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Staggering on

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Staggering on last won the day on December 13 2018

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    Ontario, Canada

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  1. KNA DB-1. Works for me and is easy to install, straight into amp or PA.
  2. I ordered the book when this was posted and got it yesterday. Interesting introduction and clear explanation of all the exercises and I have started this morning with the upper body section and will continue on with the wrist/hand exercises, but it's easy and makes sense. After 27 years of work as a farrier/blacksmith as well as playing bass(EB,EUB,DB) and guitar and banjo, carpal tunnel and other issues have created pain, limited movement and numbness and this book looks like a very good resource to try and deal with these problems. I'm learning a lot about my body as I am working on the exercises and will post an update as I progress through the book. I'd be interested in hearing from anyone else using this book. Thanks for suggesting the book.👍
  3. We do something in our jazz standards quartet that really works for us and is part of what makes our band different from a lot of others and the audience loves it. If we are in a club or hall we usually play three sets and between the second and third sets we hand out the play list of about 150 songs that we have in our book. We then play a couple of songs to start the last set and after that we take requests from the list and it is a lot of fun since we get requests for things we rarely play or weren't planning to play at that gig and the audience go home happy because we played their song, win /win as we see it. It has become a bit of a "trademark"of our band and we have played gigs where a small crowd showed up and we play requests from the list for part of all the sets. It keeps us on our toes and everyone goes home talking about the band and our regulars take the list so they can plan for the next time they see us. Of course we update the list periodically as we add or delete songs but that's easy to do. We don't do this at all of our gigs but the smaller clubs and venues where we have a more intimate setting and smaller audience are perfect and it always goes over well. Obviously this won't work for most bands but we have been doing it for 6 or 7 years now and for our type of music and audiences it's great.
  4. Some great advice here...thanks!😊 I will share these posts with the drummer/vibe player and piano player and try to find an approach that will work for us. It seems the best idea is to keep it simple but keep it moving(drive) and adjust as needed. We had a gig last night and did some of the vibe tunes in front of an audience that included a number of musicians and I was a bit nervous about how it would go but we got lots of compliments afterwards. We recorded it and the playback will give us an idea of how well things went. A friend told me she couldn't tell if the bass was a bit loud(I didn't think so at the time) or if it seemed louder because it was more obvious without drums. (As I'm typing this I received an email from the drummer/vibist who said "bass is never too loud", that's what I was hoping to hear.) The Nat Cole Trio suggestion is a good one. I have listened to him quite a bit over the years but I will be listening with fresh ears and learning from it. Thanks for your help, any more advice would be most welcome.
  5. Our jazz standards quartet(sax/clarinet,piano/vocals,drums, me on DB) has now added a few songs in each set where the drummer plays vibraphone and this has been a real eye opener for me. Instead of relying on the drums for rhythm and feel, the piano and bass are now the rhythm section and I am suddenly becoming aware of how much we have counted on the drummer and how important the bass has become. A subtle change on bass(rhythm, accent,timing, tempo) that would hardly be noticed with the drummer playing is now very apparent and I have to be a lot more careful to keep things at the same tempo and not do anything too silly. It's been interesting and a good learning experience and I find I am playing quite different bass lines from what I would play if he was on drums and at times I feel very exposed with no drum fills between phrases or at turn arounds. Anyone out there have any suggestions for playing in a situation like this? At this point he is playing mostly slow or medium tempo ballads and a bit of bossa.
  6. I have the SLB 200 and used it for gigs for 3 years before I got a DB. Now I use it at rehearsals instead of hauling the DB around and still use it on a few gigs where space is an issue. It is much better than the Stagg I had and sounds OK but I can't get the DB sound from it that some players can get as seen on videos. The body is fine with me and I feel comfortable with it even though it is not exactly like a DB.I have played an Eminence and loved the feel and sound which was more like a DB. I got a very good deal on my Yamaha (used) but new they are a crazy price. If I were looking for another EUB I would go for the Eminence or MK, good sound and they are cheaper than the SLB, but for the present it serves its purpose for me.
  7. Has anyone tried Zyex strings on an EUB? I'm about ready for some new strings on my Yamaha SLB 200 and I wondering if the Zyex lights that I really like on my DB would be a good choice. Any comments and suggestions would be most welcome.At present it still has the original Helicore Pizzicato strings on it.
  8. Try gelbass.com, that is the website for the company that builds them. I didn't see that part listed but it may be available if you contact them or they may suggest alternatives. Good luck, I have a Yamaha SLB 200 but I played an Emminence at the 2018 Double Bass Bash and it was great, excellent feel and sound.
  9. Yeah, I feel your pain. Last night our little jazz quartet played a gig and the very nice Bose PA that we have used for about three years was acting up and the two band members who usually run it couldn't solve the problems. It is being used for two bands and somehow the settings that are supposed to be saved get lost and no one seems to be able to reset them. As a result the vocals had some feedback and my upright bass sounded dead. The main problem is that neither of the band members that run the system knows anything about PA's or electronics and they just start twiddling knobs and pushing buttons and talking about what it says in the manual. Our last two gigs had perfect sound but last night was embarrassing and unprofessional. I have suggested hiring someone at my expense to teach us how to operate this very nice PA but so far that hasn't happened, maybe this will be the event that sparks a change.
  10. The elegant solution used on the Aria would be the best way to go but some folks on here have used a "T" shaped endpin to prevent the spinning of EUB's and that might work as a temporary method. A short piece of steel is welded to the endpin, in fact at least one EUB comes with the endpin built this way.
  11. And here was me all excited thinking this was a thread about my country.😕
  12. Absolutely! First gig when I was 16, still gigging at 73 and not done yet.
  13. Oops! I just reread the OP and realized that I talked about my old guitar and banjo and that guitars were not included in the topic, I saw bass but missed the guitar in the OP. I usually get upset when other people do things like this and I am suitably contrite, sorry about that. Must read more carefully.🙄 I guess the straps for both those instruments would be OK for this topic, I made them myself when I bought each instrument. I also have a few late '60's Gibson guitar strings in the old paper envelopes that for some reason I never used but stayed in the case all these years and also the original case for the banjo.
  14. Now that sounds like a great gig. Lucky you!👏😁
  15. And here's one of the few selfies that I have taken, this one done old school with a timer on a camera, not a phone.😊
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