Burns-bass

Why don’t you buy a cheap P bass and take the neck off for transport?

Did my recording session and the Yamaha was fine but we needed to beef up the output a bit so we stuck some foam near the bridge. Always works!

How about we make a list so that anyone can easily access these albums? Oh, ok then. Solo Double Bass / Jazz Albums Marc Johnson – Overpass Anders Jormin – Alone Miroslav Vitous – Emergence Francois Rabbath – The Sound of a Bass) Alain Caron & Michel Donato – Basse contre basse Ray Brown – Soular Energy Eddie Gomez – Street Smart Edgar Meyer – Dreams of Flight Jorge Roeder – El Suelo Mio Classical Thomas de Hartmann – Fantaisie-concerto for Double Bass and Orchestra, Op. 65 Hans Werner Henze – Double Bass Concerto Peter Maxwell Davies – Double Bass Concerto

Like everyone here says, a week or two off is good for you.

The real aim of every session bass player is a lucrative book tour filled with anecdotes. We all know that.

I think we agree. What I don’t think the chap who posted this message needs to do is spend a load of cash on a vintage P bass if you’re starting out. The majority of work can be done with basic instruments. Of course, when you get to the studio level in most cases you’ll be told what the person wants when you get the booking.

if you’re booking a Dave Swift or a Guy Pratt or whatever, then absolutely. But that’s the 1% isn’t it? When you’re operating at that level, you’ll have your pick of instruments. Also, most high end studios will have some gear in house that’s so good it would make us all cry. Basically what I’m saying is that spending £50,000 on a load of basses won’t get you a job. Being able to play will. Through that, you can earn those basses…

I’m off to do some recording for a Blue Note jazz bass and taking my Yamaha BBN4 which cost me £40. In fact, the strings (Daddario Chromes) cost more than the bass!

That’s a great photo!

Honestly this is just a thing to try and frighten everyone. In the end, it’s for those huge traders that are wilfully evading tax. Most of us don’t need to worry. Just give you NI number and leave it at that. My tax affairs are complicated with two businesses and self employed income.

Hi Rob, I’ve come to classical bass relatively late (44) but I’ve been loving it. Personally I really enjoy the baroque stuff as it’s very logical but also undoubtedly beautiful. This may not be the vibe you’re after, but I’ve loved my ongoing journey. I have a PDF of a wonderful baroque bass book which I can share if you’d like it? They sound amazing on double bass and would be as really rewarding on your new Godin. Best

If it was the shop I’m thinking of they sent me a bass with a stuck truss rod. Fair play they refunded me straight away but then advertised the bass for sale (without mentioning the fault). Dodgy.

This cuts to the core of the issue. Do vintage basses (like classical instruments) get better with age, or is it just older people coveting and fetishising the prized possessions of their youth. Probably a little from column A and B. Collectors like Joe Bonamassa have a vested interest interest in all this. He’s part of the vintage machine and it suits him to see prices rise. For the rest of us, I’m not so sure…

Take it slowly, there’s no need to… err, yeah.

Thats auctions for you. To be fair they market things well and do a good job of de-stressing the whole process. You could always get more in a private sale, of course, but you need to sell it.

I don’t know much about Rush, but unlike a lot of these tings it doesn’t seem like a cynical cash in (looking at you Oasis). More seems like lifelong friends who want to experience a big stage for possibly the last time.

Gardiner Houlgate. Signed items are notoriously hard to value and sell. Better leave the market to decide. Unless it’s the Rolf Harris signed Stylophone I saw for sale on Facebook. That’s not worth much at all.

Short answer is no. Last vintage shop I went into was buzzing and the proprietor told me business was good, but that he had seen a lot more stock coming up for sale. Read into that what you will. Genuine all original pieces will probably maintain their value.

I assume that was because Owen was based in Wales but playing a gig in Belfast.

I guess this may never have happened of course, but it was a funny story.

Always easier to ask what the band or producer wants. I’ve done a few and you just ask about the vibe and take the basses that will fit. I’ve got a jazz session Friday afternoon and that’s strictly flats and a jazz bass with a vintage pre-amp. Then doing a double bass gig at night with (surprise surprise) a double bass. One of my acquaintances records with Sade and they got a series of super double bass players in to play on some tracks. Apparently one player had a huge amount of gear. The engineers asked him if one of the hundreds of pedals he had could help him play in tune for the whole song. Apparently this wasn’t funny.

Personally, if you want to play double bass, then buy one. If you want to play EUB, then buy one. They’re different instruments really. Dont buy one new, buy a used one (preferably from someone here) that has been set up and comes with the essentials (like a case). The Thomann ones are fine (I’m selling one cheaply) but if you can spend a bit more something like a Boosey & Hawkes Artia bass is probably a better buy. If you find something you like, share it here. There are plenty of people with lots of experience who are happy to help.