kedo

Thanks for all the useful comments. Jacko, that's a tempting offer. Can you tell me if the cheaper NST bass has the same versatility as the more expensive CR? Do you play it on a stand?

Thanks Stingray. The Stagg is on my list. Good value. That's the problem - really hard to get a hold of one to try when you live in Scottishland. The Allegro looks good me but I've read some stuff about quality issues. I'm strangely attracted to the big KK Baby bass.

I am struggling to carry my bass at my advanced age, and am considering a more portable instrument. I'm interested in members thoughts on these. Seems there are two types: hollow bodied (allegro, eminence etc) and sticks: (NS Designs, Aria etc). Do the hollow instruments sound more authentic? I would just as well play my Fender bass than an electric double bass that sounds like a bass guitar. Are there any 'stand out' models. I don't want to spend more than £2,000 but would prefer less. It seems that advice from retailers depends on which models they stock. I'm not sure if I should by a cheaper one for rehearsals and lug the 3/4 to gigs, or go the whole distance and get a decent one and use it on stage. As acoustic basses are hard to amplify, it seems to me that a dedicated, quality electric bass could be superior. Advice from members would be very useful to me.

I was taught 50 years ago to keep my thumb behind my second finger. It is supposed to be important, as when you venture up the board, when your thumb hits the heel on a there-quarter bass, your second finger hits B on the E string, and your ready to go. I remember when learning, that it felt awkward, but couldn't play any other way now. It just feels natural. However, I have seen many really effective and credible contemporary 'slap' players, who use a left-handed 'fist' which would cause my bass teacher to turn in his grave. He used to call it a 'bunch of bananas' and say that you could never be a player if you didn't observe proper technique. But that was orchestral stuff, and I suppose it's just the evolution of a new exiting and effective technique. I wish I could do it! I've come to the conclusion that to play proper 'slap', although there may be limitations on fast passages, it may not be possible to use traditional technique (i.e. finger separation with a tone between 1 and 3, 2 and 4 and a semi-tone between 2 and 3 with the thumb behind the second finger). I would be interested to learn more about this. I would find it difficult to abandon my lifelong left-hand, but would really like to learn slap. Any advice.

Thumb (at position 1 on your photo) behind second finger.

Thanks everybody. Can you explain flat. Is that everything at 12 O'clock?

[size=5]I have a Mini CMD 121P, with a New York extension and mainly play double bass. I have had to have the power amp part of the Markbass combo replace twice under warranty, and am concerned that it may be something I'm doing wrong that has caused the faults. The double bass with the Shadow SH950 seems to produce a really powerful sound even without a preamp. Much more powerful than my passive P bass. Maybe I've been overdriving it. The occasional howl of loud feedback probably doesn't help. I understand that bass amps such as the Markbass are generally designed with an input resistance to suit a bass guitar, and it is generally recommended that some sort of preamp is required to balance the input when used for double bass. I have bought a Fishman Platinum Pro preamp for this reason, and am looking for some experienced advice on how to set up in order to get the best sound. Without a preamp, does that mean that my double bass delivers a lower than ideal signal to the Markbass, and that a preamp is required to boost it, or is it the other way round, with the pickup overloading the amp, requiring a preamp to reduce it? I have been advised to play with the preamp gain on the amplifier set as high as possible without the clipping light activating, but this sounds terrible when using the Fishman preamp, and has to be reduced to about 12 O'clock on the amplifier. I find the relationship between the Markbass and preamp confusing. When using the preamp, I am faced with two sets of EQ, two sets of gains, one on the amplifier and one on the preamp, and two volume controls, one on the amplifier and one on the preamp. I am confused about this, and fiddle between the two, trying to get a good DB sound.[/size] [size=3][size=5]Could anyone advise me as to how to set the controls on the amp when used in conjunction with the Fishman preamp so that I can control my sound from the Fishman. Some people say the amp controls should be flat, but does this mean all at 12 O'clock? I've tried that and it sounds terrible. It seems that I need a little adjustment on the amplifier EQ before I can start to work from the preamp. [/size][/size] [size=3][size=5]I suppose what I find most confusing is the relationship between the two gain and two volume controls. I am also concerned that the power amp is not damaged again.[/size][/size] [size=3][size=5]Can any experienced players out there advise?[/size][/size]

[font=Helvetica][size=3] I fitted a Shadow SH950 pickup to my DB about 4 years ago and promptly damaged it by walking off stage with the bass still attached to the amp (the bit of velcro supplied with this pickup is ludicrously inadequate, and I would advise anyone fitting one of these units to acquire a rigid anchor for the female jack. These can be got through Basschat members). I had the unit soldered, but lately found that the sensor nearest the jack (the damaged one) is only about half as loud as the other. Perhaps one of the sensors (there are two in each pad) is not working.[/size][/font] [font=Helvetica][size=3] I seem to have two options: purchase another SH950 (or is there a better alternative considering I am plagued with feedback in spite of my Fishman Platinum Pro preamp) or surgically remove the damaged sensor and convert it into a single SH951. If I do this, which side of the bridge is best, and how much performance would I sacrifice? [/size][/font] [font=Helvetica][size=3] I play through a markbass CMD 121P combo and use a New York extension for back line when there is no sound man and house rig. I have noticed recently a loud ‘“crack” coming from the combo (NY not attached) when playing a loud low E. I heard it again at an important gig last night when I was attached to the desk and only using the combo as a monitor. Today, as an experiment, I disconnected the combo speaker and connected the NY but couldn’t recreate the crack, which points to a speaker problem, but of course the amp is not experiencing the direct vibrations from the remote combo speaker. I can’t recreate it with my passive P bass. [/size][/font] [font=Helvetica][size=3] Markbass are very helpful and the amp is still under warranty. They say it is unlikely to be a speaker issue, but probably a mains attachment problem. I have used various mains leads and this doesn’t help although that's what it sounds like. [/size][/font] [font=Helvetica][size=3] I don’t want to return it until I eliminate a possible problem from a faulty pickup. Any suggestions would be welcome.[/size][/font]

Thanks for all the advice. I took it back and he reduced the action to 6mm on the G and it really suits me better. I seem to need to feel the ebony under my right hand fingers, otherwise my hand is 'floating'. Much happier. Thanks again.

Thanks. That's what I thought. The guy is good and spent time at violin making school but he is classical. I've got back to DB in the last 10 years after BG and I'm unsure about these things so bass chat is invaluable. Do you think I should specify about 7mm? Thanks again.

I've just had a new bridge fitted to my Stentor Elysia, and the luthier, who generally made a nice job, left the string action at 10mm on the G string at the end of the fingerboard, and slightly higher on the E. I'm finding this difficult to play at present, although I suppose I am getting used to it. Strangely it's the right hand I find is confused by the unaccustomed string height, although I am not so fluent on fast passages. The Luthier felt that a lower action would cause a bit of string buzz. The strings were previously much lower and I never got string buzz. It's good for slapping but with Helicore strings this doesn't work particularly well, and anyway I mostly play jazz. I'm in a dilemma as to whether I should go back and have the height adjusted, or get used to the present configuration.

Thanks for all the advice. I think the problem is less about moving it horizontally, and more about getting it in and out of my van and into the venues where there are often changes in level etc. Trolleys and wheels would definitely help though.

My bass is a three-quarter Stentor Elysia, which was originally set up by Kenny McDonald of Edinburgh (now retired) and more recently, John Wilkinson, also of Edinburgh (excellent Luthier by the way) fitted a new fixed bridge. It is a great instrument, and when amplified with a shadow SH950 pickup, sounds fantastic. I have been playing for almost 50 years and this has taken toll of my back which has been a problem for some time, but has got worse recently. The problem is not in the playing of the bass (it's easier than standing with a heavy P bass slung round your shoulders) but purely in the transport. I am therefore reluctantly considering selling the Stentor, and buying something which would be easier to move around. I'm not so keen on the 'stick' basses, as those I have tried sound like fretless bass guitars. I think I would prefer something with a cavity and sound post like an Allegro or Eminence, neither of which I have tried. I would expect them however, to sound a bit more like a traditional double bass. I saw Victor Krauss play something like this recently with Lyle Lovett and it sounder brilliant, but expect it cost megabucks! I absolutely adore the sound I get from my existing equipment (Markbass CMD 121P combo with Fishman Platinum Pro) but feel I will have to compromise or retire. Needs must!. I don't want to get into the realms of silly money and would have to fund it mostly from the sale of the Stentor, and I don't know how easy it would be to sell that. I have absolutely no experience or knowledge of the 'electric' bass market. Incidentally, I mostly play Jazz. I would appreciate any advice?

Thats very helpful. Thanks.

You will see from my previous posts that I have been suffering from uncontrollable feedback on my G string, but finally heeded members advice (particularly 'Bilbo' - check out his Soundcloud by the way) and bought a Fishman Platinum Pro. That phase switch really works! I tried connecting into the effects return socket on my Markbass as suggested in Fishman's instructions to get a less coloured sound. This does sound very clean, and avoids the confusion of conflicting EQs, but I find that my master volume has to be at 3 o'clock to get the required volume with the Fishman controls also set fairly high. Has anyone tried this? If I plug the Fishman into the Markbass's preamp, do I flatten all the amp controls. If so does that mean 12 o'clock or fully anti-clockwise. You can tell that I find the relationship between the Fishman and Markbass EQs a little confusing with two gain controls, and 2 sets of EQs. I would appreciate some guidance on this but I'm sure I'm going to get on really well with it. I'm looking forward to tomorrow's gig. Thanks for all your advice on this.

Hi, I have posted on this topic before on this forum , but have not yet resolved my problem. I have a Stentor 'Elysia' DB with a Shadow SH950 pickup and play through a Markbass CMD 121P combo with 121 New York extension speaker. My problem is terrible 'booming' and 'swelling ' on notes, specifically on the G string (only when amplified). I have noticed that when I play on the G string whilst damping the other 3, it improves. The sound is like a 'strobe' so maybe it's a phase issue, but I'm not really sure what that means. Members have advised me to get a Fishman 'Platinum Pro' bass preamp which I would buy if I thought it would improve the situation, but would prefer not to have to use electronics if possible. I have tried the following with limited success: Removing the extension cabinet. This improves the situation slightly but I lose power obviously, and the sound is too thin for me, especially in larger venues. Flattening all the preamp controls. This helps but the sound again is thin. Positioning the amp away from the DB and walls etc. This has probably resulted in the most profound improvement, but every venu is different. Dampening the after-strings and blocking the 'F' holes doesn't do much, but having someone to hold the bridge tightly on the treble side improves things. I can't think how I could simulate this in practice. Separating the amp and cab. This doesn't help much. Removing one side of the pickup helps, but unbalances the volume from string to string. I am in contact with a good tech who specialises in DBs. He thinks he could help by maybe moving the sound post and other stuff, but he's not well at present. I played acoustic DB for years without amplification and didn't realise that this is such an issue. Maybe I have the wrong pickup. Perhaps one which sits under the feet of the bridge would be better than the Shadow which fits into the scrolls. Any ideas would be extremely welcome.

Thanks for that. I'm just about to order one from GAK and thought I would do a little more research. It does seem like part of the answer.

I have been suffering with feedback on my DB. It tends to occur on the G string about Bb when the note 'swells'. It is impossible to set the volume to a good level for a big gig. Careful placement of my Markbass P121 combo and 1x12 New York extension speaker (away from a wall and definitely not in a corner) can help, as can the proximity of bass to amp, but there is nothing I can set on the amp EQ which completely eliminates this nuisance. The Bb also 'swells' when I play it on the D string. This is not a problem when I play the bass acoustically, but my Stentor Elysia is a fairly quiet instrument. Previous Basschat postings on this subject have resulted in an overwhelming recommendation that a 'Fishman Platinum Pro' bass preamp is the answer. Has anyone got any further advice. I have a SH950 Shadow pickup (the double one) and don't use a preamp at present.

I have been suffering with feedback on my DB. It tends to occur on the G string about Bb when the note 'swells'. It is impossible to set the volume to a good level for a big gig. Careful placement of my Markbass P121 combo and 1x12 New York extension speaker (away from a wall and definitely not in a corner) can help, as can the proximity of bass to amp, but there is nothing I can set on the amp EQ which completely eliminates this nuisance. The Bb also 'swells' when I play it on the D string. This is not a problem when I play the bass acoustically, but my Stentor Elysia is a fairly quiet instrument. Previous Basschat postings on this subject have resulted in an overwhelming recommendation that a 'Fishman Platinum Pro' bass preamp is the answer. Has anyone got any further advice. I have a SH950 Shadow pickup (the double one) and don't use a preamp at present.

Thanks for that guys. Nasty these wolves! Looks like an eliminator is required. I maybe need a Fishman pre-amp anyway.

Good Question. Not really, but my Stentor Elysia bass is not terribly loud.

I've posted a topic previously relative to feedback mostly on the G string (Bb in particular) and have been advised that the [font="helvetica, arial, sans-serif"][color="#282828"]Fishman Platinum Pro with its phase control would be the answer. I have been told that this isn't strictly feedback but is the Bb coinciding with the resonant frequency of the bass. I have seen gadgets that are attached to the after-strings to reduce the effect of these so called 'wolf notes' and have been advised that it may be something to do with the setup of the instrument. Has anybody got any thoughts on this before I lash out on the Fishman. I have been playing without an equaliser, but even with all the controls on my Markbass 2x 12 flat or completely anti-clockwise, I still get this problem.[/color][/font]

Thanks Jezyorkshire. You recommend the jack socket on the front of the amp? What about the three-pin balanced input? Thanks for your advice.

Thanks for all of that. I've tried a few things sing posting: 1. By detaching the extension speaker, feedback on the G string is less. body of the sound suffers a bit, but maybe I don't need it for UDB. 2. Flattening all the controls on the Markbass including the VLE and VPF (all anti-clockwise) helps a lot and leaves me with a neutral uncoloured sound which I quite like although there is still a lot of bright string noise. Louder volumes still induce feedback on the upper string. 3. Sitting the amp up on a cushion off the floor as suggested by fatback (thanks) and angling it back also helps. Maybe the vibrations causing feedback are transmitted through the wooden suspended floor into the endpin and then onto the Shadow. 4. Detaching the sensor from the Shadow from the treble side. This reduces feedback but reduces the output to the amp and leaves a very unbalanced sound. I think you're correct jezyorkshire. The sound I am getting oscillates like an old fashioned amp with very slow reverb. In and out. Would like to try the Fishman though. Would you do all the shaping from the equaliser and flatten the amp controls? Thanks everybody.