Mateybass

[quote name='endorka' post='792834' date='Apr 1 2010, 01:37 AM']Re: tuning in fifths - on the double bass, for people with ordinary sized hands, it is not possible to play a minor third interval without shifting. On a bass guitar it may be possible, but I'd say you'd need to be using 1 finger per fret technique all over the fingerboard to make it practical - cello type fingerings, in other words. Jennifer[/quote] Yeah, I'd have said that too about the extra stretch, but there are quite a few players of DB using this tuning, articles [url="http://www.dennismasuzzo.com/bassinfifthsarticle.htm"]here[/url] and [url="http://en.wikipedia.org/wiki/Fifths_tuning"]here[/url] and Thomastik make double bass strings specifically for 5ths tuning.

Has anyone experimented tuning in 5ths instead of 4ths? I've heard about some double bass players using this method and wondered if it would work for a 5 string. The obvious tuning would be C-G-D-A-E which would probably require a top F string but retaining the low B would give you B-F#-C#-G#-D#... or maybe even Bb-F-C-G-D and using a six string set, just discarding the A string. Thoughts?

[quote name='TheRev' post='768038' date='Mar 8 2010, 02:45 PM']The couple of Staggs that I've played weren't finished to anything like the same quality as the Aria SWB - rough edges, lumpy paint jobs and a rather hissy sounding preamp. I've lent my Aria to a number of players at gigs when the engineer just couldn't get rid of the hiss. The stagg also has a plastic (or plastic coated bridge) where the Aria has a solid wood bridge. Having said that, if you strip out the preamp and use a decent outboard pre (like a Fishman platinum) and whack on a decent set of strings, you'd end up with a very decent sounding bass and for less money thn the Aria. The finish would still suck though..... [/quote] The Stagg has a black painted solid maple bridge. Quality control issues are probably the main reason why they are cheaper than the Aria but most of the quality control issues can be sorted with a proper set-up and a tiny amount of modification. Neither of my Staggs have hissy outputs, unless you use the headphone socket where the onboard headphone amp is a little hissy. [quote name='lemmywinks' post='768046' date='Mar 8 2010, 02:54 PM']Didn't someone on here do a guide to modding a Stagg a while ago, including fixing the rattling endpin?[/quote] Er... yeah, that would be me [url="http://www.flickr.com/photos/52673786@N00/sets/72157622373540977/"]It's all here[/url]

[quote name='NoisyJules' post='765759' date='Mar 6 2010, 12:44 AM']Hi I have a Stagg EDB-3/4 that I picked up to play a gig on Tresco (Scilly Isles) as we were going by helicopter and my proper bass wouldn't fit. It was great- did the job. I felt a bit silly with a teeny stick, and it could have done with decent strings, but hey, not half bad! I recently had a go on an Aria SWB, and couldn't tell the difference. It seemed to be the same instrument. Apart from the extra coil pickups and...price tag- the Aria is three times the money!!! Anyone have any experience or opinions? Am I missing something? I was going to offer the Stagg for sale, but maybe not now! BTW got another gig on Tresco, but this time we're taking the boat and the proper bass![/quote] From what I can tell, the body shape at the bottom (possibly shorter length below the bridge) and the shoulder is slightly different. The string anchor block is also slightly different in that the strings poke out the bottom on the Aria. The Aria electronics have extra controls depending on the model and pickups fitted. Apart from possibly some higher quality woods on the Aria I can't think of anything else that is different. I suspect they are made in the same factory in China somewhere. I certainly don't think the Aria would play three times better after a good Stagg set-up... both my Staggs are a delight to play and get very favourable comments from sound engineers.

I like the Bartolini jazz pups with the dual inline coils. Think of them as P-bass pups in a jazz pup housing, no hum and single coil sound.

[quote name='Stompbox' post='730311' date='Jan 31 2010, 09:42 AM'] Mateybass - I am astounded to hear that, but, given that the unit runs off small batteries :- 1) I shouldn't think it will affect any planes as it supposedly has a range of 30 feet. 2) Would the "frequency police" be about with a detector - like in the old war films with the Gestapo triangulating on me from nearby (within 30 feet)? I take your point & I am not trying to be frivolous but I will check with the supplier on the frequency.[/quote] Well, in actual fact, OfCom do have radio detection and direction finding vans, work pioneered during WW2, my dad used to be involved in it during his time with the RAF in WW2 and myself whilst working for a radio comms company. The frequency band it uses is clearly stated on the ebay item description and should also be stated on the unit, along with a CE mark. You'd be better off speaking to OfCom regarding its usage in this country.

I'd be very very careful if I were you, sorry to pour cold water here but the frequencies that unit transmits on (114MHz to 116MHz) are inside those allocated for aeronautical radionavigation (108.0 to 117.975 MHz), specifically the VOR frequencies. While it's technically not illegal to sell these transmitters, you will be breaking the law if you use it. [url="http://www.ofcom.org.uk/static/archive/ra/publication/ra_info/ra365.htm"]The ofcom frequency allocation table is here.[/url] Edit for additional info taken from Wiki: "VOR, short for VHF Omni-directional Radio Range, is a type of radio navigation system for aircraft. A VOR ground station broadcasts a VHF radio composite signal including the station's identifier, voice (if equipped), and navigation signal. The identifier is morse code. The voice signal is usually station name, in-flight recorded advisories, or live flight service broadcasts. The navigation signal allows the airborne receiving equipment to determine a magnetic bearing from the station to the aircraft (direction from the VOR station in relation to the Earth's magnetic North at the time of installation). VOR stations in areas of magnetic compass unreliability are oriented with respect to True North. This line of position is called the "radial" from the VOR. The "intersection" of two radials from different VOR stations on a chart provides an approximate position of the aircraft." Brings to mind the episode of Only Fools and Horses, when the jumbo was bearing down on the flat

[quote name='Davo-London' post='631863' date='Oct 20 2009, 09:01 PM']I cannot possibly express an opinion here because this is the internet and anyone can read this post. My wife is a forensic scientist and she can sniff an incorrect perfume from 10 yds. My life would be in danger if I was to answer. Sorry Davo[/quote] Davo, you've dropped yourself right in it there mate if she finds this thread. By not answering in the positive towards choosing her, you have admitted, by woman's logic (female intuition I think they prefer to call it) that you would choose the bass.

Well, I've had a sleep on it now and time to reflect and I'm guessing that most of my initial annoyance was that, according to our "manager", there was no mention of being charged for food and drink or of the venue recovering their VAT from the band. According to our "manager" the last time this band played there, it was a straight 70/30 split. Thinking about it and pondering the fact that our "manager" didn't get it in writing, it being merely a verbal agreement, that perhaps the verbals she was hearing were different to those actually being spoken by the venue to her on the phone.... or she didn't ask the pertinent questions. Either way they've learned a valuable elementary lesson, though one which I didn't want to be on the receiving end of again. I have suggested to the "manager" that this shouldn't happen again and that all the current bookings and any future bookings should be backed up by a written or email agreement. Anyway, thanks for all your comments, I get the VAT thing now and I DO understand getting it in writing (see my earlier postings), but unfortunately the "manager" didn't. I'll just have to take it on the chin and if it happens again I'll look for a less cluelessly managed band or do it myself

[quote name='Mykesbass' post='722638' date='Jan 23 2010, 09:52 PM']Getting you to pay PRS is very naughty. They pay an annual fee based on the size of their venue. Every act that plays there will then fill out a PRS form - most will claim all the songs they played are their own but that's another issue. PRS will then work out percentages of the venues licence fee to pay the writers. This will all depend on how many acts perform and how many songs they do so the venue doesn't really know how much your individual performance is worth. Not sure about the VAT, could be legit, having owned a VAT registered company there are some very complicated rules out there.[/quote] I never twigged about the PRS charge until I got back and realised that's what the licence fee is for, so I think the MU will be interested in that one. Regards the VAT element, I realise they have to charge VAT on each ticket and that money is then sent to HMRC. But what they have then done is charge VAT again to us on the ticket sales and stated that on the itemised receipt. The way I see it is that they have to send that money also to HMRC since it is clearly stated as a VAT charge. If that is the case and they legally can't keep any money charged as VAT, what was the point in taking it off us to send straight to the government if the VAT already accounted for on the tickets goes there too? 35% VAT rate?

[quote name='thepurpleblob' post='722361' date='Jan 23 2010, 05:43 PM']Well spotted. Doing percentages No. 1 mistake there. You should call and say "we noticed that you made a mistake deducting the VAT" [/quote] Fair play, that was my calculation mistake, that ties in with what we actually got... I saw the dodgy "duplicate book" copy (with no name, date, venue details or VAT number or signature) at the venue but since the band manager took that with them, I couldn't remember what the actual VAT figure was so worked it out myself at 4am this morning when I got back after the gig... hence the error. The actual VAT figure was £134.34 which ties in with our final fee of £445 which was split 6 ways. So at least the venue's maths was correct. Please don't keep banging on at me about getting it in writing... I know, I know!! I'm the only MU member in the band and know the importance from past experience about contracts, but as I mentioned, I've only been in the band for a few weeks and didn't want to appear pushy by sticking my nose into their management affairs... when I say management, I mean lead singer's partner. This will come as an important lesson to them, one I learnt years ago but their naivety in these matters has impacted on my sole income so I have diplomatically suggested that they use the standard MU contract for future gigs and have sent a copy to the band manager.

[quote name='thepurpleblob' post='722310' date='Jan 23 2010, 04:45 PM']You've at least been scammed on the PRS fee. The venue needs a license to cover that. They have paid. The VAT thing is a bit more debatable - they have to pay the VAT they have charged on the ticket sales to the government regardless so it's money they don't get. Anyway.... the bottom line is simple. Get something in writing. If you knew you would get Sales less VAT, less expenses, less PRS fee and then split would you still have taken the gig? If you don't get it in writing then you're going to get done sooner or later.[/quote] You're absolutely right about the "get it in writing" bit but I haven't been in the band very long so didn't like to stick my nose into how the band is managed. Having run several bands myself in the past, I always had it written and signed in advance just to save any problems come payment time. We would still have taken the gig because of the venue's prestige but at least we wouldn't have suffered a massive downer after a great gig had we been expecting these extra charges. Anyway, I have diplomatically suggested (without laying blame) that they get it in writing for all future gigs. Regarding the VAT, if they'd charged us for VAT on the expenses and on their share of the door take (for providing a service) then I could have accepted that but to charge us VAT on the gross takings at the door as the first item on the receipt just seems wrong to me. They can claim their share of VAT charged to them back from C&E, we can't.

[quote name='acidbass' post='722300' date='Jan 23 2010, 04:35 PM']Not gonna name and shame the venue? [/quote] Not yet, not until I can establish whether they've made a genuine mistake or not I can almost guarantee that everyone's heard of it though.

I recently played a gig at a very well known venue with my tribute band and at the end of the night we went to collect the fee from the staff. It had been agreed by phone that we would get 70% of the door take (ticket sales were in advance and on the door) and would have to pay the PRS for the songs we performed. Having managed to attract a reasonable number of punters for a cold January night, we were quite looking forward to the split. However, when we were presented with the breakdown, things went pear-shaped. Deducted from the ticket sales (£902) was the VAT element of the total ticket sales income (£157.85), then PRS (£32), then a charge for venue expenses (£100) then the remaining money was split 70/30. We ended up with less than 50% of the door money in the end. Now I don't mind paying PRS since the original artist has enabled us to create a tribute band so fair dos (though I thought the venue had paid a PRS licence fee to cover this), and I can live with paying the venue expenses because we were provided with a meal and a box of beer and water (though we weren't told about charges for these before we consumed them) but what I can't understand is why the venue deducted the VAT on the ticket sales from the gross income before anything else. Effectively, they have charged the punter VAT on the ticket and then charged us for the VAT on the ticket... in my book that's charging VAT twice on the same item. It's the first time in nearly 30 years that this has ever happened. I'm used to paying VAT on agents commission but that's usually because the agent has provided a service. I have never heard of the VAT on gross ticket sales being charged to the band before, and I certainly didn't expect this from such a well-known venue. I shall be contacting Customs and Excise to clarify the position and also the MU for advice. Anyone else come across this, for want of a better word, "scam"?

[quote name='yorks5stringer' post='676692' date='Dec 7 2009, 01:31 PM']The module is absolutely identical and they have not asked for it back, ( nor did they enclose any fitting instructions!). You are correct in that replacing the piezo wires would have meant slackening strings and removing the bridge and possibly some more soldering too ( the wires had the plugs on one end that fit into the module but the other end were unfinished), so given I had a gig Sat night and it arrived around 2.00 pm I applied some pragmatism to the replacement and left well alone![/quote] I think the piezos are finished, they don't have anything on the end of them so no soldering would be required. They are cable type piezos and just poke through the holes in the endpin cavity and lay in the bottom of the bridge sockets. The modules probably look identical but at a guess, I'd say there is an incorrect component fitted somewhere which under a magnifying glass would show up a component with a different value to the correct one... no doubt a manufacturing fault and someone picked up a tray of 1k ohm surface mount resistors instead of 10K ohm.... or some such mistake Anyway, glad to hear you're all sorted now

[quote name='yorks5stringer' post='675025' date='Dec 5 2009, 03:51 PM']You will have been sent a new module (which is identical) minus knobs ( these just pull off the old ones) and new wires to the piezos.[/quote] I presume this is the new board to replace the battery-eating one. Have they asked for the old board back? If not, I'd be very interested in comparing your faulty one with my known good one so I can spot the difference and write a mod procedure for out-of-warranty owners. Where the instructions you posted as provided by the supplier? If so, I'm not sure how they expected you to change the peizo wires without slackening the strings and removing the bridge

[quote name='derrenleepoole' post='662138' date='Nov 22 2009, 09:22 PM']Noticed you're in Saint Helen's which ain't too far from Blackburn, where in resides the fabulous upright player and teacher Steve Berry (Loose Tubes). Steve is a monster player and his lessons are really indepth and practical. I can give you a contact number if required.[/quote] +1 for Steve. He's a very approachable bloke, met him in the 90's and what a bass player.... and what a monster of a DB, if he still has it, the best sounding DB I've ever heard.

[quote name='butterfingersbeck' post='661271' date='Nov 21 2009, 07:16 PM']Thanks a lot! I did this and it looks a lot better. Not getting much treble response through my PC speakers - all the delicious buzzes and swells I hear unplugged are getting lost, and it sounds a bit too much like a fretless bass guitar, even with the Sub Bass full off. Any thoughts? Simon "Butterfingers" Beck London SE26[/quote] Do you have a sub unit on your PC speaker setup, or are they reproducing anything in the midrange? I'd recommend trying it through a bass amp, it should sound a lot different with a bit of midrange response from those speakers.

It really depends on how much you want to spend, but you could end up with one of each for less than the total of your upper budget of £1000 if you shop around. I've seen 3/4 AUBs go on ebay for around £350 and the same amount will get you a brand new Stagg EUB which, despite some opinions on another forum I've read by people who haven't actually played one, with a tiny bit of [url="http://www.flickr.com/photos/52673786@N00/sets/72157622373540977/detail/"]modification[/url] to finish it off properly, make really decent sounds (according to other musicians I've played it with). There is another consideration to be made and that is what volume you are likely to be playing at on stage. An acoustic bass is far more prone to feedback than an EUB, one of the problems which prompted me to try a Stagg in the first place. I've now got 2 of them, one of which I've had converted to 5 string, and an AUB which only ever gets played at home these days.

[quote name='butterfingersbeck' post='659910' date='Nov 20 2009, 09:58 AM']One other thing - the bridge seems to be leaning a few degrees towards the nut. Is this a problem, and if so can I just slacken off the strings, reseat the bridge and retune?[/quote] I noticed that problem on mine too but I just nudged it back into an upright position without slackening off, it seems to happen when the strings are slackened off and retuned that it goes slightly out of alignment, screwing the bridge allen bolts all the way down whilst holding the thumbscrews to preserve height for the action seems to do the trick. It certainly hasn't moved again, even after transporting it to several gigs.

[quote name='yorks5stringer' post='657683' date='Nov 18 2009, 12:02 AM']Update on the Stagg electronics saga: they're understandably not keen on EDB's being shipped back and forward around the country so have told me they will send out new electronics modules for owners to fit themselves. I guess if you are not keen/competant, then the shop you purchased it from ( who you need to approach in the first instance anyway) should be able to do the swap for you. I'm now waiting for my module to come through and will fit it myself.[/quote] Presumably they want the old module returning. I wonder if you could take some photos of the old board before you return it? I'll try to spot the difference between my known good board and a faulty board. Cheers

[quote name='butterfingersbeck' post='657702' date='Nov 18 2009, 12:21 AM']Is this related to the hiss, the hum or the battery life?[/quote] This is related to the short battery life on some basses. The hiss is probably caused by the onboard headphone amp and shouldn't be present at the 1/4" jack socket. I've never noticed any hiss from the headphone amp but then my ancient Sennheiser headphones are 600ohm impedance. I've never tried it with a pair of 8ohm headphones. If your Stagg is humming, that's an easy fix, see previous posts, or see [url="http://www.flickr.com/photos/52673786@N00/sets/72157622373540977/detail/"]here[/url]

[quote name='yorks5stringer' post='647818' date='Nov 7 2009, 01:01 AM']I'm getting less than 8 hours per battery, and yes, I'm unplugging the lead inbetween times. Sounds like it needs the mod? (not the Moderator, who although very good, would perhaps not regard repairs as part of his duties?)[/quote] My battery just ran out this weekend. It was the original battery from when I bought the bass in February this year. If anyone finds out what the exact cause is, perhaps they could let me know so I can add it to my list and maybe work out a procedure for those who's basses are out of warranty. Cheers Ian

[quote name='butterfingersbeck' post='646290' date='Nov 5 2009, 02:59 PM']Hi! My name's Simon Beck. I'm a 48-year-old self-taught multi-instrumentalist from south-east London, and I've just ordered a Stagg EDB in transparent blue from Thomann. My main instruments are keyboards and bass guitar, but I also play chromatic harmonica, rhythm guitar, Stylophone(!), percussion and Theremin. I also own an electric violin which I'm currently teaching myself to play. You can hear some of my multi-tracked solo work (mostly blues-based) at [url="http://www.soundclick.com/simonbeck"]www.soundclick.com/simonbeck[/url]. I also currently play organ. electric piano and Stylophone with an 11-piece Ska/funk band called [b]The Skanx [/b]([url="http://www.theskanxband.co.uk"]www.theskanxband.co.uk[/url]). I took a few double-bass lessons during my last year at school (my only attempt at learning an instrument properly) and have always wanted to own an upright bass, so when I was given a substantial sum of money as a birthday present from my Dad this year, I decided to take the plunge. I'll let you know how I get on. Hopefully my wife won't mind because it'll take up much less space than an acoustic...[/quote] Hi Simon Welcome to Stagg EDB land, vastly underated instruments in my opinion, though they do need their rough edges knocking off. Build quality isn't great to be perfectly honest but they are easy to modify and sort out the little niggles that come with them, and then they become truly excellent value compared to what else is on the market. Every bit of wood on it is "maple" (the neck and fingerboard are one piece) though I suspect it's not the most expensive maple because they've covered it all in a black finish. Contrary to some non-believers, the bridge, neck, fingerboard and string anchor are all made from wood, so it's not beyond the realms of possibility to remodel/replace most aspects of this bass. The nut, cavity plate, battery box and endpin sleeve are the only plastic bits on it. Might I point you in the direction of my flickr account where you will find [url="http://www.flickr.com/photos/52673786@N00/sets/"]pictorial modification and fix procedures[/url] for some of the niggles we experience. It's a work in progress so some of the niggles listed below aren't on there just yet. To recap on the niggles so far reported, starting from the ground up: The endpin tends to rattle inside the endpin channel in the body. I have taken mine apart to investigate why and it would seem something as simple as too small a bore for the endpin channel when drilled out at the factory. There is a simple fix which is to remove the rear electronics cavity "scratchplate" (the long one) and tape some small bubble wrap to the end of the end pin so that when it's in playing position, it is cushioned from the wood inside. The long-term solution would be to have a larger bore drilled in the body but that is a little drastic if the bubblewrap option works ok. The endpin assembly is removable by first slackening the strings and then removing the 4 screws which hold the string anchor block on to the body. This exposes the 2 screws (or sometimes 3 depending on how good the assembler in the factory was) which secure the endpin into the body. Because of the extra length between the string anchor block and the bridge, the portion of string between these two points will resonate in sympathy when playing the bass. Wedge a piece of foam under the strings here to damp them. The battery box on the rear contains the 9v battery. I have come across an example where the battery leads were soldered the wrong way round on the circuit board so that the bass would only work with the battery the "wrong way round" in the box. When you take the battery out, check to see if it corresponds with the terminal polarity markings inside the box. One tip I'd suggest is to make a mark inside the box in white so you can easily see which way round a battery goes when on a dark stage, because the marks are so small it's difficult to tell. Some jack sockets don't make a great connection on the tip of the plug. If you find knocking the plug when inserted makes it cut out, replace the jack socket. When I plug my Stagg in, I thread the lead under the strings between the string anchor and bridge then round the back into the socket, this keeps the lead out the way so you don't stand on it and pull it out inadvertently. Some electrics hum, this is easily fixed with some copper or aluminium sticky back foil tape. The blue peter fix is [url="http://www.flickr.com/photos/52673786@N00/sets/"]here[/url] Bridge modifications listed [url="http://www.flickr.com/photos/52673786@N00/sets/"]here[/url] The nut is often cut too shallow meaning the strings are too high from the fingerboard at the nut end. As the nut is nylon, it's easy to recut or file down to lower the strings. Also, being nylon it is easily replaced. A cheap solution for a stand is to ask any drummers you know if they have an old snare drum stand which has a functioning floor section. I use one which is perfectly adequate for using on stage and at a push can be played on it too. It has a sealed end on the tube so the bass stands on the endpin inside it, and folds up very small... pictures [url="http://www.flickr.com/photos/52673786@N00/sets/"]here[/url] I have two Stagg EDBs, one I've modified to a 5 string, the other I haven't decided what mod to do to it yet so it's a test bed for different strings at the moment. I can only reiterate that these instruments are extremely good value and sound pretty good too, and the laydeyz seem to like them I think I've covered most points, if anyone can add to this list, please do so. I know this list seems quite a large one but just be thankful you didn't buy a Palatino (which is the same as the Harley Benton EUB500), that's a huge list!

The radius looks a bit shallow, has the fingerboard been reworked? Good looking bass though, we just need some sound clips Love Lithuania... beautiful country. I played there in 2008 in Visaginas and I was on the telly