ubassman

[quote name='jbn4001' timestamp='1389822063' post='2338399'] Thanks for advice. I've posted there and edited the original post in the db forum [/quote] Mind you we have plenty of techie types in here who are very knowledgeable about DB issues too! ..I'm sure one will be along in a moment or two

You might try also posting this in the recording forum - there are plenty really knowledgable techie types in there !

[quote name='TheRev' timestamp='1389796068' post='2337990'] It's possible to buy a new double bass for under £400 but they usually have an awful setup and action and therefore aren't suitable for beginners. [/quote] +1 Some of these budget instruments actually put people off playing the DB as they can be hard to play and dont sound that great. If you can muster a budget of £500 - £800 you should get a decent enough instrument and its usually pretty good to watch the marketplace on BC (most people in the BC community dont dare sell dubious instruments to fellow BC-ers ...thats what e-bay is for) !. Good luck with it and welcome to the DB lounge !

Not quite sure how I came across this part of Gollihur site but rich pickings and something for everyone so thought I would share! http://www.gollihurmusic.com/links.cfm#linkCat1

[quote name='dudi8' timestamp='1389690709' post='2336867'] [media]http://www.youtube.com/watch?v=NWvI3QVjlv8[/media] [/quote] Yikes !! Laying a bass in a car with the scroll/neck supporting the weight of the bass is not a good idea - hope there weren't any pot holes or speed bumps on the way home! Choose your car wisely !

[quote name='skej21' timestamp='1389647359' post='2336603'] The best thing to do (as Bilbo mentioned) is to just read/consume as much music as you can and add to the music vocabulary you have and it'll help when more obscure passages or parts crop up :-) [/quote] Good advice ...you cant have too wide a musical vocabulary. Where I am more coming at this from is that when the notes are easy its because they fall under the fingers naturally . The passages which dont sink in and dont feel right I play around with technique trying different finger shifts, positions, speed of the bow, forearm position , etc The brain almost refuses memorise awkward and over complex movements and I know for me at least , if I keep bashing away it just doesnt get any better. Thats when I focus on addressing something technique related and do my whole/ part/ whole thing. As an example I was working through a tricky string crossing passage from the Scherzo of Beethoven 3 for maybe half an hour but no matter how many times I played the passage it just didnt feel right until I played around with some simple changes . Different fingerings, trying rising up the string, playing the same notes in different position, different crossings - none of those worked . But when I changed flattening out the double stop with one finger bridging to a fast 'single finger hop' across the strings everything went into straight to memory. Its more of a technical vocabulary than a musical one which helped out here but both are relevant.

[quote name='Rabbie' timestamp='1389616210' post='2336076'] I normally go for the try/swear a little/sleep on it/try/swear a lot/try/try/try technique. [/quote] ...oh I use that technique a lot too Rabbie !

[quote name='dudi8' timestamp='1389606556' post='2335927'] i thought ebony gives a lot better sound... [/quote] I dont think you would notice any difference!

You get what you pay for Refitting the fingerboard is unlikely to add any value to your instrument - maybe you just need to get the fingerboard planed if there is any buzzing and then refinished ? There are many many excellent instruments that have brown hardwood fingerboards and unless the FB is damaged beyond repair , personally I would leave it in place!

We are looking into something on those lines.

The technical things I want to get under my belt usually come out of struggling in parts of the music that I need to learn. To unravel problems , I use the 'whole/ part/ whole' method where I look at the [b]whole[/b] piece of music, look at the technical [b]part[/b] that needs the work , have a good think about what the issues are and develop it outside of the music with some related exercises, and then re-insert the finished product back into the [b]whole[/b]. What I find really fascinating to figure out is the detail of why the dots dont 'flow' in the first instance when I trying to learn certain passages. Usually it isn't about note bashing and committing to memory but is 99% of the time due to something entirely unrelated such as poor hand shape, ropey right hand technique, dodgy fingering, shifting etc, etc. Figuring out the detail is always the hard part but also the most rewarding! Anyone else set themselves goals about their playing and how do you go about improving technique?

Photos are fine, discussion is fine. Anything sales related is not

[quote name='Dad3353' timestamp='1375700537' post='2164366'] The thread's OK, it's the selling that's off limits. Offerings on other sites are equally forbidden. Is a reminder appropriate..? [/quote] For ease of reference ... http://basschat.co.uk/topic/209823-rickenbacker-on-basschat/

...only pulling your leg! I cant see that this chap has very honourable intentions. Well done Sarah for trying to flush some info out. Keep us posted if anyone finds out more.

[quote name='sarah thomas' timestamp='1389442251' post='2334154'] Come on, BlueJay! Yeah! [/quote] +1 BlueJay ! ( I bet he wont notice even your are a 'lefty' !). If you get the call I will even drop you off a right handed DB down to London !

No easy answer here . Strings sound different on different basses and so you may have to experiment to find the tone and response that suits both you and your bass alike. Personally I love the sound of Spirocores for pizz and use Spirocore Mittels as the tension is perfect - a lot of bassists however much more prefer the Spirocore Weichs ( lighter tension) and some prefer altogether the Stark (high) tension. Many bassists would steer clear of steel strings and go for a gut string either for slapping or indeed for a distinct jazz sound. Depends on what you like and your set up. I suspect a lot of us DB players have a 'string drawer' at home? ...bit like a 'sock drawer' but full of used and unused strings sets , one offs and other experimental ideas !

Citrasolv - its a completely natural degreasing agent and wont harm your varnish

Try giving Colin Cross a call at Deal Violins http://www.dealviolins.com He used to be Buxton Violin Shop and used to make DB's . He works part time in London and part time at home in Deal. Last time I spoke to him about 6 months ago he says he's really cut back and isnt doing to many DBs as he doesn't have much space but a bridge is a day job and you might be able to persuade him . Great Luthier and knows how to get a bass to sing !

Makes you wonder about the 'authenticity value' in leaving the dust and grime to prove an instrument is a real relic as opposed to an 'angle grinder relic' !

Wondering if it was a standard fingerboard from a supplier but with a Romberg bevel that may have been made to the dimensions for a four string instrument - it would give you a nasty hump between 4th and 5th strings ?

An adjustable bridge is a good idea. The set up of the fingerboard needs to take account of the big vibration path of the low B and quite often the fingerboard is asymmetrical and thinner on that side than on the G string side - the bridge will help and stop buzzing. All the best with it and look forward to some photos!

[quote name='Hector' timestamp='1389221823' post='2331684'] Pentatonic?! Bluesy?! Chromatic?! Stop right there, I'm in jazz heaven Any chance you could share? [/quote] ...no probs Hector! EDIT - pdf sent via email Enjoy!

[quote name='timbo1978' timestamp='1389212344' post='2331523'] Wow, apart from the Guinness one I don't really warm up at all. Does it make a big difference? Great advice guys. Tim [/quote] Practicing a bit of 'quality' before making music works for me. It sets the scene. The warm up that I do in orchestra is kind of a general warm up all engine parts but when I am at home I still do a shortened version for maybe 5 minutes or so . It really helps get the bass consistently in the right position and angle every time plus getting the parts warmed up. From time to time I have a 7 day technical workout where I have a file separated out into 7 days. Each day I will have about maybe 6 different scales, arpeggios, and technical exercises. It takes and hour to get through everything but by the end of the 7 days I always feel like I am a meaner leaner machine !

Pretty much the same 10- 15 minute warm up before rehearsals ( usually in the din of the other musicians doing their thing in the background). Tuning up - I wake up the right arm and hand with long legato bows and accurate bow angles + to warm up the hairs on the bow ( open strings and Harmonics) Pentatonic bluesy chromatic scale crossing strings pizz only starting slow in low position and getting faster rising up the fingerboard to get the blood flowing in both hands Usually a couple of 2 octave scales rising up the string or an excerpt that rises (working shifts and accuracy), usually spiced up with different combinations of slur, staccato, speed to waken up the balance point of the bow Couple of arpeggios ( favourite line at the moment from Schubert 8 really wakes up the shifts) and finally I might finish with a couple long jumps up to the D stop, or to play a game of 4's where you have to play say a Bb in 4 different places on the bass and be accurate. ...works for me. Dont yet do anything with warming up the shoulders or any major muscle groups - probably need to look into that. Always something to learn.