NickA

Cello fingering is not so different in terms of positions; just that 'cellists have names for them. It's still a matter of placing first finger on a semi tone note; so on the D string: 1/2 =fingers on Eflat, E, F, F#. 1st = fingers on E, F, F#, G, 2nd = fingers on F, F# G, G# 3rd = fingers on G, G#, A, Bflat etc. just like the bass on the same string. But the scale being shorter, you can extend each position, ie by reaching back with one finger from 1st position you can get E flat. by putting finger 2 on F# instead of F, you can then reach G# with your 4th finger. In fact you CAN do the same on a bass, even a double bass, by using "pivoting" (thumb stays in same place, hand rotates back or forth around it) .. though traditionalists don't think it "proper". I think the thing that makes scales and blocks different on a 'cello is the short neck - you can only finger normally up to first finger on G (on the bottom C string) after which you have to bring your thumb round onto the finger board. This combined with avoiding or deliberately using open strings raises a load of avoidance strategies in which fingering a scale from the same pattern gets non-optimal above about F major whereas on the Electric bass you can go on forever. That end to the neck does make one thing MUCH easier though. you can always find "4th" position "blind" as it happens when your thumb hits the heel of the neck, then first finger down = automatic G, D, A, or E. you can play almost any tune in first (with forward and back extensions) and fourth position; 2nd and 3rd are niceties that avoid moving your hand around too much. On the Electric Bass, it is VERY easy to get lost without looking at your fingers now and then! Anyway. Easier? No. Different? Yes. Playing one string instrument won't crack the other but it will give you a leg up. As a classical grade 8 ish 'cellist I bought a double bass and was immediately about grade 5 (took another 20 years to reach 8 ish).

Hence Grangur is correct; on a cello unless using open strings or thumbs, you have to change position to play a full major scale - as in fact you do on a double bass if using traditional fingering (as you don't use the third finger). The Electric Bass is tuned to make it familiar to double bass players, but it doesn't really need to be as most of us (I think) use all four fingers - which makes one octave scales very easy!

I've been playing the cello for nearly 50 years and still can't do it. Feels like jewelry after the double bass as the strings are really close together and the scale really short. But it's the tuning in fifths that will get you! Oh and bowing of course (they don't sound good pizz imho). Got mine out its case for the first time in over a month this evening (been bassing a lot) and had a hack through a bit of bach and some brahms; quite a different beast to a bass - vibrato intensity and shifting accuracy REALLY matter; though some of the principles are the same so playing bass does give you a bit of a leg up. you could tune a cello in fourths but apart from probably snapping the C string by cranking it up to an E, you'd lose a lot of range. Makes more sense to retune electric basses in fifths (though I tried it and snapped the G string!). Strangely, fifth tuned sets of strings are available for the double bass (on which it's really hard to do) but not for electric bass, on which it would be fairly easy. See other thread about alternative tunings ...

... indeed, yes; I have several stashed about the place that I'd forgotten I owned (learned the old grey whistle test theme = stone fox chase, then lost interest) and this prompted me to dig out my most recent. Tried a chromatic originally but it's all a bit larry adler and the notes don't do that bluesy bendy thang. Switched to diatonic. Remember that the key you actually play a diatoncis in is NOT the key written on the side (which is the lowest note); you actually play them a fifth higher. So if you want to play blues with a guitarist who's playing a 12-bar in E you need a A harmonica to do it, and a C harmonica works best for tunes in G. Tried a few over the years (including an expensive aluminium bodied Yamaha I could hardly get a note out of), but always come back to Hohner; probs the best sounding is the "blues harp" but the wooden core can go soggy (this is the trad type you're said to need to soak in water (or gin) to make work properly). The plastic bodied equiv to the blues harp is the pro-harp which is nice, low maintenance and easy to bend. The special 20 (plastic) and the marine band (wood) plus the big river harp (cheap) are a bit brighter sounding. There are now so many variants it's hard to keep track! Compared to the cost of a boutique bass, they are so cheap you can try a few and trash a few (they don't last long as if you bend them over much the reeds give up) so try a whole bunch. It's a bit of a limited instrument, but always fun and compared to carrying a bass, a big combo, a stack of leads and effects - it is extremely portable. Enjoy!

Anything that saves on the vast Allianz premiums would be a good thing to have! I have claimed off them (or maybe their predecessor British Reserve) once, in 30 odd years of cover) and they paid up direct to the menders, but only after an argument that ended with me upping the value of my bass ... rather a lot. But with a 'cello, a bass and now my better two bass guitars on there .. it's more than my car insurance! It seemed worth the extra when they were real specialists and you could talk to a real person in Tonbridge who knew what a double bass was .... not sure Allianz is anthing different from any other insurance co now.

I don't think the wheeling has damaged my mate David's bass either, but I think my, much older and more frequently repaired bass might not survive it (there are a lot of bits glued to the inside that may drop off) . If you have a modern and solid bass, especially if it's a laminate one, probably go wheels. If 17th century Italian (which mine isn't!!) probably not!

I had some 'cello bows rehaired by Mark Soubeyran http://www.soubeyranviolins.co.uk/bowrehairs.php. Perfectly good job at a decent price. He sends you a plastic tube, you put the bow in the tube and post it back, returns in a week or so like new - with a tube you can keep the bow in! There are lots of people do it, but some of them are not very good. Had a few where the bow developed a sideways twist and some where the hair starts to fall , it out. Tried doing it myself once and must admit there is more skill involved than you might think (I mean, it worked, but not well and not for long and the hair wasn't very evenly spread!)

PS: does the rigid bass case float? You could always add a sail or paddle it like a canoe :¬)

A westbury from Bassbags.co.uk. Just tell them the length of your bass and yes, they will ship to Scotland. Mine is just fine and wasn't expensive either; it's one of these: https://www.bassbags.co.uk/product/westbury-double-bass-bag-11mm-padding/ It is not very flashy looking but it folds up to reasonable size, all the webbing is solidly stitched on and it has lots and lots of handles for manouvring in and out of cars and doorways and enough pockets for music, bows a pickup and a lead. A friend has the one with wheels, and it pains me to hear him dragging it across a rutted carpark - can't be good for the bass!

" Buy another, better bass. One that does everything you want it to do. . . right out of the box. " True thing ... or have a project for life. I've replaced so much of my old 1980 plywood "Grant Jazz Bass", the only original things left are the tuners. Over the years it has cost me around £1200 - and, finally, it sounds very nice. Totally un-sellable though. If you REALLY want to upgrade your bass, then a) new strings, b) better pickups, c) the electricals ie pots and caps and stuff. The tuners won't affect the sound and the bridge will affect it very little (unless they're so knackered they rattle).

It was on here for months, then on Gumtree for two consecutive months. It just had to go. Must have been around the end of November I finally folded for a "just take it away" price. Much as I love the clarity, accuracy and subtlety of my new PJB rig (flightcase and PB300), I do miss the shear THWACK of the trace ... and all the knobs and buttons too of course. I think my Warwick sounded better through the Trace than it does through the PJB ... though for double bass there is NO CONTEST the PJB wins hands down. A neighbour had a similar one, he took the amp out and uses it as a head with a couple of light Ashdown cabs - sounds pretty good. Half wish I'd done the same, but I can carry the double bass in one hand and the PJB flightcase in the other. So yes indeed, if you only play electric and have a strong back .. BUY BUY BUY.

I finally got £175 for my (much nicer IMHO) trace 15" 300W GP12SMX combo. A sad day, but it was unusably heavy and loud for me. A dealer from Hungary sent a man in a van, bearing an envelope of used tenners, to collect it. No-one will pay for a broken back when you can put 300W in your back pocket these days.

Deepest congratulations on the arrival of your new baby. I think we should convene an extraordinary double bass bash purely so we can all have a closer look. What a THING! Still not sure the conductor of my local (amateur) symphony orchestra would be impressed if I turned up with one tho. 🙂

I really think you should take it along to a builder or dealer and ask for a valuation. They will often do it for free. Be aware though that there is a HUGE difference between a "sales" valuation (which is what they would pay you for it) and an "insurance" valuation (which is what they would charge you to replace it). It looks in good nick to me and if it sounds good too ... could be a bargain for someone (£1200 is what you'd pay for a decent laminated one), though you'd need to see it and play it first.

There are many kinds of "active". Some are just passive basses with an electronic EQ added to the end (boost and cut treble and bass usually) eg Fedora. These allow the pickups to interact as on a parallel wired passive bass (the output is the average of the connected coils) but then buffer the output. Some have actual active pickups (there is a little buffer amp inside the pickup) which allows a low winding count and hence more treble coming out of the pickups (eg some Warwicks) ; some have separate tone processing for each pickup (Wal and my "East ACG-01" equipped home build) which gives you lots of tone control but robs you of that "pickups in parallel" sound (the mixing of the two pickups is equivalent to series wiring). The common thing these active circuits will do is buffer the pickups so no matter what length of cable you use and no matter what amp input impedance you have (your D800 will work with anything I think) no current is drawn out of the pickups so the impedance of the pickups themselves doesn't alter the sound. Basically you get a more consistent output. You can get a higher output too, tho my active Warwick has the lowest output of any of my basses - go figure. There should be no characteristic "active" sound - you can just expect to get more of what the pickups are making into the amp and usually that does mean more treble and more "twang" ... if you want to use it; and if you don't, then use the bass or the amp EQ to remove it. But at least you have the choice.

Best thing for that double thumb would be a fretsaw down the middle => TWO thumb basses for the price of ... ermm two.

Interesting bass though. Not sure I've ever seen a (non re-issue) pro 1. There's folk in the states who would pay big bucks for something so unusual. What did it sell for? Anyone know?

... but famous for using Acoustic amps for that slightly fuzzy growly mwah (he had two of them when I saw him in 1985 - linked with some kind of chorus or delay). Have to be bleedin good for $5000!

I can certainly vouch for Bass Bags, they are just up the road from me in Duffield. Mostly new instruments, but my most recent bass teacher had bought his bass from them and they won't sell anything that is not a good bass. .. or for a range of older basses as well as new ones, try Tim Toft in Stone (http://www.timtoftviolins.com/category/instruments/double-bass) and Turners (http://www.turnerviolins.co.uk/Instruments/DoubleBasses.aspx) in Beeston (Derby side of Nottingham). Toft's don't list much stock at the moment, but call them and ask; when I last went they had quite a lot in their bass room; also their Bass repairer is top notch and all their basses are nicely set up and have a price label on them. Turners maybe a little far East for you and I've found them a little shy of actually stating genuine prices, so assume everything is negotiable; but they usually have lots of stock right across the price range. For a big purchase like a new Double Bass, be prepared to travel and see as many as poss. Thwaites in Watford have a room FULL of basses (some of them the price of a decent sized house - but many affordable too). I have only just found out about this restorer and dealer in Leicester, but worth watching his stock or giving him a ring, Tim Bachelor (http://www.batchelar.com/double basses.html). Good luck with the bass hunt.

The replica is also an amazing bass and a splendid work of art. IMHO it's a real shame they "antiqued" it as personally I'd rather own a bass like one that had just come from Amati's workshop rather than a replica of a damaged one (as if, even were I a millionaire who could afford such, I would not do 1% justice to anything that good!!!!). My own bass doesn't need antiquing, it has lots of its very own - and took a mere 150 years to acquire it. The Czech / German, carved/plywood monstrosity has been antiqued rather too much methinks, even if it is quite old.

Not the Karr-Koussevitsky (once "attributed to" Antonio and Girolamo Amati according to Wikipedia). but THIS one (by Girolamo Amati aka Hieronymus II Amati, about 100 years later). https://en.wikipedia.org/wiki/Hieronymus_II_double_bass Roger Hargrave and Rene Zaal made a copy of it a few years ago https://maestronet.com/forum/index.php?/topic/328014-making-a-double-bass/ (fantastic blog for anyone with an interest in bass making) and they don't seem to doubt it's genuine. Whether or not the decrepit bass I saw at Gallery Strings in 1988 really was this one prior to renovation, I honestly don't know; but it sold for a "significant sum" they wouldn't reveal. So what is apparently matchwood CAN be very valuable ... but usually is NOT!! Dealers do love the phrase "Attributed to"! ========================================================================================================== Back on topic. VERY hard to tell much from the photos; the vertical cracks running down from one of the f-holes are indicative of a carved front; I don't think plywood cracks that way unless someone's taken a hammer to it; but it doesn't look right somehow. Some things need to be touched to tell what they're made of! This one to be left well alone. More and fresher fish in the sea. :¬)

I thought Plywood too. Why is that? It's evidently real wood from the directional cracks up the front. Probably quite old from the hat-peg tuners. Also probably a REALLY bad idea. A dealer with a workshop might make something of it via a thorough restoration or could at least re-use the ebony finger-board on something else. Not one for a private buyer. Saw a hieronymus amati bass at a dealer once; looked like lots of glued together matchwood; now considered priceless beyond valuation.. SO, you never know ... but this surely aint no amati.

If he does live in the 18th century it will make the bass very valuable by now!!

Mine started buzzing in response to a high D last night; by the time rehearsal break came around and we had a chance to investigate - it had gone. Possibly one of the tuners rattling or maybe because I was out of tune and re-tuned so that the resonace lay between actual notes. I may never know. Beware of "luthiers" they'll probably have it in pieces all over the workshop and a £1000 bill for reassembly before you can say "err, gig on Friday?" Try getting someone else to (preferably bow) the note that makes the buzz, then listen all over the bass to see if you can locate the source. All Rabbie's suggestions are good, I'd add pickups & bridge adjusters if you have them. Also anywhere there are any cracks (eg mine has several mends around the f-holes).

Glad to be of service :¬) :-) and a very tidy P to PJ conversion.