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PaulKing's Achievements


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  1. Lots of possible reasons for that buzz, not all of them string related. I just found the cause of a buzz that had been bugging me for ages. I ruled out the strings on fingerboard after a while, even though it was around the A on the G string that always caused it. Turns out it was just a frequency/resonance issue. The D tuning peg was rattling inside its brackets. Bit of grease and that buzz has gone. Even so, sounds like your probably are string/fingerboard. As Burnsbass said, your string heights aren't high. There are two very different schools of thought for slap, depending on your technique. Typically a super fast psycho- style clicketyclick goes with steels, mag pickup and highly amplified sound with a very low action - lots of click, low acoustic volume. But a more traditional rockabilly thunkety thunk goes with a very high action, and low tension / gut strings. 10-15mm or higher not unusual. Lots more acoustic volume, much more string movement. Your personal preference will be somewhere in between. In short, if a higher action gets rid of the buzz with those low tension strings, give it a try .. it might improve your technique!
  2. Didn’t know it was Mick Robson. Aye, bit of acoustic strumming from me too. 2 bits in fact.
  3. Who hasn't drooled over the bass tone, and Herbie Flowers' gorgeous playing, in Walk on the Wild Side. I had a spare afternoon, so set about doing a cover, testing various mics to see how close I could get to matching the tone. Crazy thing is I now can't remember which mic I used in te end, but probably a combo of Golden Age Project ribbon mic a foot from the bridge at a slight angle, and a little AKG condenser up near the fingerboard. Recorded and mixed in Ableton Live. Basses, guitars and saturated-vocals by me (sorry for the vocal...), 'Brushify' midi drum kit played on keyboard. Midi sax is always a bit lame but it'll do for the run out here. I was pretty pleased. Enjoy, or flame me, as you wish!
  4. Underwood piezo DI'd to desk .... not my favourite sound for a recording but I wrestled it into reasonable shape as best I could. Does the job here, tolerably. I'd prefer a more transparent acoustic sound really but that's for studio work. And I still haven't nailed that technique yet, despite a bunch of different microphones. I think part of the problem there is the room I'm using ... box-room with no acoustic damping and a bunch of string instruments hanging off the walls. Ideal!
  5. He got it from the Pat Butcher benefit sale...
  6. Got a series of videos coming out over the next few months. Here's the first, just for fun. Audio mixed by me too.
  7. Wow I wonder who that was! Those t-shirts go back to the halcyon days of Rockabillybass.com... taught me everything I know, that community.
  8. ... and that's before we get anywhere near mic / pick up / amp, if that's what you mean by kit. Huge differences in tone to be achieved down this branch of the rabbit hole.
  9. As a starter you could do a LOT worse than posting a few well chosen photos on here. There are plenty of very apparent visual clues to big set up issues. Full frontal, side profile of bridge (showing neck projection and break angle), side profile close up at end of fingerboard (showing string height), side profile close-up at nut, along fingerboard looking from above nut down to bridge, bridge feet close up, tailpiece/tail gut close up. String choice is huge too ... but if you're playing jazz the safest all-rounder is the Spiros you probably already have on. You might want to consider light gauge rather than medium, but only if you feel like you're struggling to get response from them. Beyond that, there'll be less visible issues like string tension, fingerboard scoop, fingerboard flat-spots (ie string buzz), sound post position etc. Only hands-on experience could reveal that. Playability issues are interesting. A bass can feel completely unplayable at first ... but you learn to adapt to it. It's very personal. Usually no bass feels right except your current bass. Just occasionally you pick one up and it almost just plays itself .. then you know you've got something. I'm in that lucky position at the moment ... and as a result I'm distraught that it means I barely play two other gorgeous instruments that I've loved for years... By which I mean stick with your current bass, there are almost certainly ways to improve its set up.
  10. PS Jack and Silvie - Jump 66 are closing Sat night at Ealing Blues Festival (second stage) on July 27th. Be good to see you both again! A few new tunes in the set at last ...
  11. I played in Frome a couple of years ago, at the festival. For some festivally reason the audience was full of people dressed in strange outfits like Star Wars storm troopers and stuff. Anyway, I had a bit of stage banter about the trip to Frome being a bit of a pilgrimmage for me, as one of the main reasons I took up double bass was because of a bassist from Frome who played in an 80s psychobilly band called Frenzy. (Yeah, and the Sharks, I know...). 'Anyone heard of Steve Whitehouse?' I asked the audience, to a ripple of applause from a few people in the know. Then one of the storm troopers in the front row took his helmet off ... and there was Mr Whitehouse beaming away at me. 'Shit, there he is!' I said. It was a cool moment. I had a great chat with him afterwards. Very friendly chap. Slap bass legend.
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