Double Bass sound.....

[Bilbo]

I have been thinking about the [i]sound[/i] of the double bass lately and listening to those players who I am sufficiently familiar with to be able to recognise their sounds pretty much instantly and who I like to listen to in performance.

Paul Chambers, Ron Carter, Marc Johnson, Dave Holland, Eddie Gomez, Charlie Haden, Miroslav Vitous, Eberhard Weber, Milt Hinton..... the list goes on.

The point is, there is no definitive sound and the sonic range from say Vitous to Hinton or Weber to Haden is probably wide enough to cover almost ever possible option I am sure we all have our preferences in terms of the players we love but I don't think any of us would argue that because we are not particularly enamoured of any one player's sound that his or her sound amounts to a deficiency in their playing? Ergo, whatever sound we have, is likely to be, at worst, perfectly 'satisfactory' in terms of audience perspectives. So why do we obsess over this element of our playing? I am wondering whether we are missing the point?

[Clarky]

While most audiences wouldn't know one bass from another surely the answer is it depends on the audience, the band/genre and the amplification? A bluegrass audience won't thank you for a growly buzzy bass sound like Danny Thompson while a folk band would probably not be too wild on a thuddy, gut-like sound etc etc. But in general I think you are right, especially once a double bass is amplified

[Beer of the Bass]

This is the thing that puzzles me when threads pop up looking for "the double bass sound" from a bass guitar, as if there was only one!
I don't think it's unhealthy to be concerned about your sound, as all of our musical ideas are filtered through it. But yes, there is a point of "close enough" where I can stop thinking about it and dedicate more of my attention to the actual music. Though that point can be quite elusive sometimes, especially when amplified.

[thisnameistaken]

I tend to think in terms of just two sounds, really, and they are Paul Chambers and Ron Carter. If I could have both I'd probably be happy, but I doubt I'll ever have either.

[quote name='Clarky' timestamp='1355175797' post='1895142']But in general I think you are right, especially once a double bass is amplified[/quote]

Since ditching piezos I'm pretty happy with the way things sound amplified. I could do with a bit more of a natural-sounding amp but on the whole it's going so well with the Ehrlund I don't mind having to plug in any more. I used to hate gigging with piezos to the point where I nearly stopped gigging altogether.

[Bilbo]

I think there are two levels:

It sounds like a double bass.

It sounds like me on my double bass.

The first is good enough for almost everything; the second is arguably easy as it is unavoidable.

[Beer of the Bass]

I identify a third level - "It sounds like me on a bad day. I need to practice more!"
This may just be me being overly self critical though. There have been a couple of times where I've heard players and been struck by the presence and character of their sound, rather than just their note choice, and been inspired to try and up my game a bit, though not necessarily to emulate them. I still maintain that this is a normal and healthy part of playing.

[Bilbo]

Absolutely but it's not the kill, it's the thrill of the chase. I think we sound like we are and that's going to disappoint occasionally !

[Beer of the Bass]

[quote name='Bilbo' timestamp='1355220922' post='1895435']
Absolutely but it's not the kill, it's the thrill of the chase. I think we sound like we are and that's going to disappoint occasionally !
[/quote]
It can also be true that some of the traits musicians regard as flaws in their own playing can just sound like part of its character to listeners. I have some friends whose band is doing fairly well, touring and making records for a label, as well as some fairly interesting collaborations. I was surprised that they still call me in to play bass on the string overdubs when they record, when they know a couple of more professional players who also live closer. I asked them about this and the response was that they specifically wanted me, sounding like I sound. I guess this suits their fairly eccentric, pastoral folk sort of sound better than a classical player with their big rich authoritative tone would.

[pietruszka]

Although I'm not a double bass player (I'd love to be) but I know what you're talking about. The way I see it, it doesn't matter really. I only make tweaks on stage not because I think someone in the audience is thinking "oh he needs this much more boost on the 527hz range". I only make them because I notice it, just as we only alter what we have because we notice it. It would be nice if we can have someone listen to some playing and think "wow, thats really nice, is that you?". I feel the reality is to just get a good sound for what you're doing. Just my 2p!
Anyone want to donate a double bass to me?




Dan

[thisnameistaken]

The one thing I do wish I had was a bit more of that purry string bloom sound that it seems only comes out of expensive basses. Mine does it a bit but not nearly as much as I would like. A friend of mine has bucketloads of it but his bass was about 10x more expensive than mine was.

I am tempted to take mine to a luthier and ask him for more of that, but I imagine I would get a sarcastic response in return and very little more of that.

[bassace]

From the posts here and other forums I think the answer is that we probably do over-obsess about our bass sound. Probably no bad thing to seek improvement in our sound. Trouble is we are used to hearing well-recorded basses, with an expensive mic, in no-compromise studio conditions. So we hear Ray Brown and get frustrated that we can't emulate his sound. Of course he doesn't get that sound from technical gizmos alone; he has a phenomenal right hand technique, and the same goes for so many other pro players past and present - (edit, for Ray, read had for has). The old question was 'why can't I sound like Ray Brown?' to which the answer was 'because you aren't Ray Brown!'

And then we come to our own basses; some are expensive fine instruments and some are perhaps a bit more basic. But we have the same problem - a bass should be heard at least 30ft away. Up close it's not quite so good. Perhaps our basses sound better than we think they do but perhaps we'll never know. Amplification's a different thing and that's where things get a bit ragged. Playing in a piano bass drums trio is a small-ish room can be quite satisfying, whether we use a mic or a piezo at low level - and a piezo can be made to sound acceptable. But when the bass is played in a bigger hall with a larger louder band that's when the 'real' sound of the double bass will be impossible to hear. But the sound will be an 'amplified double bass' and we'll just have to accept that compromise.

I think a good New Year resolution will be to stop obsessing about sound and concentrate on improving our technique.

[Clarky]

[quote name='bassace' timestamp='1355236826' post='1895747']
I think a good New Year resolution will be to stop obsessing about sound and concentrate on improving our technique.
[/quote]
Absolutely spot on Roger

[merlin]

Hi you all,I have a cheep DB and have yet to gig with her,although there is a blues jam this Sunday at a local bar I have been invited to,It should be fun, no idear of my capability,or that of the bass.She has only been played in the bed room,but imo sounds quite full...Ive been trawling the you tube vids and just love the tones used by the DB masters but as you have pointed out the way they are recorded effects the overall sound.

sorry to have hijaked this thread.

Merlin

[Bilbo]

100% agree - the sound is mostly in your hands.

I love the story where rocker Ted Nugent was listening to a young Eddie Van Halen whose band was supporting Ted. Ted loved Fast Eddie's sound so asked if he could try his (heavily customised) gear out. He sounded exactly like ... Ted Nugent