TheRev

OK, I've got another one. It's a bit long winded so bear with me..... The band were booked for a weekend at a cider farm during apple pressing season. We'd done the gig for two years in a row, so we knew the organisers well and were all happily looking forward to a weekend of playing and getting squiffy on scrumpy cider. We arrived at 10am on the Saturday and got busy unloading the van, setting up and chatting to the organisers, exhibitors and friends that were in and out of the barn we were to play in. In the middle of all this we hear a cheery 'Owright laaads?' and turn around to see the owner of the farm - a 70-something proper Dorset farmer with an accent you could shovel with a pitchfork. 'Good to 'ave you baack boys' he says, 'really lookin' forward to you playin' We say thanks, cheers etc. 'Can you play a request for me lads?' he asks, 'Will you play that song you do about the nig**rs?' Silence We look at each other..... more silence. 'Sorry, what??' splutters our singer. 'You know, the song you do about the nig**rs, I like that one' More silence... Our singer is looking horrified, his mouth opening and closing like a fish out of water. I should point out that our singer is a full-on, hardcore, left-wing, trade unionist, anti-fascist, so the idea that he would even say the word nig**r, never mind write a song using that word is just unthinkable. 'Sorry mate' says our singer 'I really don't know which song you mean - do you know the title?' 'You know,' says the farmer, that song about the nig**rs, you sings it all the time' Our singer really wants to tell the farmer to feck off, but he owns the farm (i.e. he's paying us) and he is 70 odd, so he thinks that maybe the old boy doesn't know that it's really no OK to keep saying nig**rs... anyway, he has one more try. 'I'm really sorry, but I just can't work out what song you mean - are you sure it's one of ours? It doesn't sound like one of ours.' 'Arr, go on, you know, like Tom Jones' says the old boy. Now we're really lost. 'Like Tom Jones' says the old boy, 'with the girls throwing their nig**rs' The penny drops - we have a song with the opening line 'The girls throw their knickers at the Skimmity Hitchers' (Skimmity Hitchers is the name of our band) and the farmers' thick Dorsetshire accent makes 'knickers' sound like 'nig**rs' I have never seen someone look so relieved - even more than when our guitarist thought his £3k Martin Johnny Cash signature guitar had been stolen from backstage and we told him we'd put it in the dressing room for safekeeping. So, all was well and we had a great weekend playing music and getting squiffy on the farmhouse cider which the farmer supplied in never ending quantities. Only problem was, every time we played that song (playing 4 sets per day across two days,so it cropped up on a couple of occasions) all I could hear in the opening line was 'Girls throw their nig**rs at the Skimmity Hitchers' along with a mental image of our singer's totally horrified face, resulting in a fit of the giggles for the rest of the song. I still chuckle now, 4 months later.

I seem to remember there was a thread on Danny Thompson, where a Basschat member claimed to have had a go on Danny's bass, Victoria and said he sounded just like himself playing. Danny then had a go on the Basschatter's bass and sounded exactly like Danny Thompson. Pretty much tells you all you need to know about Danny's sound....though years and years of playing on Spiro starks to develop fingers capable of poking through titanium armour probably helps.

[quote name='Mykesbass' timestamp='1423814261' post='2689230'] Wow, Dave, that is one exceptional answer! I know this is a great forum but you have really gone the extra mile and I am truly grateful. Many, many thanks! [/quote] No problem matey! I had exactly the same questions when I started out so I'm just passing on the information that others gave me.

Welcome back to[b] real[/b] bass playing [b]Amps[/b]: In my experience of playing at festivals where backline is provided, the amp is less of an issue than the speaker cab(s). Over the years I've been given an Ampeg SVT with a 2x10 cab (nice), 4x10 (careful with that volume...) and a 1x15 (uncontrollable feedback on any note below a B on the A string). The best 'random festy stage backline' amp I've played through was a TC Electronic 2x10 combo.... As long as you have a decent, designed for DB preamp (Fishman Bass Plat Pro Plus or Fdeck clone for example) then there's no reason why your Carvin or any other bass amp shouldn't work for you. If you're pairing it up with a 2x15 cab though, then you could be in trouble! 10s and 12s are generally popular for double bass with the current trend favouring 8 and even 5" drivers. [b]Ply or carved[/b]: The general consensus is that ply basses are easier to amplify than carved basses, simply because generally, ply basses resonate less than carved basses. However, it stands to reason that a poorly made, dead carved bass will be less feedback prone/easier to amplify than a well made ply bass. The truth is, you won't know till you try and there are multitude of pickup and preamp combinations you can use to help tame frisky basses. For folk and blues, a good (i.e.not a £300 Chinese Ebay job) ply pass will serve you well. Having said that, Danny Thompson does OK playing folk and blues on his 19th century French fully carved bass..... It's also worth bearing in mind that, for the same money, a well made laminate bass would be better than a poorly made carved bass. [b]Thomann/Gedo/Archer[/b]: I always recommend the Thomann 2 bass (carved top, laminate sides - the TN (Tineo wood) version is very highly rated) as that's the only one of the above importers/resellers basses that I've had direct experience of. The Thomann 2 basses are Czech made Strunals, which are considered decent quality, mass produced instruments. I've no idea where Gedo or Archer source their instruments from - there's a good chance that they all come from a small handful of Czech or Hungarian factories. If you have a substantial budget (£1500-2000), then you could buy a Duke bass and be pretty sure that you're going to get a very nice sounding and playing bass. Buying blind is always going to cause you a bit of panic - what if you don't like it, or it feels unplayable? Chill out... My experience is that you and your new bass will mould to each other - you'll make little changes to the bass setup and to your technique as you spend more and more time together until you find that everything is just right. This obviously will require the services of a luthier for setups and the close observation of the 'Double basses for sale' forum for the next pickup/strings combination that you just have to have to make everything 'just right' If you do decide to buy 'blind' from one of the big online shops, then I would recommend keeping £3-500 of your budget back to pay for work on your bridge and/or sound post and for a couple of different sets of strings o try out. If you're willing to travel to North London, then a trip to Thwaites in Watford would be time well spent. They usually have a good range of nice old eastern European ply & carved basses in the £900 -£1500 price bracket and you can play every single one of them to find the one that suits you best. [b]Strings[/b]: Oh Lordy - you don't know what you're asking!! The 'standard' double bass strings are Spirocore Mittles (medium tension) - though if you have issues with your hands, then the 'weich' set may be a better bet. I really like the weichs for rootsy/old school jazz stuff - nice low tension but still retaining enough note definition with short sustain and no 'sproingyness'. Other good 'gut-a-like' strings (which is what you want for folky/bluesy stuff) would be Evah Pirazzi, Innovation super silvers or honeys (tho I quite like the Rockabillys), Pirastro Obligatos, Rotosound RS4000, D'addario Zyex etc.etc. The list is almost endless, and what sounds good on my bass may not sound good on yours. As some where to begin, I'd plump for either Spirocore or Evah Pirazzi light/weich. Both are easy to play and are very popular, so if you don't get on with them, you'll be able to sell them easily enough. So. in summary, there are no easy answers - sorry about that. I think most people on the DB forum would agree that double bass is a much more personal instrument than a bass guitar or even an electric upright, so it does take time to work out what it is that you want from your bass. It can be a frustrating and potentially expensive journey, but it's also a very satisfying journey. Dave

What a nice friend you have! I've used Innovation Rockabillys on my Eminence EUB and quite liked them for rootsy stuff as they added a bit of bottom end which is normally missing from EUBs. For a long time I used Velvet Garbos, which have a nice, gut-a-like feel & response, but as my tastes have changed I now find them a bit 'zingy'. Another string to consider are Spiro weichs - the low tension really helps to reduce the sustain. The only reason they're not still on my EUB is because I liked them so much that I put them on my carved bass. One string I really like using is the G and D from Innovation Super Silvers. I find the A and E from this set to be a bit indistinct at concert pitch (but much better at solo pitch) but the G&D just push my buttons. For some reason, if I like the A&E form a certain set, I usually find the G too nasal sounding for my tastes.

....apart from the missing bridge! http://m.ebay.co.uk/itm/131423241922?nav=SEARCH

My band have recently been taken on by proper, pro level management, so I've slowly been getting some insight into what it actually takes to earn a living as a live act. The answer is....it depends! One of the bands on the managers books go out for about £3, 500 per night. Now, that's not a lot for a 'pro' band, but these guys do 80 gigs a year every year and rarely leave the south of England, so their costs are relatively low. A bit of rough maths points towards these guys earning 45-50K per year, pre tax. So not helicopters and sports cars rich, but very comfortable by most people's standards. Another band on the roster only play about 30 gigs a year but charge 30K each time..... I don't know if they have helicopters, but when we've been to have a meeting with our manager, there are usually a couple of sports cars parked outside.

[quote name='SpaceChick' timestamp='1422909600' post='2678318'] PMSL at scrumpy 'n western [/quote] Yep, we play both kinds of music.

[quote name='JTUK' timestamp='1422896156' post='2678033'] sounds like she'd had too much of her 'product' [/quote] It is one of the problems with playing in a 'scrumpy 'n western' band, punters will inevitably drink too much scrumpy.

[quote name='gerryc' timestamp='1422892134' post='2677955'] We are really classy here in Weymouth [/quote] The vast majority of our Weymouth gigs are ar*ehole free... I think she was from Dorchester.

"Is that a 'cello?" "Why did they give the shortest person in the band the biggest instrument?" (I tell 'em we drew straws and I lost). Most annoying one was at a recent gig in Weymouth. Very drunk woman at the front shouting "oi! Do you do weddings" all the way through the first set and getting really arsey that we wouldnt talk to her there and then. Got collared by her during the break where she ranted on about how rude we were and that she wanted to book us for her sisters wedding (even though she described her sister as "a c**t"). I said we were already booked for that date (which was true) "I don't care about that" she says "you're f***ing playing. You only need to play for an hour so you'll do it for free cider"

I'll second the Allen and Heath Zed series. I recently bought a Zed 18 and I think its amazing for the money. Intuitive and simple to use, a great mixer for live use.

It looks angry.

Lots iof small ' boutique' festivals around the UK these days though. Much better for seeing the sort of bands you like. Big festivals have gone too mainstream I reckon.

I use a Roland Cube for busking & those nights round the campfire at festivals. Great little unit and surprisingly loud. I've also noticed that it seems louder from 10ft away than it does when you're right next to it.

If you don't know enough about double basses to tell a decent one from one that is days away from being fire wood (and you don't have a knowledgeable mate you can bring with you), then it's probably best to avoid a used bass and just buy a new Gedo or a Thomann 2 bass. At least you know they'll stay in one piece. Yes, buying used will potentially give you better value for money AND if you can try before you buy, you could find 'the bass' that's right for you - but if used basses are few and far between within reasonable travelling distance and you don't know how to look for delamination, split ribs, loose bass bars etc etc, then any potential savings will be more than offset by repair and set-up costs. When I bought my first double bass, I didn't know what the 'right bass' for me would look, sound or feel like. I was lucky enough to find a bass within my price range locally that I could look at and check that it wasn't a total wreck. As the years have progressed, me and my bass have sort of moulded to each other - I've changed little things in the set up and I've got used to the various quirks on my bass and adapted my technique accordingly. If I hadn't found that bass when I did, I would have bought a Thomman 2 (Strunal) bass and had exactly the same journey of getting used to the bass and making setup changes as my playing improved and I worked out what i liked in terms of action, strings. pickups etc. So, as you're just starting out on you bass journey and you don't know what you may or may not like or even what 'your sound' will be, why not spend about £1300 of your budget on a nice Gedo or Thomann bass and save the remainder for setups and the inevitable experiments with strings?

I used to have the same problem. I got together with our drummer for 2 or 3 sessions, just playing through the songs and finding where the beat is in each one or where things can be pushed or pulled. it was probably the most fun I've ever had in a rehearsal studio - just being able to actively listen to the drums without all that unnecessary guitar and vocals getting in the way. Good times.

I have a Saab 93 estate which easily takes my double bass, cab, amp/cable bag & assorted stands, plus our drummer's kit (minus bass drum - that would be just silly) plus three band members (including me). We can get the same stuff into the drummer's Skoda Fabia, but it's a tetris job on the packing. Judging by the back of Bassman's Berlingo, I'd say that a MPV type vehicle is the way to go, especially of you're not precious about what you drive. Over the years, I've gone to gigs in Renault Scenic estates, Vauxhall Merivas and VW Sharans and it's amazing how much gear & people you can fit in them.

My band play a lot in Dorset and Hampshire (even though most of us live in Bristol). My experience is that Poole is a bit quiet music-wise, but there's a bit more going on in Bournemouth (check out Chaplin's Cellar bar in Boscombe) - quite a few of the bands we put events on with are based in Bournemouth. Ringwood has a couple of well-respected pubs putting on regular bands but the most vibrant (IMHO) town in that area is Wimborne - loads of great pubs putting on interesting local bands plus the yearly folk fest with the associated fringe festival and the 'Party in the paddock' Wimborne is a great little town with lots of nice people, but I imagine it's a pretty expensive place to live.

I'd love a Marleaux Pagelli, mainly cos it looks like a Grouper eel.

Just bought a Fishman preamp from David. Absolute pleasure to deal with - quick and tidy deal and rapid delivery from Hungary. Five star service - deal with confidence! Dave

Ohhh, lucky you! Do let us know what you think. I haven't bought any bass related stuff in a while so this may making it's way onto my 'christmas presents to self' list

[quote name='gadgie' timestamp='1416835660' post='2614018'] I don't see what he has to be offended about. I think charity is a great thing when done correctly. not sure that came out right. It always surprises me when I see that there are overheads to pay..lighting etc. do they not do it for nothing as well. Ok they maybe had to buy the gear to do it, but I'm pretty sure all the players have had to buy their own gear to use...................for free. [/quote] Ah, but bands play for the love of it, don't they? Plus, you'll get loads of exposure! Yeah, right. There are a couple of local charities that my band work with to put on gigs - some of which we play ourselves, and the bands always get paid beacuse the PA guy gets paid. And the lighting guy, and the bar staff and the security staff....

Regardless of whether he is technically donating as a private individual, he's asking you to work for free so he can make a private (i.e. sum of his choice) donation. Now, you may support the charity and you may even benefit from the exposure the event brings but as you're aslo being asked to 'donate' to the event I think you're entitled to ask how much your donation works out at. As for him saying that you're accusing him of theft - methinks the lady doth protest too much... Anyway, this all sounds a bit familiar.... does the event name sound like a breakfast preserve made from cows?

[quote name='TimR' timestamp='1416832283' post='2613957'] There are loads of obvious steps to take before the auditionee has even started to learn parts for the audition (on both sides) so if someone has actually turned up for the audition they, and you, must be reasonably happy that they're going to be considered/consider the band. [/quote] But an audition is about much more than just being able to play the parts or liking the band's music, it's also about finding out whether the band like you as a person and can work with you and conversely, whether you can work with the band members. I once auditioned for a folky bluesy (think Gomez) type act. I'd seen them before and liked their songs and I knew one of the guitarists a bit, so when their bassist left, I was well up for trying out for the gig. Turned up for the audition and within 15 minutes I knew that I was not going to have anything to do with this band as the singer/flautist was a total nightmare! She spent the whole session whining about why she had to be there at all, then she complained about where she was standing as 'it was cold' so we had to move the PA around so she could stand in a spot she liked. I don't think we managed to get through one single tratck all the way through without her stopping the song for one reason or antoher. None of this was helped by the fact that she was also the girlfriend of the main singer/guitarist, so he just did whatever she said. I was offered the gig, but declined on the basis that we didn't manage to play a complete song and it was all a bit of a waste of time.- they were shocked but agreed that it didn't look good. The band spit up a few months later and I nabbed the other guitarist for a duo project.