Burns-bass

I meant when I started. Now I can afford boutique basses and all that, but I knew no better. It was a revelation when I picked up an Aria Pro II The Cat Bass. Loved that thing.

Ok, update... Set it up with a set of Helicore Hybrids and it feels great. They’re pretty high-tension, which is nice. The frame is fantastic and the full-size bridge makes it really feel like a DB with the correct string spacing which I’ve always found a challenge on other stick basses. The resonant board makes it sound like a double bass. It lacks the genuine warmth of a full sized beast, but that’s to be expected. Is it the best EUB I’ve ever used? I’d say it most definitely is. Its probably not as well made as the Yamaha, which is factory assembled, but it’s a lovely artisan product that I’m sure will be enjoyed by me for a long time. I bought mine without seeing one or playing one, but based on the reviews and views of players (mostly American). I’d say it’s definitely worth it.

Crikey. That’s a bold claim! Having a terrible, heavy bass with a thin sound and poor set up never stopped me playing. I went to a jam session this week and there was an Axl jazz Bass there which was equally poor, but that didn’t stop a steady stream of players (good and bad) having a crack.

I’d hazard a guess that this is 10 times better than the Kay P-bass I paid £25 for in 1997. Adjusting for inflation I’d hazard that’s about the same price, but an awful lot better bass...

This is the most un-rock and roll thing I’ve ever read. I’m sure it’s a great gig though!

The wonderful thing about children is that they’re unique. You’ll find your way! My kids don’t have much time for bass, but they love acoustic guitar. It might sound like the Waltons, but being able to strum a few chords and play a few songs or nursery rhymes is wonderful. Both of my daughters (3 and 1) love the guitar and we’ve got 3 around the house. Congratulations too!

That’s good to hear. Today I had a jazz model turn up. The package was something - taller than me! Was that the one on Reverb? I nearly bought it if it was. I’ve unpacked it all and given it a once over and it’s a nicely made piece of kit. Like many artisan products it’s not as gloriously uniform as a Yamaha for instance, but it has more personality. I needed something to practice on at home and use for gigs and this is a much better feeling and sounding instrument than the SLB I had. Ive not had a chance to play it properly through an amp but I’m assuming the Fishman will come out. I know some people have fitted David Gage pickups so that’s an option. Personally, it’s the closest EUB To a double bass that I’ve ever used. The neck is chunky and the sides almost identical to the contours on my DB. Time will tell how durable it is and how good it sounds at gigs, but I’m happy with it so far.

I'd recommend the Aguilar stuff. Given the guys in the 70s would all have been using valves, you could look into a valve pedal. When I was playing a lot of 70s rock stuff (festivals, tours with a few of the names...) I used to use a Sansamp Bass Driver DI which was a great piece of kit. I also had a DHA too which was great.

That’s. lovely story. Entwistle was at the gig I saw and he was phenomenal. Power of music!

“Stop getting The Who wrong!!!”

I’ve never liked the Who, and Roger Daltry is a total bell-end. But, I was offered a ticket to see them live in Cardiff once and it was a brilliant gig. A phenomenal live band.

Yeah, lovely basses. I don’t know what’s happened but throughout the Fender range quality has improved dramatically. The modern Mex Fenders are (to me at least) every bit as good as Japanese ones.

Personally, I wouldn’t bother...

Agreed. In some jazz contexts the bass is expected to do a solo in every tune. I’m pretty rubbish on upright so I usually try and do something smooth and textural, but you need to know the jazz language to sound passable. I’d also say that the walking bass parts played on old jazz records are really solos with a huge amount of complexity - it’s just that the ensemble is still playing! Ray Brown for example is soloing constantly finding new ways to reinvent the harmony. Same as James Jamerson on Motown etc.

The Chuck Sher book is great! This one is a good primer too. This is really Useful to use alongside the Parker book (which is immense in its complexity and completeness). I was also advised that if you’re using the Parker real book to learn the solos in all keys. Seems like a lot of work to me, but it helped the player I was watching. He was immense! https://www.shermusic.com/0961470100.php

Love stories like this too. I know Apple polarise opinion, but I had a similar experience with them in store which had made me a long-term fan.

He also used to use cello music too, which he claimed gave him an orchestral feel. Which was true.

Fantastic. Geoff is a member here and I've always found his videos reassuringly simple.

More money than sense? I jest. I've always loved Sprios and never needed to change. I've got a box full of effects and a cupboard full of books however, so I feel your pain!

Totally agree! The reason the Simandl book works is that it fixes in your memory the point and pivots needed. It can be dull (although I never found it to be so) but is a much more effective way to learn than adding note markers which require you to crane your neck around and look at the fingerboard. Anyway, we've had this discussion before, and I'd say that anything that gets you playing is worth it!

I guess you do whatever works. I found the Simandl book was brilliant for improving my intonation.

I get it. Definitely check out Geoff’s lessons online. Where are you based? I’m no expert but I can pass on a few pointers if you’re near Bristol (although there are much better players on this forum from my neck of the woods!)

It’s a reference to the Simandl book which helps you navigate the fingerboard. If you’re coming from electric bass think the open strings and first 5 frets. Playing DB is often about economy of movement, minimising the shifts you need to make and playing fluently. It’s easier said than done on such a big and unwieldy instrument. If you can read music (or want to learn) the Simandl book is great for improving your knowledge of the fingerboard and building a good technique and intonation. Again, I’d thoroughly recommend working through it with a teacher if you’re interested. While you can use any technique you like, it’s best to at least attempt to follow the orthodoxy at least for a while.

Double bass is a great journey! Check out Discover Double Bass online. Geoff is a member here and the resource is brilliant! I’d thoroughly recommend getting at least a couple of lessons from a pro. If you do things wrong with your technique you could hurt yourself. Which is never good.