: buzzes at F sharp, and G. Buzzes less at G sharp and no buzz I can hear at A. [/quote] ....interesting that when the G is tuned to an A the problem goes away . I think that this may be a tension issue ...are the replacement strings much lower tension than before? . With a lower tension string the amplitude of vibration will be bigger especially around the octave position =buzzing on an open string. BTW what strings are you using - did you replace like for like or did you change brands? Bit of background on amplitude [url="http://www.frudua.com/guitar_strings_tension.htm"]http://www.frudua.co...ngs_tension.htm[/url]

[quote name='lockpicker1969' timestamp='1360611619' post='1973420'] I[size=4] was thinking my next string purchase may be something i can try to bow with. Is the rosin just applied to the bow ?[/size] [/quote] Yes ...just the bow! ( you should wipe the strings and wood after every use ).

First thought is that a 3/4 sized instrument for an 11 year old I suspect may be quite a physical challenge in terms of size ...unless the 11 year old has big hands for those big stretches in half and first position and is as tall as an adult ! ( sorry to say that it may be better to rethink the size to a 1/2 or even 1/4 size which will be a lot more user friendly for an 11 year old and not so heavy for a child to support ( there are companies that rent out good quality instruments for very affordable rates and you can upgrade as the 'young one' grows skyward to become a teenager etc ...is the bass at school a 3/4 too - the expression 'one size fits all' springs to mind ? ). Choice of strings - you would want something with not too high a tension. That depends as much on the set up of the bridge as it does upon the gauge of the string and distance from the nut to the bridge (the 'string length' ). A typical 3/4 will have a string length of 106 cm but many student basses are much shorter at 99 - 103 cm for ease of playability. You would need to advise what the string length is ( if its 99cm I would suggest a medium or even high tension range of strings , if its 106cm I would consider weighs (light tension). It would be perhaps misleading to give views on strings without knowing the actual string length of the instrument. As for Rosin , well thats a personal choice and a much debated point ! Kolsteins, Nymans and Pops all seem to be very popular choices. But a good rosin won't make a massive instrument seem smaller or give a good grip if the string tension is too low and floppy ! Great to hear of a youngster getting into DB

Hi Daf, Would be interested in trying these out ....could I go on the list?

...I guess its similar to talking about mathematics ...easy to make something simple sound much more complicated than it actually is ! Best way is to grab your bass and put the theory into practice unravelling the wordage into music!

This might be interesting - just came across it in another thread http://scottsbasslessons.com/shape-shifting

[quote name='Mr Bassman' timestamp='1360499307' post='1971207'] Is the bridge seated properly? Sometimes changing strings can pull the bridge towards the fingerboard, or a knock going through a door etc. [/quote] +1 on that - good call !! Worth checking that the bridge isn't leaning forward or too far back as it will have the effect of lowering the action. What is too far forward or too far back? As a guide with the feet completely flat, the back face of bridge ( the side nearest the end pin ) should ideally be perpendicular to the top so as to transmit vibrations to the sound post and bass bar . The front face of the bridge will be have an angle at maybe 95 degrees to the top. If the feet don't look like they are flat then ease off your strings and straighten it up - I usually knock the bridge just a little back so that as the strings tighten they pull the bridge into position.

Anyone play with a bent Laborie endpin ? [i]"The bent endpin was developed for me by the luthier Horst Grünert. Its purpose is to change the center of gravity of the double bass so that a standing player will feel less weight on the thumb supporting the neck. In my approach to the instrument the left hand has access to both ends of the fingerboard and the bow arm can apply weight equally on the four strings without the necessity of turning the instrument. The bent endpin encourages an “opening” of the face of the bass and obliges the player to stand erect. Since the bass is at a steeper angle to the player it is automatically natural to apply the weight of both arms, especially the bow arm, with relaxed weight rather than muscular pressure. Notice also that the sound of the instrument is projected more efficiently at this angle." Francois Rabbath[/i] [url="http://www.uptonbass.com/UPGRADE-upright-double-Bass-Endpin-Angle-tilt-Block/"]http://www.uptonbass...gle-tilt-Block/[/url]

Thanks for posting John Clayton's tip ! +1 on that - pretty much how I stand ...if I have to play stood up . The subtlety of the video is that in order to reach the thumb position he move the bass and angles it more ...rather than the body bending over , but as he comes out of the thumb position the bass goes back to being more upright . In terms of reach the choice is either the bass moves, or the body bends ( as John used to do it) . I find that even at that I can sometimes feel stress building in my lower back . Perhaps its with the weight of the bass leaning on the hip joint for pronged periods ? ...I just don't seem to get aches at all sat down and I would certainly recommend giving that a try to anyone who suffers with back problems. Have a look at Dan Berglund playing all different techniques sat down without shifting the bass [media]http://www.youtube.com/watch?v=5L7j6qImrlM[/media] ( probably never everyones cup of tea! ) ...I hasten to add that Dan also plays stood up from time to time !!

The art is to flow the notes that are relevant to the current chord into the next. If you have a piece that is written entirely in C major modal chords then playing just the notes strictly in the key signature of C Major will work i.e. I C major 7 , II D minor 7, III E minor 7, IV F major 7, V G Dominant 7, VI A minor 7, VII B diminished Its more common however to find chords progressions outside of these purely modal chords . These modified chords which may still be written in the C Major key signature may just be a modal chord but with a flattened or sharpened note ( or two) . The point being that you then have notes that are specific to the that modified chord in the mix ( the flattened 7th, sharpened 5th etc) and also still some notes from the C major family ( i.e. the key signature that the piece is written in ) that also fit the family of the non modal chord. If you play just the notes that are in the C Major scale and theres a modified chord requiring a flattened or sharpened note ( think black notes on the piano when paying in C major ) - it probably won't sound that clever to play the white note ! That said, if you are quick thinking enough a 'bum' note can be turned into a 'passing' note ! I think it was Miles Davis who said you are only ever half a tone away from getting it right !

Couple of things spring to mind that you could check and then see what your luthier makes of your observations :- 1/. Is the part of the bridge where the string passes over completely flat or are there chamfered edges in the wood each side of the string? If the flat bit is more than about 2- 3mm you can get buzzing where the string vibrates in contact with the too wide flat bit. 2/. Is the fingerboard original or new? The fact that one month after Geraldine arrived she had to be shot and now the problem is back again seems a bit peculiar? It may be that the quality of the grain of the fingerboard is not that good and is full of burrs and knots and wavy grain - if its a poor quality piece of wood it will need shooting again ...and again ....and maybe again. This might be a useful bit of background reading [url="http://www.jeffbollbach.com/JB%20II/luthier_rant1.htm"]http://www.jeffbollb...thier_rant1.htm[/url] . The only solution might be to replace the fingerboard with a bit of quality wood. 3/. Check whether there is a dip in the fingerboard ( a good thing ). When you press the string flat against the very end of the fingerboard ( near the bridge) there should be a tapered gap between string and fingerboard ...starting at maybe 1mm at the nut ...with the gap under the string getting bigger and maximum at around the first octave harmonic position of maybe 2 / 3mm, and then tapering to nothing at the point where you are pushing down on the string . It should be a huge, wide , very flattened ' [b]\[size=1]/ [/size][/b]' shaped profile to the fingerboard . I tend to line up my eye with the string and fingerboard at octave position and the look left and then right at what going on. 4/. Put Geraldine on the kitchen table and have a look down the length of the neck by standing at the endpin end of the bass. Its usually possible when you get eye level peering down the string line to see any bumps and ridges. You can confirm with a straight edge ruler looking sideways on at the position and if you get a china graph pencil you can mark up any highspots . Sounds like its going to be a Luthier job to correct the problem. Hope this helps in some way !

[quote name='Rabbie' timestamp='1360413570' post='1969958'] From a strictly scientific viewpoint however, sitting puts a lot more pressure on our backs than standing, so the logical answer would be to learn to stand with the bass without straining or stooping and only sit for short spells in a good sitting posture. [/quote] ...I can sit all day long but boy do I feel tired standing all day !

[quote name='oggiesnr' timestamp='1360359083' post='1969477'] This is quite a good video on the subject [/quote] +1 on that and at 2.30 theres that 'look no hands' moment !

[quote name='lowlandtrees' timestamp='1360404856' post='1969794'] I am a beginner to DB but have got myself a Kania Da Gamba contrabass for want of space and ease of transport. It does not have the body of a DB so I do find the posture thing difficult. [/quote] Its pretty vital to get to a place where any instrument that we play is supported but without any weight being carried via the playing hand (s) ( piano, drums, guitar, trumpet, violin, sax, ...you name it !) As soon as a one starts to support an instrument in the hands mobility is lost and you are 'weight bearing' with the muscles before you have even started using them for playing i.e. the muscles are already hard at work before even pressing on the strings! My preference for DB playing is thats I sit down to play ...its pretty easy to lightly grip the double bass sort of cello style, between the knees and thigh and support it so that I can wave and shout 'look no hands' if I wanted . I do play standing too and you can get good support of the bass turning it a bit into the hip ( as many swear by and prefer ) ...but sitting, I can play all day every day without the slightest issue and it has worked for me! Perhaps an analogy for us DB players to consider would be to compare a piano player sitting at a freestanding piano and then imagine the problems they would have to play for any length of time and in comfort, gripping a hammer in each hand with the thumb whilst playing with just the fingers. Easy to imagine tension in the shoulders from the weight of the hammers , forearms aching, wrist strained, (...sounds very similar to the complaints us DB player suffer from !). Be really interesting to see the views of the standing players and how they support their instrument to ensure that 'look no hands' playability !

Thats what I like about NS Designs EUB instruments - they all come on a variety self supports ( I use the standalone tripod ) and you can just walk up to the instrument and play without needing to hold the thing upright ( see my separate thread about DB and EUB injuries!). I have just sold my CR4 and I would most definitely go with this again if I need an EUB ...and for the fantastic sound ( arco and pizzicato ) ! http://www.nedsteinberger.com/instruments/crbass.php

[s][color=#282828][font=helvetica, arial, sans-serif]1. Jimbothy[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]2. Paul JH[/font][/color][/s] [color=#282828][font=helvetica, arial, sans-serif]3. Lord Sausage - could I be after you please? If yes, then:[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]4. JazzBassFan[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]5. Ubassman[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]6. TommyK (Please, thank you, thank you etc..)[/font][/color] Movin on up the list ....and Lord Sausage is a fast reader too !

I have for a while been 'depping' for a friend who is off with a bad back and last week I met an old friend who has given up playing the Double bass because of RSI ! Just thought I would start a thread about how fellow DB and EUB players support their instruments and their chosen posture?There is a lot of weight in a double bass and it seems that many back maladies and problems are caused by the body being under stress from resisting weight . Some bassists always stand - period. Others ( myself included ) prefer to sit especially on a long 3 hour orchestra job. My preferred posture is that I have my right foot on the floor with the bass clamped between my legs self supported and my hands are free to move without having to keep the bass in place . So far I have managed to escape back aches and pains but I seem to be a bit of a last man standing in my local community ! What do others do ..and what sort of Double bass playing 'injuries' are commonplace ? I don't want to join my two companions in the chiropractors waiting room !

Interesting clip about the effects of moisture [url="http://www.youtube.com/watch?NR=1&feature=endscreen&v=XhlyzoeA_7E"]http://www.youtube.c...n&v=XhlyzoeA_7E[/url]

Sounds like time to get some new rosin! Sometimes when I have bought from a shop and on-line, the rosin has been sat on a shelf for ages as part of a bulk order from the manufacturers and like yours ....has hardened up!. Pops and Nymans used to put a date of manufacture on their rosins but now have removed it ( ...hmmn! ...funny that !!). I have heard of people doing all sorts of things to revive rosin but fresh stock always is perhaps the best starting point and its not expensive stuff given the important job it does !! FWIW, I have really settled in with Gaston Brohan's Oak Soft Plus http://www.gregorianstrings.com/order.html which for me seems to work equally well on all my bows and strings combinations with great grip and attack ( and seems to suit the British climate temperature variables ). When I have bought rosin [b]direct from this manufacturer[/b] ( best tip I can give!) its always been good fresh stock and the tone is always there. Usually about £20 delivered from the USA about 3/4 days after ordering on line. As they would say on the TV and Radio of course 'other suppliers of quality rosins are also available' !