bornagainbass65

I wouldn't be surprised if your home made bridge works perfectly well. Fingers crossed. There's also a trick where you put a piece of bicycle inner tube under one of the bridge legs to give you more of a double bass tone. Seems unlikely but It worked on mine. If home made doesn't work, Gollihur in the US sell an adustable bridge for EUBs which they say is the same one as on the Eminence EUBs. It costs about 80 dollars, plus delivery, plus a 20 quid customs charge to Royal Mail, so all in somewhere around 120 quid, I think. You still need to cut it to size and sand/file it down to get the width you want. I've seen videos that say when you cut the grooves for the strings don't make them too deep and draw in them with a pencil, as the graphite helps the strings to move in the slots, and less likely to pull the bridge over when you tighten the strings up. The other thing to do to get a better sound is, of course, to put decent strings on, if you haven't already. Putting Innovation Honeys on mine made a big improvement. Oh, and practice! Good luck.

If you can get down (up?) the M5 to Stroud I recommend Richard Fitton-Perkins. He teaches classical arco double bass, jazz pizz double bass and bass guitar. You can find him via site called musicteacher.co.uk. I go for lessons and use his lovely double bass.

I just had my first theatre pit band experience playing bass for a very good amateur production of A Christmas Carol at Cheltenham Playhouse. The score is by Alan Menken (Disney composer). As I am an amateur player of modest ability I found some parts of it pretty demanding. Luckily the other musicians were fantastic. I had a great time and learned a lot. Here are some lesson that might be useful for other pit band novices: 1) Practice, practice, practice 2) Copy your score and put it together in such a way that page turns are minimised. (I bought an A3 ringbound drawing pad which enabled me to have up to four A4 pages in view at once, which meant I could do the page turns when I had rests.) I then attached a bit of hardboard to my music stand to support it. 3) If you are using a bass score that doesn’t include any words/lyrics then write some of them in. This will help keep track of where you are, and make life easier if you have 20 bar rests to count through, or tricky entries. 4) Make sure you have a decent music stand light. (I found that a cheap clip on lamp from B&Q did the trick, and meant I didn’t have to worry about flat batteries.) 5) If there is a professional sound system/foldback then consider going headphones into a DI, and do away with the amp. Controversial, I know, but in the confines of a tiny theatre pit you may not want an amp, unless you are prepared to sit on it. Wearing headphones should mean you can get your own mix, and protects you if your head is only 10 inches away from the crash cymbal (as mine was). 6) Make sure you can hear the cast, and ideally see them to. Singers will sometimes miss intros or come in at a random place in the bar, and it’s your job to support them. 7) But don’t start watching the show – you’ll get distracted. 8) Make friends with the sound guy, particularly if you aren’t using your own amp. 9) Make sure you can see the MD or conductor (if you are lucky enough to have one). (If you wear glasses then varifocals might be useful.) 10) Consider bringing a cushion to sit on and a water bottle to drink from. Don't have a curry before the show! In a confined space, comfort is everything. 11) Don’t worry about the mistakes you will inevitably make, just concentrate on playing the next three bars correctly, then the next three... 12) If you are playing every evening for four or five days, and twice on Saturday, then try and time off from your day job. You’ll be knackered. 13) Make friends with the cast. With the right people involved putting on a show can be a great, team-building experience. Hope this list helps someone, somewhere… Feel free to add more/better advice. Dave.

I remember watching it at the time - and him laughing about 'industrial language'.

I bought a BB1025 a couple of years ago and am well pleased. You get a passive bass that feels and sounds high quality, does the Precision thing (I'm told), but costs less (also has a J pick up and a surprisingly responsive tone control). I can't imagine that you would be disappointed - particularly for 499. They have just launched a new BB range so retailers must be clearing the old stock.

I saw Eric Bibb at Cheltenham Jazz - very good bluesman.

If the groove in the nut is cut too deep you could try putting a small blob of super glue in it. Or even a tiny piece of black tape. I fixed a buzzing string on my EUB that way.

There is one on gumtree in Bristol at the moment (I don't know the seller). I have one that I bought 3rd hand. Paid around 250 quid I think. I am very happy with it for playing pizz, but can't get a good arco sound (g string is OK but others sound too harsh, (this may be down to my set up and/or poor technique). I gig it regularly. Like the Staggs, they are budget instruments, and there are some simple upgrades that can improve them. These include: New strings - I have innovation honeys on mine If you are using the stock pick up try putting a thin piece of rubber inner tube between the foot of the bridge and the pick up, it gives a more double bass sound (The piezo pick up failed on mine so I replaced it with a Shadow pick up for around 100 quid, the one I got includes a little battery powered pre amp.) Upgrading the bridge altogether I replaced the metal tubular body rest thing with one I bodged together out of wood, which made it more comfortable to play. If you are looking to experiment with an EUB, with a view to playing pizz, and don't want to spend a fortune, I would go for it. They come up fairly often 2nd hand. They are also built like a battleship, as they are basically a great big lump of wood. -

There is a special effect that you get if you play right up to the bridge.... Ponticello https://www.youtube.com/watch?v=Z_GrrhecEvE

Everyone knows what a pain it is when there is some plonker in the band who continually wants to be turned up in the mix. My question is, what do you do when it is you? The band I'm in are good musicians and we are lucky to have very decent kit. We plug direct into a good quality pa, so no instrument amps. (We also use a Roland electronic drum kit.) When we gig I wear headphones for monitoring, which is fine. My issues are:[list] [*]When we rehearse it's a faff to use monitoring. We go through the PA but the soundie (who is nice chap, but not a musician) always sets the bass to be weak in the mix, audible but, to my ears, very much on the quiet side. (We have drums, keys, two guitars, brass, vocals, backing vocals, there's a lot going on!) [*](N.B. I don't think he's doing it because my playing is awful. I'm pretty sure it is OK. I think he genuinely believes that bass is something that should be present in the room, but not actually heard very much.) [*]I double on an EUB for some songs. I freely admit that I'm no great fretless player and really need to hear myself clearly to address my dodgy intonation. Not much chance of that. [*]Also, when you can't hear yourself well enough you start digging in too much, or making mistakes, or possibly not noticing the mistakes you are making! I find it a really disconcerting experience to hit notes and not hear them. [*]I am most concerned that if this is where he thinks bass should be in the mix, then this is how he mixes us live. [*](Interestingly, we did a support slot at a venue recently that had its own, very experienced sound guy, and he set the bass at about twice the 'normal' level in the mix. It was so clear out of the pa I didn't need to use the headphone monitors.) [/list] In this rehearsal situation I usually have ask to be turned up three or four times, just to get a reasonable level in the mix, which is frustrating. I don't want to be the twonk who continually asks to be turned up all the time. However, I'm also surprised that given the fact that I always ask to be turned up, that he doesn't just set the bass a bit higher. The rest of the band usually agree with me that the bass is too quiet. No one has ever said it is too loud, and I would happily be turned down if they did. Any constructive suggestions about how to to resolve this?

I emailed David Penning and he would be happy to run sessions for beginners/learners if we can get enough people to take part. Have attached the flyer for the workshops... The workshops happen on seven Sundays throughout the year, in Wells, Somerset. So if you are interested in attending such a session please email him on [email protected] (Please also post in this thread to encourage others!) He sounds like a very decent chap. His reply to me said: [color=#212121][font=wf_segoe-ui_normal,]You are more than welcome to come to the first meeting, possibly for [/font][/color][color=#212121][font=wf_segoe-ui_normal,]the morning, and if it's for you then join the WDBA and pay for the [/font][/color] [color=#212121][font=wf_segoe-ui_normal,]day, and if not then it is free of charge. Alternatively come for a few [/font][/color][color=#212121][font=wf_segoe-ui_normal,]hours as a spectator.[/font][/color]

The flyer on Martin Penning's website says that 'a beginners workshop will be run if there is sufficient interest'. So it might be worth us beginners getting in touch. David.

Great choice Leftybassman392! Here's a 'gospel genre' feel good song that agnostic sceptics (and anyone else) can enjoy. From the great Mavis Staples... https://www.youtube.com/watch?v=-dz-hXCIWhU

I was there too - and it was a fantastic gig. Tony Momrelle smashed it (as the young folks say), and the whole band were excellent. The song that Tony did with just piano accompaniment was an absolute show-stopper. I took my 15 year old son, who hasn't been to many gigs yet, and now he has extremely high expectations! We were sat in the raised seats just behind the sound desk, centre right. The sound was great, although once or twice I thought Tony's voice had a smidge more reverb on it than it needed - although this may have been to do with the venue. I would also have taken the snare down a little, but that's just personal preference.

I saw him at the Cheltenham Jazz Festival last night and he was very impressive. Well worth seeing if you get the chance. The stage was set up with keyboards, piano, bass guitar, EUB, percussion and drum kit, and I think a lot of the crowd were amazed when just one guy came out and played them all, in almost every song, building songs up with loops and layers and backing tracks. His multi-instrumental playing isn't just a gimmick, he is awesome at all of them! He did a lot of harmonies with his novation(?) synth but also did some straight vocals. His vocal range is astonishing, from bass to some insanely high falsetto. Not always easy to work out which bits he was playing live, which bits are loops that he creates 'live', and what is pre-recorded backing. I don't know whether he will turn out to be a great songwriter but certainly an absolutely amazing musician.

I like a bit of Lyle Lovett too. I find 'If I had a boat' very moving, though I'm not sure why, and there's that fantastic song with that includes the lyric 'the whole thing was paid for by the funeral director, who poisoned the saxophone section...'

Go forward three years... Here he is now - with Snarky Puppy. What a talent! https://www.youtube.com/watch?v=eqY3FaZmh-Y

Think Bilbo meant probably meant to type 'Stagg' electric double basses. I think these are sometimes rebadged 'Eastcoast', but appear to be the same thing. Check out the 'Stagg' thread in the Double bass/Electric upright section of basschat.

My subjective and non-expert opinions: Good stuff. Your singer has a good voice that is easy to listen to and the whole band sound solid. Songs sound professional, melodic and have a good structure. Bass sounds good throughout. I like songs with a mix of light and shade and so preferred the 'Busy' track as I think the vocal had a bit more of this. Constructive criticisms: I didn't notice any instrumental solos, or at least lead guitar or keys carrying the melody here or there, and I think a bit of that, here and there, might be add something. When the electric guitar was 'chugging' I found it obscuring the keys a bit too much. I preferred it when they were playing distinct parts. Maybe 'less is more' would be good on the rhythm guitar! Don't be afraid to leave some rests and gaps. I'd be happy to turn the electric guitar down a bit and the bass up a bit, but I would say that! Hope that is useful. It's meant to be positive!

The bass whisperer mentions single coil hum on his review of the 2024/5, so if it is an issue, it affects all the Yamaha BBs, even top of the range. I recently bought a 1025 and in the process had a chat with the guitar/bass tech guy at the Yamaha centre in London. I specifically asked about single coil hum and, in a nutshell, he said that the hum comes with the territory of having a J pickup. You can shield it, if it bothers you, but you may slightly alter the sound of the pick up in the process. There is a very slight hum on my bass, but only when the J pick up is soloed, and barely noticeable. Part and parcel of having an old school, passive bass.

My experience with Thomann has been good so far. Once had to send something back and got an immediate replacement, no bother.

Going to see Lizz Wright at the Chelt Jazz Festival. Worth a listen... Amazing Grace https://www.youtube.com/watch?v=CO6QMRV-Rn4 Speak your heart https://www.youtube.com/watch?v=R6NiZitg9l8

I would be happy to give it a go. I'm in Gloucester but could pop down to Bristol. There are a few more basschatters around Chelt/Glos who might be willing if you fancy a short trip up the M5. David.

Don't look! It's bad... http://www.ebay.co.uk/itm/Base-Guitar-5-String-Custom-Ibanez-Etc-/131753126363?hash=item1ead1929db:g:HnYAAOSwoBtW5~CM