bassace

I'm just confused. I'm taking my German blonde ply to the Chipping Norton Festival (ChippyJazz) tomorrow.

The EB really came into its own in the mid sixties - because it was there and the DB was difficult to amp with the kit available. The only near-acceptable piece of gear was the Di Armond contact mic and that was pretty mushy. So people were leaving the double bass in droves - a good time to buy in retrospect. The EB couldn't really get close to the sound of the DB and always seemed to be to forward in the mix; just listen to the bass on the previous clip. At that time fusion was starting to make itself heard so the EB fitted in; I remember reading an article that asserted that the EB was probably the most significant instrument to have entered the jazz world over the past few decades. I remember I left the DB behind and played EB for quite a while. It was great to be heard easily. Trouble was I naturally played DB just in front of the beat to be decent but when I played EB it got a bit too much and some of my fellow musos reckoned I was a bit rubbish. So it was a happy day when I went up to Footes and bought my double bass for the second time.

[quote name='AndrewRichards' timestamp='1379699354' post='2215936'] Well hmm theres different ways to look at this, I will be flying over to America to the Bass Violin Shop and staying with relatives. If someone else buys the bass, gives me a double bass or whatever then technically I wouldn't know the value of the instrument and could transport the bass in a flightcase no questions asked through customs. Surely? I'm carrying the instrument myself, it isn't being transported by a currier? If the worse comes to the worse and I still have to Pay VAT surely i'd still be miles better off in terms of bass and general pricing of the instrument? [url="http://bassviolinshop.com/catalog/index.php/pcategory/carved/"]http://bassviolinsho...ategory/carved/[/url] I could buy any of the basses up to $8,000 ^ [/quote] I have known of a new bass brought over as personal property.

I was more than happy with my Bryant - still am - and couldn't find fault with the finish and certainly no cracks/seams. Yes, when I get round to it I'll have the fingerboard re-shot but other than a slight buzz in one position on the A (sometimes) the bass is well playable. Importing my bass from Upton was straightforward. As a rule of thumb the dollar price is about what you'd pay in pounds to include shipping and duty. Probably a little bit more now that vat has increased to 20%. I contacted some shipping agents over here and they arranged the import and I collected the bass from the airport. Presumably the shippers will do it all door-to-door. And Tom and George Martin are 15 miles up the road. Happy days. BTW, sometime back we mooted the idea of a double bass get-together. This could be useful not only to the more established players but also those wanting to get into all things DB - whose numbers are growing. We've got some nice stuff between us which could point the way. It's going to be geographically difficult - maybe two locations at different times - but we ought to have a go next year.

[quote name='Lfalex v1.1' timestamp='1379335783' post='2211364'] "Outdoor bass". Excellent concept, leading to all instruments in any given collection being duplicated. One for indoors, one for outdoors. GAS ahoy! [/quote] Sorry, that did sound a bit precious didn't it. I do a few gigs each year that are supposed to be undercover but often aren't, or there's cover on top but nothing to stop the wet blowing in from the sides. Or has anyone here played on a river boat when the Thames mists come up and engulf the band after nine o'clock? For these gigs I've got a ply bass that in spite of its cheapness plays quite well but doesn't cause me the concern that a nice carved bass would in the wet. Then there's the amps to consider; does anyone have an 'outdoor amp/cab?

And it's free!

Ply is fine although my outdoor bass has got a walking stick rubber tip on its spike. That always works.

Sounds good advice to me. I carry a 6B pencil with spare strings and a winder to gigs.

Just follow this link and look at the 8 Sept advert. Whenever I hear a bass described as bright and clear my interest is aroused. At £800 could be a very good buy with that pedigree. Worth a phone call. [url="https://www.musicalchairs.info/double-bass/sales"]https://www.musicalchairs.info/double-bass/sales[/url]

[quote name='FLoydElgar' timestamp='1378732643' post='2203831'] Bryant will be ready for you to play instantly! Will last you for a lot longer. Bryantbasses.co.uk Contact him there... They are fantastic for everything... Also it's an English bass at half the price of what they should be Bryants are under 4k handmade - but don't quote me on that... But price mainly depends on hardware and strings... A good bass will make your sound improve dramatically and you won't have to pay for any major set ups... Go home on trial and play it You can get everything else later... I think a good bass is more important than gear... But that's my pennies worth.. -F [/quote] I agree with all of that, but is he still making basses? I played in the house rhythm section a while ago and lent my Bryant to a player for a couple of tunes. She (because it was) just couldn't believe the sound and playability. There are two kinds of DB player; those that frown and those that smile. My Bryant does that to me.

You turn up for a December gig with the seven piece and there on the stage in the DB position is a bloody Christmas tree.

There's more

You get in conversation with a nice guy in a double bass shop. When he's gone the assistant tells you he was Ray Brown.

As two nights ago, you set up and one of the front line tells you your amp is too loud and there's too much bottom. And you reply 'the amp isn't switched on yet'.

And for an adjustable bridge, the new David Gage Lifeline is very good. I can't get mine to feed back and the sound is very 'fat'.

Geoff, I see you're starting to make an impression in US where your videos are very well received. Just think, you could succeed where Oasis and Blur failed. Great stuff!!

I've only had two let-downs in a long time and, strangely enough, both were due to tail wires letting go. First one was quite spectacular because I was using a three-point alloy bridge so a lot of bits flew about. As luck had it, the main band that we were supporting had a DB so I was able to borrow a very nice instrument. Second time Mrs B put my spare in her car and met me half way there. I only take one bass to the gig, with a spare set of strings of course.

[quote name='Clarky' timestamp='1377356903' post='2186676'] My philosophy is to 'spread the love'. I have bought gear at great prices on BC and I have never knowingly made a profit by selling on again (of course I also try not to make a loss, unless there's a reason eg, wear and tear). But thats me. Plenty of people on BassChat, based on other threads covering the same topic, think that is naive and see no harm in pricing for maximum proceeds. Noone is right or wrong. Entirely depends on your personal stance [/quote] Clarky is an open handed and fair guy when it comes to doing deals, and I know there are others who will readily share this opinion. I'm not aware of having made a profit on any of my several churns, but at the end of the day a fair price is simply what the buyer is prepared to pay. Supply and demand. Probably the main benefit of the BC marketplace is that it enables us to try a different piece of gear and keep or pass on according to whether we like it or not. The small amount of cash lost on the turn is probably a reasonable price to pay for the experience.

And a bump from me too. I have one of these and use it a lot. Of all the EUB's I've had this is the closest to a DB in sound and feel.

Probably around 1900 the Tuba or Sousaphone ran in parallel for until 1920-ish when the string bass took over. Early players included Alcide Pavageau and later Pops Foster. Initially the string bass was slapped to be heard live and recorded until electronics improved. The bass carried on in two or four in the bar style until Jimmy Blanton broke the instrument out of its straight jacket and played syncopated eighth note solos. Duke Ellington recognised Blanton's talent and used to make sure that he was well amplified on gigs and recordings. He was probably the father of the modern double bass in jazz; an ironic title perhaps because he died at the age of 24, of TB. Another player who had a massive influence on bass playing was Scott LaFaro who was killed in a car crash, aged 25.

Blimey Geoff, there's a lot of useful stuff there. It'll take a while to get through the early stuff but it'll sure be rewarding. Comments later but in the meantime well done!