ubassman

Thats what I like about NS Designs EUB instruments - they all come on a variety self supports ( I use the standalone tripod ) and you can just walk up to the instrument and play without needing to hold the thing upright ( see my separate thread about DB and EUB injuries!). I have just sold my CR4 and I would most definitely go with this again if I need an EUB ...and for the fantastic sound ( arco and pizzicato ) ! http://www.nedsteinberger.com/instruments/crbass.php

[s][color=#282828][font=helvetica, arial, sans-serif]1. Jimbothy[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]2. Paul JH[/font][/color][/s] [color=#282828][font=helvetica, arial, sans-serif]3. Lord Sausage - could I be after you please? If yes, then:[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]4. JazzBassFan[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]5. Ubassman[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]6. TommyK (Please, thank you, thank you etc..)[/font][/color] Movin on up the list ....and Lord Sausage is a fast reader too !

I have for a while been 'depping' for a friend who is off with a bad back and last week I met an old friend who has given up playing the Double bass because of RSI ! Just thought I would start a thread about how fellow DB and EUB players support their instruments and their chosen posture?There is a lot of weight in a double bass and it seems that many back maladies and problems are caused by the body being under stress from resisting weight . Some bassists always stand - period. Others ( myself included ) prefer to sit especially on a long 3 hour orchestra job. My preferred posture is that I have my right foot on the floor with the bass clamped between my legs self supported and my hands are free to move without having to keep the bass in place . So far I have managed to escape back aches and pains but I seem to be a bit of a last man standing in my local community ! What do others do ..and what sort of Double bass playing 'injuries' are commonplace ? I don't want to join my two companions in the chiropractors waiting room !

Interesting clip about the effects of moisture [url="http://www.youtube.com/watch?NR=1&feature=endscreen&v=XhlyzoeA_7E"]http://www.youtube.c...n&v=XhlyzoeA_7E[/url]

Sounds like time to get some new rosin! Sometimes when I have bought from a shop and on-line, the rosin has been sat on a shelf for ages as part of a bulk order from the manufacturers and like yours ....has hardened up!. Pops and Nymans used to put a date of manufacture on their rosins but now have removed it ( ...hmmn! ...funny that !!). I have heard of people doing all sorts of things to revive rosin but fresh stock always is perhaps the best starting point and its not expensive stuff given the important job it does !! FWIW, I have really settled in with Gaston Brohan's Oak Soft Plus http://www.gregorianstrings.com/order.html which for me seems to work equally well on all my bows and strings combinations with great grip and attack ( and seems to suit the British climate temperature variables ). When I have bought rosin [b]direct from this manufacturer[/b] ( best tip I can give!) its always been good fresh stock and the tone is always there. Usually about £20 delivered from the USA about 3/4 days after ordering on line. As they would say on the TV and Radio of course 'other suppliers of quality rosins are also available' !

...Bozo plays this beautifully with his top strung with a C. I think may have been transposed from the violin part? Not seen an original Bass part yet have you ? ...but I found some dots on Vito Liuzzi's web site for violin + piano ( treble clef) [url="http://www.vitoliuzzi.com/free-downloads-4th/."]http://www.vitoliuzz...downloads-4th/.[/url]

Mtroun No snipes at jazz players, classical or indeed young players...or old ....just observations made in the friendly spirit of this forum! Brought a smile to my face when you mentioned building up your calluses so as to pump out the volume with a higher action ...as Rufus Reid says 'Callouses are a bass players best friend!" ( I have 2 days of solid rehearsal this weekend and never a truer word said!) I don't know of any double bass player who doesn't strive for 'that perfect tone' but I do find that as a player of both jazz and classical, the process for both evolves in different ways and so its also really interesting to see the way that you are making your bridge adjusters work for you to go progressively higher with your jazz playing ...if it works for [u]you[/u] ...then its right for [u]you[/u] !

My daughter announced , aged 7, that she was going to be a dentist and become really rich. 'oh' I said, and how will you do that ? 'Simple' she said, ' I am going to pull my patients teeth out and put them under my pillow for the tooth fairy ' !!

Anyway, to answer the original question, completely agree that its worth considering an adjustable bridge if you are thinking of experimenting with taking the action as low as you can - a low action soon shows up imperfections in the fingerboard which may need 'shooting' and you can just turn the adjuster dial to get out of the 'danger zone'. As mtroun rightly points out a bit of seasonal adjustment can result in a buzzing fingerboard when you are at the edges of tolerance ! Just be aware that from the research and from personal experience the sound of your bass will also adjust ...which for some may seem hugely significant and for others not really relevant ! I suspect that jazz players will pretty much always favour an adjustable bridge setting a/. because they are often amplified, and b/. because the action is usually also preferred low for ease of playability. Good luck with whatever you opt for !

Who needs a car !! http://pinterest.com/pin/1829656070441702/

[color=#222222]Could do with some help identifying the adjustable bridges at these points of the following clips:- [/color] [color=#FF0000][b]3.48[/b][/color] [url="http://www.youtube.com/watch?v=QgZ_-f7pVk4"]Rinat Ibragimov Principle double bassist London Symphony Orchestra[/url] [color=#FF0000][b]1.38[/b][/color] [url="http://www.youtube.com/watch?v=XNcXRys0Lq4&list=PL92B9DB9621DAAC54&index=16"]Klaus Stoll Principle Berlin Phil.[/url] [color=#FF0000][b]0.02 [/b][/color][url="http://www.youtube.com/watch?v=t1m8aLIGqtw"]Bozo Paradzik solo-ist[/url] [color=#ff0000][b]0.04[/b][/color] [color=#222222][url="http://www.youtube.com/watch?v=5x-_EiW2BZs"] Duncan Mctier - professor of double bass at the royal academy of music [/url][/color] [color=#FF0000][b]0.05[/b][/color] [url="http://www.youtube.com/watch?v=5EPcv2ouuRE"][color=#222222]Gary Karr+ Han Han Cho[/color][/url] Isn't it all a matter of personal choice ?! Interesting though that the conclusion of Fatback's research paper link concludes:- [b] [color=#808080]Conclusions of the Listening Test[/color][/b] [color=#808080]Bridge height adjusters generally make a substantial audible difference in sound compared to a massive (solid) bridge. There is tonal variance among models of bridge height adjusters depending on the frequency of the note played. These differences are more audible with bowed tones than with pizzicato.[/color] [color=#808080]Conclusions[/color] [color=#808080]Preliminary research showed that there is no previous literature on the acoustical characteristics of double bass bridge height adjusters.[/color] [color=#808080]Local and international surveys showed current tendencies in adjuster use. Between 60-80% of North American bassists use them, while they are [b]practically absent[/b] [b]from the European music scene[/b]. Wood adjusters are preferred by bassists for tonal and aesthetic reasons, but aluminum models are more commonly used.[/color] [color=#808080]A test was prepared with a massive bridge and six types of bridge height adjusters. Digital analysis shows that bridge height adjusters make a significant difference in pizzicato decay time, but vary irregularly throughout the range of the double bass. [/color] [color=#808080]Listening tests indicate that all types of bridge height adjusters cause an audible difference in sound compared to a bridge with no adjusters, and that individual models and materials have unique tonal characteristics.[/color]

+1 agreed ...good device to experiment with. Great link - looks like all the answers are there !! 'Get out of jail' Medieval laws on cats and now this technical study ...impressed Fatback !! ....mightily impressed!!

[quote name='sarah thomas' timestamp='1359978686' post='1962704'] I have no experience of an adjustable bridge. I was thinking of having one fitted but my luthier advised against it, saying that they tend to slip. I want a big, warm sound and having lessons from an Alexander Technique teacher has helped enormously with this. The way I brought my left hand up to the neck was tensing my shoulder muscle and in turn, deadening the sound and making me ache after a while. Now when my shoulder starts to ache at least I know why! So I'm happy with my fixed bridge. [/quote] Sarah ...interesting ! ...sounds like a topic for a new thread ! 'Alexander Technique for tone production'

Personally I don't really 'get' the popularity of adjustable bridges ? Come from the school of thought that if you know the sort of action you want then why would you want to adjust ( unless your bass is dimensionally unstable)? I suppose if you are not so sure then its a good way to experiment but remember just as you get the G string action perfect , the other 3 will also have moved ! - its not like theres an independent action for each string that you get with a quality bass guitar. The higher the bridge the louder the bass. So I guess one way to look at an adjustable bridges is as 'volume button' which is fine if you are playing unplugged and need a bit more kick to your sound ( and don't mind the raised action) ...but not really relevant if you are going through an amp! I haven't seen very many classical players with these type of bridges and it definitely seems to rob some of the tone particularly for arco playing (IMHO anyway !). The vibrations seems to be sweeter going through pure maple rather than being broken and adulterated with a threaded metal screw. Seems to be something that is more popular with Jazz players where variety of texture and tone may not be so precious. All my basses have a fixed bridge and its just not something that I think about ever - the set up stays the same day in day out. For me I would prefer to preserve the natural tone as far as possible. [b][u]The [/u][/b]way to tailor the action of each string is to make careful adjustments to the notches in the bridge ! ....I imagine that you will now get a flood of people advising why an adjustable bridge is so brilliant !!

....I can't believe I am the only person who is bold enough to confess and seek retribution on the Naughty Step? !! Plenty more room here !

Errr...in that case it was definitely a pitch black evening !

Very, very dangerous game trying to beat female intuition and not to be advised . Like you Bilbo , I gave up long ago trying to even go there ...just digs a deeper hole when they find out (..which they always do )!! PS if any one asks ....you aint seen me, right ?!!

Yes, could be. Those orange strings are hideous - really squeaky under the fingers and not that great a tone !! I bought some Thundergutts ( they are the white ones) and what a difference! For me the D Walker is very similar to the U-bass and doesn't have the all important on board controls that the R-Lizard has. Hopefully just a matter of time !!