Rob MacKillop

I love all sorts of bass playing, but never really thought I would enjoy listening to a whole album of solo DB, but recent Spotify listening has changed my mind. I'm not a fan of Spotify, but recently joined it for a month - surprised to find some of my own albums there! - and the bots suggested I might like a playlist called "Solo Double Bass Jazz". First there's an album by Marc Johnson, Overpass, which was a great way into the genre, especially starting with Freedom Jazz Dance. Then came a player I knew little of, Anders Jormin, called Alone. This one has some deep stuff, literally and figuratively. Very Impressive. Then came Miroslav Vitous, whose playing I've know for decades. The album is Emergence. Then Larry Grenadier, Dave Holland, John Patitucci, Eberhard Weber, Gary Peacock, Michael Formanek, Barre Phillips, Carlos Barretto, and Arild Andersen. Wow, each one a great player. And then there's a playlist called Classical Double Bass, with some amazing solo and ensemble recordings, which I want to explore further. It's all too much all at once, of course, but I'm loving what I'm hearing. My own double-bass career didn't last very long. I snuck into the musical instrument cupboard at my Scottish secondary (high) school, was amazed at finding this giant of an instrument, managed to work out a few simple melodies - Christmas Carols, that kind of thing - and a major scale. Then the Head of Music came in, was outraged at my being there, and gave me six lashes of the leather belt, from which my hands still tremble at the memory of 50 years later. It was only the students whose parents could afford to buy an instrument who got lessons. Others were not allowed anywhere near the department. Fast forward 15 years later, and I sent the same Head of Music a press clipping showing I was at the No. 1 spot in the Scottish Classical Music Chart, with a solo lute album. A few years later I read that he had been dismissed for having sexual relations with one of his students. Clearly he didn't fancy me! I've played bass guitar on and off over the decades (now 66 years old) but have always wanted to play the double bass. I've developed a very light and sensitive nailless fingerstyle playing, and as such DB playing is out of the question, but I have just bought a new Godin A5 Ultra bass guitar, with which I can play while pretending it's a DB, and make some connection with that 14-year old school kid who made a connection with the sound all those years ago. Anyway, enough of me, I'm wondering how many of you enjoy listening to solo DB albums, Jazz or Classical? And if you have any recommendations?

They never replied to an email I sent them, which could have ended in a sale. I went elsewhere.

It does, I agree. My thinking was that the DB and TB both need thick double bass strings and high tension in order to I get the sound they do. By getting a tech to make it more playable for me - I have a fairly light touch - it would change the nature of the instrument for the worse. I decided the basses were perfect as they were, and the problem was me. I looked elsewhere, and bought the Godin A5 Ultra. We shall see how I get with that when it arrives Wednesday next week.

Jack Cassidy Fretless - I've just placed on the For Sale page here. The others are non-bass: Eastman DM-1 Gypsy-Jazz Guitar, Zither Banjo, posh (expensive) ukulele...some others too...just can't remember them at bedtime!

Just about to 😀

That's bad news, especially as I will be selling four instruments through them in a couple of weeks' time. The place is getting worse.

Many thanks, Hellzero. I had not heard of the Leduc U-Basse. It sounds very interesting. However, I have just ordered the Godin A5 Ultra…it should arrive on Tuesday. If that fails, I’ll look for the Leduc!

Yes, rather negatively I fear.

To answer my own query…I found a German Takamine sight which gives more information: The DB10 Pro Series bass is entirely handcrafted, leveraging the wealth of experience we've accumulated over five decades. This unique hybrid bass guitar retains the familiar 34" scale length, but the neck radius corresponds to that of a double bass—you can even use a bow to play it. It includes a retractable endpin specifically for this alternative use. This fretless instrument (without frets) produces a rich and powerful bass sound with harmonics familiar from a double bass. Its Palathetic™ pickup from Takamine is considered by experts to be one of the most accurate and natural electro-acoustic pickups available. The TB10 Pro Series bass is entirely handcrafted, leveraging the wealth of experience we've accumulated over five decades. This unique hybrid bass guitar retains the familiar 34" scale length, but the neck radius corresponds to that of a double bass – you can even use a bow to play it. It includes a retractable endpin specifically for this alternative use. This fretless instrument (without frets) produces a rich and powerful bass sound with harmonics familiar from a double bass. Its Palathetic™ pickup from Takamine is considered by experts to be one of the most accurate and natural electro-acoustic pickups available. With the Cool Tube® preamp, the only tube preamp for acoustic guitar, you can leave nothing to chance when it comes to amplification. So, both models are the same, but the discontinued TB110 has the addition of the Cool Tube preamp. I love the double-bass sound of these basses, much closer to an upright than anything else I’ve heard. The negative for me is that I did try one for 30 seconds 12 years ago, and found it required a really strong right-hand pluck. I’m not from that school at all, unfortunately. So my quest for a DB sound with a lighter technique continues. Perhaps the Godin Ultras might get me close. I’m not a fan of the Mwah! that it seems is coveted by most fretless players.

According to the Takamine website, the TB10 is discontinued, but they have no mention at all of the DB10. What’s going on? They both look and sound the same on the videos I’ve heard.

Thanks, Dan. I was thinking along those lines too. No one sells them up here in Edinburgh, so I’d have to order online. A decade ago I had the Double 4 for a couple of years before having to sell stuff for quick cash, so I know the quality of the instrument. I’m just wondering if advances in technology makes the Nano a contender for a desk-top amp, which is all I need. I suppose I could order the Nano, and return it if I don’t like it, but that’s such a hassle. Not having a Line Out counts against it.

I need a small amp for home use, low volume, headphone option, play solo or with backing tracks, 4-string bass so no need to be concerned about articulation of a low A 5th string. Both the Nano and the Double 4 are similarly priced, the Double 4 being slightly more expensive. I'm wondering what the difference might be in sound quality. I don't slap, am more focussed on 1950's to 60's-style jazz playing with either a fretted instrument or a fretless. Your thoughts would be appreciated.

Thanks for all the recommendations, and comments pro or contra. Much appreciated. I’m not sure whether to go fretted or fretless, so I just acquired one of each in the lower end of the price scale to help me fight it out: a Danelectro Dead On 58 Longhorn and the Epiphone Jack Cassidy Fretless. I used to have the Longhorn a decade or so ago, and the Ibanez SHR 4-string fretless, but have been away from the bass for a while. I’ll give them six months or so, then make the decision on a single higher-quality instrument. My style: And

I just found this Hofner thread, and thought I’d contribute one of my deepest regrets: selling this when times were rough. It’s a Gold Label German-made black hollow body. Couldn’t fault it. Apparently they also made a fretless version, but I couldn’t afford it. I think they are fine basses for some kinds of jazz. I have big hands, but found the string length accommodating.

WOW, that's a lot of responses, and with links I'll follow up now. Does @Jabba_the_gut have a website?

Good to know, @nekomatic 🙂 Any questions arise during your study of it, just ask. Rob

What the Subject Line says: Is there UK maker of Rob Allen style basses? Not copies, but similar vein.

Sorry, folks. I've been ill for over year...almost shuffled off the old coil...but am back playing again, but nowhere near the level I used to. I'm actually using this book and one by John Patitucci to get my fingers moving again. Mel Bay tell me the book has sold very well, which is gratifying. It's amusing to be learning from my own books! @Natasha Glad to know my books have helped you! As for your question: Almost all the book is below the 12th fret, with just a few of the more modern pieces venturing higher. Only one, I think, goes above the 17th fret. There's plenty there to keep you occupied.

Cheers, Aidan. Glad you like it! Play it to death!

Do please give us updates on how you are getting on with this bass...I was contemplating that model myself.

I have to admit the 30” scale makes it great to run around on. It’s just joyful to play.