bassace

[quote name='Happy Jack' post='427959' date='Mar 7 2009, 12:35 PM']We ended up meeting at Costa Coffee instead ... which didn't help Bassace one bit since he spent 30 minutes sitting in the Starbucks we couldn't find! Sorry guys, I'll try to get it right next time.[/quote] I've made my peace with Happy Jack. Actually it's a good idea to have informal short notice gatherings like this. If no amps are brought along people can actually talk to each other. So if anyone is ever in the mood why not post it?

Thanks Julian for posting it and well done Royal Mail for getting it to me within less than 24 hrs. It's a great piece of kit; I 've been using the Pro eq (the budget version) for the last six years and was happy with that but this goes a lot further. I've just run it with my double bass and Underwood pickup through a Clarus and 10" Wizzy and the sound is very satisfying. I'd recommend it as a good piece of kit to have so look out for future 'for sales'. Sorry Hugh, but it was good to have our chat and interesting to find that we both use Meinels.

Thanks to the Rev and others in the thread for tuning me in to DT. I know of him, of course, and his awsome reputation but I've been so buried in jazz that I haven't really studied his stuff in the detail that I shall be doing now. The message of course is that technique doesn't equal busy-ness. From the few clips that I've seen here his playing is sparing but every note counts. And his sound, like all good players, comes from his right hand. I'm just off to practice my bass face for Sunday's gig.

I've mounted a 10" Wizzy on a modified PA tripod so it plays at ear level. This is very useful when playing at low volumes so you can hear what you're playing clearly. It also kills any feedback that may be present. Used in conjuction with a Clarus this is as good (even better) as any PA, IMO.

I've got some nice stuff from basschat since becoming a member and I've also sold a Stagg and an EBO. The bonus is that you meet and share knowledge with some nice guys. I had two double basses flown over from the States when the pound was strong and other stuff from various sources. PMT in Oxford are very good too.

PM'd

Good on you, mate. I'm an old bugger too with quite a few gigs but not as many as you. Out tomorrow after having dug Mrs Bassace's vegetable plot. Another one for the knacker's yard if I'm not careful.

What amps do you guys use with a CR4M? I've fallen into the trap of thinking that just because I'm playing something light and compact, compared to an URB, I can get away with a light and compact amp. Whereas I suspect something more robust is needed. Any suggestions welcome.

In the bands I play in we often use deps and most of the time they are bloody good musicians; it's often a treat for the guys and the person who is being depped accepts the situation readilly. But we always have what we call the 'A team' syndrome. The band never sounds as good as when we have all the regular members. As a bass player I earn a lot of my bread by depping - and here I intrude on the 'Is theory important?' thread. I can only do this by being a good-ish reader and it helps to have big ears, oh, and a telephone of course. Many of the bands I play with I've never met before but they usually ask me back.

You got some right old replies from Talkbass, didn't you! I don't know anything about the 400 either so I'm not really qualified. However, to steer things a bit on track can I offer the following:- Ken Smith on Talkbass refered to the old Hawkes basses which were fine instruments and highly prized. You can find one in the £20k region if you're lucky. Boosey and Hawkes who were/are principally music publishers and retailers used to/still do market 'student' standard instruments that they would buy in from various sources. My first bass which I bought brand new in the late fifties was a B&H made in Czechoslovakia and cost me £45 brand new. I had a lot of fun with it and became quite a reasonable player. It was laminate, of course, although we used to call it plywood in those days. When, after a 15 year layoff, I got a bass it was a B&H Czech lami again, new from Footes in Golden Square, London for £615. It was quite good, although a bit quiet on the G string. Why don't you give Footes a ring, I'm sure they will be helpful and give you some info on the Boosey basses. Their number is 0207 4371811. Hope this helps and if I've been talking bollocks no doubt some of the BC cognoscenti will correct me.

Cancelled due to snow and ice, at Oxford. So's today at Rotherham although I'm not too sorry as it's a long schlep. All the main routes seem to be OK but we are still snowed in up in the hills at 190 metres AOD. Hope Wednesday goes ahead or I'll forget how to play.

[quote name='ardi100' post='401906' date='Feb 6 2009, 11:52 AM']Thanks for that. What exactly does the Platinum do that the Pro EQ doesn't? Can you target the feedback with the EQ part? I've been looking at the Platinum but I really don't need to be spending any money unnecessarily![/quote] I've never owned a Platinum (must do one day) so others may give you a more definitive reply on this. But not knowing what I'm talking about has never stopped me expressing an opinion up till now. As I'm aware, the Platinum has a DI facility, a compressor and a more comprehensive eq section. Try googling Fishman and it'll tell you all you need to know.

[quote name='ardi100' post='401730' date='Feb 6 2009, 07:44 AM']Anyone using any other preamp/parametric eq to solve this? I've been hunting around for a cheap parametric unit - there doesn't seem to be any- to try and sort this out. Any suggestions welcome![/quote] I use a Fishman Pro eq which is the little brother of the Platinum eq and considerably cheaper. It has a phase reverser which sometimes (not always) can kill the feedback. Strangely I have never had low frequency feedback but used to get a high pitched whistle which I killed by turning the treble down to 'half of level'.

Thought you'd like that one! Just because I play double bass it doesn't mean I can't enjoy some well-played BG.

I've never really enjoyed Cherokee much; I've always found it unsatisfying to play. It was written by Ray Noble, a brit born in Brighton who moved to the states when he was 27 and made a name for himself as a composer and bandleader. I've never regarded him much as a jazzer though. I also dislike very up-tempo stuff like the track here. It might be clever but it doesn't swing. There are better examples of Arturo Sandoval's work, Arturo Sandoval and the Latin Train CD for instance. There's a great track of I Can't Get Started with Joe Williams on vocal and some great Bass Guitar playing.

[quote name='BigBeatNut' post='399915' date='Feb 4 2009, 01:04 PM']Really ... not much difference between a £1000 laminate and a £1000 carved ?[/quote] Yes, I'd probably initally trust a £1k laminate over a £1k carved.

Very best wishes, Doc.

Hi, BBN Tony at ContrabassShop is a really nice guy and trades in top quality (and quite pricy) stuff. It's definitely worth going down to see him and have a go on the bass. He will also recommend an upgrade or two. I would think that strings would be a worthwhile extra for starters. At that price don't worry about the laminate. I was interested to see that the bass is bases on the German Blonds of the 50s/60s. I have one such instrument and it plays and speaks very well. It really projects. If you go, pl say hello from me, Roger Davis. I wasted a whole day of his time a couple of years ago and still feel a bit guilty about it. He even made me lunch so he's a really good guy!

I was sorting out my gig bag the other day and thought I'd start this topic. I don't think we need to include leads unless they are strange or out of the ordinary. I found:- A set of Double Bass strings (£120) Screwdriver and pliers for fitting them Multitool (sort of a swiss army knife) Public Liability insurance certificate PAT Certificate Torch Music stand light Insulating tape Spare batteries of all kinds Fishman Pro eq Power supply Biro Pencil Spare Underwood pickup 4-way mains board Tuner Reading glasses Lots of Asprin Nothing remarkable really, but I'm sure some of you guys have some really weird items.

Wheels seem a good idea - I 've got a wheeled cover on one of mine. However, you wheel the bass along, it picks up crap and wet from the footway and you lift it into the car. Result, crap and wet in the car. On balance, I don't like wheels.

I know you guys are responding from a BG point of view but when I'm playing my DB I always try to stand stage right (ride cymbal side). That way I am looking across my bass and into the band. Stage left would have me looking out of the band. I have my cabs between me and the drummer and he seems to like it that way.

And it's a pain not being able to get that bottom Eb on jazz gigs too.

It looks as though it's been abused a bit. The bridge looks to have been moved up the scale away from its original position of level with the nicks in the f-holes. You can also see the original witness marks in the photo. This is some times done to raise the string height but might lead to tonal compromises. It depends on where the soundpost is. The Fishman BP-100 is not reckoned to be the best of the pickups but will work well enough with a pre-amp in the line. I'm not trying to pour cold water on your ambitions. If you can get the bass at a knock down price, £300-£350 max, it'll be a good starter. Can you get to look at it first? Good luck.

[quote name='yorks5stringer' post='383282' date='Jan 17 2009, 03:01 PM']Surely an oxymoron?[/quote] Nice one! Actually there are a few who maintain a regular pulse.