Staggering on

Yes,I played my old Yamaha RBX750A with flats for almost 25 years in a big swing band and several smaller bands before I went over to the dark side and started playing upright.A double bass would have been my first choice but in this climate(very cold and very hot) and my small house the EUB made more sense.By the way,I use a Laney RB5(rare on this side of the Atlantic) for home practice but for gigs go direct into the band's PA,makes for a good sound through our Bose L1 system.
A few of the resources I used -
-Geoff Chalmers discoverdoublebass website-good beginner and more advanced lessons-not intimidating and each lesson is short and easy to follow

-Jim Stinnett's lessons on line-he also has books-he does EB and Double Bass stuff and some things(walking bass lines etc.) are useful for both instruments and you can download some of his written stuff-I found a lot of his ideas easy to understand and use-very relaxed and not too stressful

-The Jazz Bass Book by John Goldsby-good history and all kinds of stuff to work on in the instruction part of the book,some advanced stuff too which will take me a lot of time to work through

I have looked at a lot of sites in the last 2 1/2 years and have copied fingering charts and other things from some and just listened to others.The ones above were the ones that I thought of first,I'm sure I'll think of some others after I send this.(...slaps forehead..."oh yeah,I forgot that one...")
It helps if you read but a lot of the material is done as a demonstration and may or not show the notation.Be forewarned that there are some absolutely terrible videos out there,both in terms of information and production,some are embarrassing to watch.I started with Geoff and then moved on to other sites and it has worked for me,some other BC members may have other suggestions,particularly for specific types of music.
It's pretty frustrating at the start but as you pick up some technique it gets to be fun and very satisfying and of course because you are playing upright you start to feel like a "real" bass player,if you know what I mean.

I had the Stagg for about 8 months before I found the SLB200.I played pretty much every day for most of that time through a long Canadian winter and made a lot of progress but didn't use it on a gig until I felt confident,around six months.Since then I have continued to play the SLB almost daily and would consider myself fairly competent for the type of music I play in my band.Some days I will only have a few minutes to play and other times I'll play for a couple of hours,you need to put in some longish sessions if you plan to play at a gig all night,it's pretty physical. I used a lot of online material and several books and my reading(especially sight reading) has improved immensely and my intonation is getting better.I am struggling with the bow but having fun with it and it has improved my left hand work and intonation,although I suspect most of the dogs in the neighbourhood start howling when I start my arco practice!
As many people have found,going upright is addictive and always a challenge but it is so much FUN!

I may be the only other person who didn't know about it but thanks for passing on the info.This is really interesting listening.

Bob

I had a Stagg and now play a Yamaha SLB200.Among other things I have found the body extensions("arms")on the Yamaha are much more comfortable and solid than on the Stagg and you can really use them for supporting the instrument.The neck heel is better on the Yamaha and is easier to use.
I think the tuners work better and the tone and volume controls are very sensitive and can be used to define your sound very effectively,much better than the Stagg.
The overall quality of the build makes the SLB feel much more solid and stable than the Stagg,but I did have to do some work on the endpin screw after it stripped(seems to be fairly common).
I like the sound from the body of the Yamaha,the Stagg is solid with no chamber.The fingerboard is much better on the Yamaha also,better shape and finish.The case is also better which makes a big difference if you have to move the bass a lot,it's not perfect but is definitely more substantial than the Stagg cases,I had the Stagg gig bag and also their hard case and both were pretty flimsy.
I am still working on basic arco technique but it is easier with the Yamaha bridge shape than it was on the Stagg.
Playability,comfort and good controls make the SLB a lot easier to play and sound better than the Stagg.
I use it in a jazz standards quartet(keyboard,drums,sax/clarinet) and while it doesn't sound like an acoustic upright it is close and I can fine tune the sound to work in a variety of venues.
All that said,it is very expensive and there might be other more reasonably priced alternatives like the Far West or MK(Italian) EUB's that are as good or better than the Yamaha.At this point I'm very happy with the SLB200.

Some lessons are done via Skype which means it is a live two way interactive session.The student can see and hear the instructor and he can watch and listen to the student.I haven't done it but apparently it is very effective and about as close to face to face as you can get.Anybody on here tried it?
I'm in Canada and I don't know if this is a thing that only happens on this side of the Atlantic.

To answer your question,no it's not wrong.I find it interesting that "pay" is in your posting and I wonder if you meant "play"-a bit of a Feudian slip or just an accident?Does the type of gig(paid or free) make a difference?
To me I think you just do what you want and don't worry about what others may think.I happen to like a tight well-organized band that knows what they are doing.I also like to practice a lot(mostly EUB these days) and work on new ideas and music and like rehearsing with the band and I love playing gigs which I have been doing for 56 years and plan to keep going as long as I can(I'm 70).Others may like to be bedroom noodlers and that is fine but I like to play with and for people.I play music for fun and a bit of money and it works for me,no worries or concern about what I "should" be doing.
I have done everything from folk guitar work by myself to groups as big a 18(swing band) and am currently in a jazz standards quartet that gigs once or twice a month with no delusions,we just enjoy doing what we do and with 3 music teachers in the group it is always challenging but we have no ego problems and like to work hard on new music(over 140 songs in our regular book and about 50 more for special occasions).
Just have fun.

At first glance(it's still early here in Canada)I thought the subject started with "changing genders",now that might be a real challenge!

Ah,the upright has seduced you too!I went from EB to a Stagg about 3 years ago and it just "felt right",particularly for the jazz standards my band plays.All of a sudden I felt like a "real" bass player(apologies for that) and started to really learn how to play properly(even working with the bow) and I am a much better player than I ever was on EB.I moved up to a Yamaha SLB 200 and absolutely love it and now feel awkward playing EB which seems "easy" to play now,even if only for a few songs.This slippery slope can lead to an acoustic double bass but so far I have resisted....so far....

I have learned a lot from him-he has BG and DB videos and I have found him easy to follow and not intimidating like some instructors are.Apparently he is loved or laughed at by his students but he has a lot of good ideas and I found his videos to be informative and fun,but maybe that's just me.I especially like his double bass lessons,they have helped make my playing on my Yamaha SLB 200 a lot better and more musical.

It's worse if you play upright bass.Check out Jay Leonhart's video "It's impossible to sing and play the bass".And even worse if you are using the bow!

As one of the "old people"(I'm 70) that the boy refers to I am part of a generation that doesn't need smilies to indicate that something is humorous.Of course it was meant to be a gentle dig but it is funny and a lot of us know that it is often true.Relax and let the words speak for themselves and laugh a little.
Note that I will NOT be using smilies or any other of those new-fangled things and I don't think I need a "hehe" either.Calm down.

I really don't think that anyone actually needs a watch to tell the time while they are on stage performing. If you've done your pre-gig preparation properly then you'll know how long the set lasts and also how long each individual song is so that you can adjust as required to take account of any over-run.
(quote)
I've never been in a band where sets were designed to the minute and where every night the set is exactly the same.Guess you just ignore the audience and do your thing.Sounds like a boring job to me.

Pretty good price for an SLB I think.It would be a good price here in Canada.

The SLB200 can be had used at the price TheRev quotes but new is a lot more.You might find one on in the ads on this site.

I started with a Stagg and then switched to a Yamaha SLB200.Its neck is very similar to a DB and with the stock strings and the adjustable bridge it can be set up very well.I play in a jazz standards quartet and we play some blues and old rock 'n roll as well and it works great for me.It took me a while to get the sound I wanted but the volume and tone controls are VERY sensitive and some time spent fiddling with them is time well spent,many small adjustments can make a huge difference in the sound.Your amp settings will obviously have an impact too.
I use my Laney RB5 for home practice and some gigs but usually plug directly into our Bose PA for most gigs,fantastic but expensive sound.
They are on the high end of the price scale but are reliable and sound and feel great.After almost two years of using it I have no complaints and still love it.I am currently working on my arco technique and although I'm not very good at it I do find the SLB200 works well when bowed.

Live music in pubs and clubs is fast disappearing here in Canada too.Bands are being replaced by singles or duos with backing tracks(or not) and DJ's in venues that used to hire bands.Many functions such as wedding receptions are going the same route.As a quartet that plays mostly jazz standards we can fit in at receptions and dinners playing "wallpaper music"and we also play at a few venues as "the band" where we are the main attraction at a club or pub,but is tough to find work.
After our gig last night I was watching late news on TV and heard that one of Toronto's most famous clubs Hugh's Room will be shutting down for a while to consider if they can continue as a live music club.Hugh's Room has featured big names as well as new talent for years and is one of the best known venues for live music in this country.Several other club owners were interviewed in the story and they are all wondering how long they can go on.One said that at least one generation has had no experience hearing live music in anything other than large halls and arenas or stadiums with various rock bands.Students,who for generations made up a large part of the pub clientele,can't afford the steep prices and the hassles of transportation so stay home to party and stream their music.For those of us "of a certain age" this seems to be odd but it is the way it is now and unlikely to change.Many of you will have noticed that younger crowds don't know how to respond to live entertainment of any sort(except large concerts) mostly because they have never seen live musicians or theatre.
All this is awfully depressing but I guess it's the way it is going to be for a while.A far cry from when I was in bands that played six nights a week in pubs and clubs.Not good news for those of us that like playing for an audience and get a buzz out of gigging.
Not sure what the future holds but we are hanging in for the present but I feel sorry for new bands trying to find a place to play.

Jackie Evancho will be singing at Trump's inauguration,could be interesting.
She is quite well known over here in North America and is maturing into a great singer.There are lots of videos of her performances.

Bob(in Canada)

[quote name='leschirons' timestamp='1483994995' post='3211864']
The reason people (myself included) post these things is usually, (whether a fan or not) that some of these people formed part of the soundtrack to their lives.

I personally couldn't stand "Where do you go to my lovely" however, it was continuously on the radio and T.V in a certain period of my life and therefore, became part of the backdrop to it and yes, it does make us realise that we aren't immortal as we subconsciously think that those famous names we grew up with will always be there.

It also gives some people the chance to reminisce a little if they want to.

It's not really an unhealthy obsession with celebrity death, just another way of marking the passage through our own lives.
[/quote]

I agree,although I actually did like the song since I was in my guitar playing student folky phase at the time.
I especially like the "passage of time" idea and marvel at the fact that I was a mere 23 year old when the song was a hit and so much has happened to me since, but I can still feel the energy and emotion that I felt way back then when I think of or hear that song.It takes me to an interesting time and place.And life goes on,and that's a good thing,it's not an obsession, it is just life.

Bob

Sarstedt-big hit in Canada too.I don't think anyone could cover his music,certainly not "Where do you go to...".And that was in '69,where did the time go-he was 75.
A special talent.

Love it!How do I join the group?

I am so lucky.I live in a very rural part of Ontario in Canada almost 5 hours north of Toronto.My nearest neighbours are over a quarter mile away and we live in an area of dense forest so sound does not travel very far.I can play my basses,guitar and banjo at any volume I please at any time of the day or night and no one will hear anything.I have also had wonderful late night/early morning binges of playing CDs or my old vinyl records at crazy loud volumes.Sometimes a loud party outside in the summer can be heard faintly but that is rare-I guess I live in a musician's dream location.On my visits to Canadian towns and cities and on the occasions when I have been in England I often wonder how people manage to play instruments in such crowded places and count my lucky stars that I found this place to live.
I spent about half of my 70(gasp)years living in cities but the last 37 years out here in the country have been the best.On top of that it is cheap!
Visitors welcome any time.

After two days of use the G10 transmitter began to work perfectly or not at all and the LED on it would flash green indicating an electronic(vs mechanical) problem but only with the EUB,it was OK with BG.I checked the Line 6 site and some forums and found that a few other people have had this problem-works great and then dies.Since I was planning to use it at gigs I need something that always works and that I don't need to worry about I returned it for a refund instead of a replacement.As I said in earlier posts,the convenience and sound were great but I don't feel I can trust it so it's back to the cable for my gig today and perhaps another foray into the wireless world in the future.From what I have read most people have no problems with the product but after my experience I don't have confidence in it. Too bad,it was great when it was working.

We don't often get the ideal 7' of space and were worried about it but even when it is set up only slightly behind us it is still great.Our last gig was in a very small place where we set up on the floor because there is no stage at all and we were lined up against a wall with the system practically in line with us and it worked.One of the nice things is that you don't need space for other speakers and monitors so the band can set up in very tight areas,maybe not ideal but it works and the sound is great,very clean and crisp and because the 24 speakers are set at different angles the sound fills the whole space in the room.I was a skeptic as I said earlier, but for a lot of groups this is a good way to go and I expect we will see a lot more of them as time goes on. Some musicians can't imagine using one of these odd looking things and it certainly lacks the visual impact of a stage full of gear but the sound is fantastic.We have been asked "where is your PA" more than once.It sort of reminds me of some headless basses and EUB's that don't look "right" but sound great.

I'll try to explain our system Phil.We are 4 piece(keyboard/vocal,sax/clarinet,drums,bass)that plays jazz standards in clubs,bars,halls and variety of indoor and outdoor venues with an audience ranging from a few dozen to over 300.We play receptions,private parties,dinners and even dances and sometimes are background "wallpaper music" and sometimes are a show or dance band.
After struggling with a variety of PA's we decided to try the Bose L1 Model II(24 speakers) with the Bose ToneMatch(mixer) and a Bose bass module.It is not a cheap option but it works for us.We also use a small mixer so we can add other things to the Bose mixer.The ToneMatch has EQ for each input and my Yamaha SLB200 EUB has very sensitive bass and treble controls and that combination works well for me.
When you set up the Bose system they suggest that it works best if you can place it about 7 feet behind the band and in that location it acts as a monitor as well as main speaker.That may sound kind of odd but it works well for us,amazing sound and the 24 speakers disperse the sound in a way that isn't too loud for us and is loud for the audience.We did a lot of research before we bought the system and I was very skeptical about the claims from Bose that it would be capable of handling an audience of up to 500 and be used as a monitor as well but it works for us.It is surprisingly powerful and loud.
It doesn't take much space,is fast to set up and provides all the inputs and controls our band needs and has no other speakers to set up and no cables all over the stage.Some rock and country bands use one system for each player(there are videos) but we get by with just the one.
It is a good system for a lot of bands that play in a lot of different sized venues and with the ToneMatch mixer is very versatile.I have not had the chance to try my new wireless system yet but will try it at a gig next week and based on how well it works with my little Laney combo(no comments please) I'm sure it will be fine.
I am sure it would not be suitable for a lot of types of music and it doesn't look like "a real PA" but it is worth checking out for acoustic or semi-acoustic bands and a lot of jazz bands.

I got my G10 yesterday and tried it out at home and I love it.
Small,easy to set up,great sound and silent when switching instruments-all the things I was looking for.I will try it at our gig next week and go straight into the PA .As a bonus I can spin my EUB...now that could be dangerous!