endorka

There are step by step instructions on how to fit a new bridge in Chuck Traegar's book: http://www.amazon.co.uk/Setup-Repair-Double-Optimum-Sound/dp/1892210061/ref=sr_1_1?ie=UTF8&qid=1324326636&sr=8-1 As Bob points out, to do it properly is a fairly involved and skilled process. I did one recently and if I remember correctly, it took about four hours. Jennifer

[quote name='silddx' timestamp='1322151017' post='1447283'] He's highly rated because he can play fast and sing at the same time while navigating some difficult arrangements. Rush are innovators and in a class of their own, they used to write some incredible music. However, what Geddy plays, while being fast is actually not very complex or difficult, it just takes good technique, stamina and a good ear. It's not compositionally amazing bass or anything, a lot of it is boxes and patterns. [/quote] I agree with this up to the point, in the sense that there is music out there that is more "advanced" theoretically. On the other hand, I once had to play YYZ for real, and I found it quite challenging getting it up to speed. In fact the last mega-widdle was always a bit hit and miss :-) Jennifer

Thanks Daf, my preference for walking basslines is more "old school", i.e. a shorter, punchier note as opposed to the more sustained types, so the Honeys sound like a good bet. I'll get a set and let you know how they work out. Any recommendations as to the best (cheapest :-) place to buy them? String Express have a set for £75, with free delivery, which seems like a good deal. Jennifer

Thanks for all the advice everyone, useful indeed. I've tried D'addario Helicore Hybrid strings, which had a "twangy" aspect to the sound I didn't like, in particular I found getting good intonation more difficult than usual with these. I also briefly tried Eva Pirazzi but was a little underwhelmed by them. Yup, the dark / high tension aspect is more of a feature than a bug with orchestra strings. I like the Flexocores for bowing, but for jazz pizz I find the sound lacks character and "mwah", for want of a better word, and that I have to work very hard to get expression from them when playing jazz. Jennifer

Hi Daf, For some time I've been looking for a double bass string that is good for both jazz pizz and classical type arco playing. Previous experiments with hybrid strings have not been that great, so I've contemplated getting two instruments with ideal strings for each type of playing. However, quite often I'm in the situation where both types are required - the Horse tours are like this - and taking two double basses as well as bass guitar etc. is not really practical. One of my students has a double bass with the Innovation SIlver Slaps, and I was really impressed with the sound and playability of these strings. They don't seem great for bowing however. I wonder if there is a string set from Innovation that will address this requirement? The Honey's seem to be quite close, but of course it is quite tricky to judge from just reading about them. Have you any experience of them in this regard? Thanks in advance for your help, Jennifer

I sometimes do this, I have a piece of foam in my bass case for the purpose. With light foam I find the effect more subtle than a palm mute, but I'll happily use either when appropriate for the circumstances. Jennifer

Thanks for that folks, helpful indeed. My inclination is more or less the same, to use the fundamentals at the start for technique & background, then as "on demand" input for the more musical exercises. I'd love to hear Rufus's opinion on the matter! Jennifer

In another thread, Basschatter Baboom points out that he has spent a considerable period of time going through the exercises at the beginning of this book. From talking to people, I gather this is a common experience, indeed one I myself found discouraging when I first bought the book many years ago. In particular, the open string exercises and arpegios / scales require a considerable amount of time to go through properly, particularly if you use the bow. While it is possible to do this, there is very little music being made while the student does so, and it can be difficult to maintain enthusiasm. Of course, further on in the book the actual musical exercises come about and all is well. I'm wondering if there any tried and tested methods of approaching this book in a more integrated and progressive way, or if anyone here has gone through the book in a way that does so? Jennifer

Nice posts, and I echo the advice about getting a preamp. In my experience, one of these gadgets seems to improve the sound no matter what amp it is going into. The one I have seems to deliver a sound that is pretty much right, so no need to faff around with amp settings. On some amps, especially the bass guitar ones, without an external preamp no amount of faffing will get the right sound anyway, but the external preamp goes a long way to getting the signal right before it goes into the amp. I found that even a simple powered DI box with a reasonably high input impedance can make a difference! Jennifer

Foobar2000 does the business, thanks for the recommendation :-) Jennifer

Thanks, will give that a go! Jennifer

I like the FLAC format, but my Windows Media Player doesn't pick it up for indexing its library, which is annoying. Not sure if ITunes does, but I'm not too keen on that software. Any other decent media players with library functionality that will pick up FLAC files? Jennifer

I have one of these, and it is a good instrument. Spacing between each string is the same as a four string P bass, which should help the transition between 4 and 5. I upgraded the pickups to Seymour Duncan Quarter Pounders and it sounds great, but as you point out some routing was required. I paid less than £150 for it though, I think it was £100, so you may have some haggle room. Jennifer

[quote name='Bill Fitzmaurice' post='1303817' date='Jul 14 2011, 05:41 PM']If you play a pristine 40 Hz or lower sine wave through a capable speaker with very low THD you can't even discern pitch.[/quote] Agree with the difficulty discerning pitch on the pure low notes. On occasion I've had to transcribe synth bass lines where all the upper partials have been rolled off, and I sometimes find it quite tricky. On a causal listen you think you can discern pitch, but on a close listen you realise it just isn't there. To transcribe the line accurately you have to listen to it while not listening, and try to catch the pitch by surprise. Very strange. Jennifer

[quote name='jakesbass' post='1270615' date='Jun 15 2011, 08:22 PM']Jennifer I just read your comment about not being strong in thumb position. Check out evolving upwards by Rufus Reid, it's brilliant.[/quote] I'll check that out Jake, thanks for the reference. Jennifer

[quote name='Mike' post='1270594' date='Jun 15 2011, 08:08 PM']How are you getting on with Vance, Jennifer?[/quote] Hi Mike, For the last couple of months I have been focusing on bass guitar so I'm afraid I had to put the Vance on ice. I've quite a bit of work on the double bass coming up, however, so I'm back into it now. Still really enjoying it and finding it useful :-) Will keep you all up to date as I slowly progress through the books. Jennifer

[quote name='Happy Jack' post='1277410' date='Jun 21 2011, 05:55 PM']I just thought that Yes had nothing left to say.[/quote] While it is difficult to define "self indulgence", I'd say this is the essence of it. Someone who has nothing to say, but insists on saying it anyway. Singer-songwriters without good songs... jazz soloists who have overstayed their welcome on a chorus... the list could go on and is not limited to music. It's not a bad thing as such, but it is a thing. Jennifer

I've said it before and I'll say it again: that Bolin is one of the best looking basses I have ever seen. Jennifer [quote name='warwickhunt' post='1274399' date='Jun 19 2011, 08:14 AM'][/quote]

[quote name='silddx' post='1275882' date='Jun 20 2011, 01:50 PM']A question for those who get to gigs on public transport and have to take an amp and cab of some sort. How do you do it? Use a trolley of some sort?[/quote] I hire a car when possible for gigs, but if the gig is nearby or the pay does not justify the car hire cost, then I either walk or use public transport, and usually take a 1x10 combo on a trolley. I sometimes use the Glasgow underground while carrying the aforementioned amp, double bass, and rucksack with a foldable stool in it. It is not an experience I enjoy. Jennifer

Thank you for all these considered replies, this is obviously not an uncommon complaint! Essex, I think you are onto something with the shoulders creeping up: I've noticed when running that quite often after 4 kilometres or so my right shoulder sometimes starts to ache. I suspected that this was because I was holding it up in the way you mention while running, and making a conscious effort not to do this has helped avoid the ache coming on. I have no doubt I am doing something similar when playing bass guitar. I think I shall investigate the benefits of the comfort strapp. Jennifer

Subject says it all! I usually play the bass guitar for over two hours a day, and over time have developed pains around the neck / shoulder area. Because of this I've recently been favouring my light four string bass, but it doesn't make much difference. If I use my knee to support the instrument rather than the shoulder strap, my neck stops hurting. I'd prefer to sort this out before it gets too severe, just wondered if anyone has any experience of alternatives to the traditional guitar strap? Jennifer

[quote name='Thunderpaws' post='1232485' date='May 15 2011, 09:46 PM']Oh, what a night! It was great. Great set list (how good was Camera Eye?!) and how good was the set. The big spider light rig was scary! Geddy's sound was immense. Anyone else think it could have been louder overall? I'm sure they turned it up after break number one. What an encore. wow.[/quote] It was indeed great :-) Volume wise, I thought it was really loud! My ears were ringing afterwards. I suppose it depends on where you were in the audience. Jennifer

Nothing can dampen my enthusiasm. We're going to see Geddy Lee, Alex Lifeson and Neil Peart FFS :-) Jennifer

I caved in last night and bought my ticket. We have assumed control!!! Jennifer

[quote name='Bilbo' post='1220835' date='May 5 2011, 11:39 AM']I have played rock/metal, funk, pop, reggae, shows etc and can do most of it standing on my head (extreme stunt musicians, atheletes and jugglers excepted). I have not played classical as there is no repertoire for electric bass but I have no doubt that some of it is easy and some of it really hard. But, on a balance of competences, in my experience, playing great jazz is a s***load harder to do that playing the other genres I have explored.[/quote] I can appreciate what you are saying to some extent, but whatever the arguments for the quality of musicians at "pub band" level - and I would say this also applies to much Jazz I hear played in pubs / restaurants as well - when you hear people at the top of their game in any genre, they tend to be masters in the way they communicate the music, and I think there is a great leveller here. It takes a great deal of competence and application to become truly great at any genre. For example, I'm listening to Fleetwood Mac's "Rumours" at the moment, and I would argue that Lindsey Buckingham's guitar playing is the work of a master. In all the genres you mention above I can think of musicians that make me shake my head and smile with how good they are. Classical music is an interesting point; from my experience of playing this, I would say that it requires a technical competence at least equivalent to jazz, more so for a bass player. However, once one gets past all the technicalities - and I wish I had - it still all comes down to how well the music is felt and communicated. Jennifer