neilp

15 April is in my diary

I'm up for it, as long as there's plenty of notice. I missed the last one, sadly

Thats because they are entirely different. Just happen to both have four strings and tuned the same. If you want a double bass to sound good, it needs a minimum string length and a certain minimum volume of air in the box. Get a 3/4 and enjoy

A four string with an extension is a much more generally wieldy weapon than a five, and my Barnaby mechanical extension is a thing of beauty. I'd definitely recommend it, even though it is pricey. Horses for courses I guess.

I certainly wouldn't advise anyone to start from scratch with just online lessons. You really need to be guided to how it FEELS when everything is right, and you won't get that from a video. There's so much that can go wrong without you realising, and that could make life impossible further down the line. The basics are vital. As Gary Karr says "playing the bass is either really easy or it's impossible". The basics are what determines which it is!

I only play orchestral and chamber music on double bass, and I have a low C extension. This, for me, is a far better solution on the occasions when I need something below the E. I totally get that for other types of music you might want the extra string, and I suspect if you play almost all pizz, most of my objections vanish. It would be very dull if we all liked the same things, but I'd urge you to try a good 4 with an extension.

For what it's worth, I'm not a huge fan of 5 string bass guitars either....

Neil

I find it hard to believe that, in the modern world, anyone gives any kind of public performance for reward without PL insurance. As has already been said, MU gives it for free along with £3k worth of instrument cover (I think its £3k but I could be wrong). I have even been asked for details of my PL insurance....

Electric gear is all insured, and lets face it, even a Wal can be replaced pretty easily. Put it in its case during the break, its in your hands the rest of the time. I try not to be precious about these things. I'd be gutted if any of my basses got damaged, but that's life....

I've never met a five string DB that I liked, regardless of price, and I've played £30,000 five strings. Too fat, bulky and just plain hard work. Put an extension on a suitable four and enjoy.

Try one first, you might like it, but I hate them with a passion and I'd hate to think of anyone lumbered with that....

1 - Led Zeppelin 2
2 - Rush 2112
3 - Cream Wheels of Fire
4 - Motorhead Motorhead
5 - Iron Maiden The Number of The Beast

All oldish, I admit, but I'm oldish too....

I take the same two basses to almost every gig I play. The SB1000 and the Wal fretless cover just about every noise I want to make. Occasionally the Cort gets an outing just for fun. I don't take a spare as such. If I don't need the fretless I don't take it. Likewise with the fretted. It's not that unusual to play the whole gig on fretless...

Sometimes. It's an effect. I wouldn't use it permanently any more than I would a chorus or a delay. It's a good way of getting a fatter, smoother sound. I don't always want to sound smooth...

There is some fraud and naughtiness in the string instrument world, but it's mostly fueled by people wanting something for nothing and taking no account of provenance and not doing their research. My double bass is probably - almost certainly - around 1830, built in one of countless workshops in the Mittenwald of Germany. No label, no name so it's almost worthless to a collector. To a player? Sounds fabulous, focussed, rich, loud and even. Easy to play and generally great. If it had a label and a good makers name on the label I could probably ask £30k for it. Would the label make it intrinsically a better bass?

[quote name='T-Bay' timestamp='1499886984' post='3334362']
Hmmm, did theyngetbthere by worrying about every single tiny mistake and perfecting it, or did they get there by having a passion for what they did and living the moment flat out and loving it which came across to the audience who were more interested in the eneergy than a perfect display of musicianship.

If I want perfect music I will watch an orchestra, I want a gig to be full of energy and hit me hard, if that means they make a mistake or two who cares? I won't notice as I am enjoying myself too much.
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Why does everyone thing there's this divide in energy, spark, spotaneity between a "gig" and an orchestral performance? If you want to be "hit hard" try the Berlin Phil playing Prokofiev or Mahler. Great musicians put their heart and soul in, regardless whether they are sitting down reading the notes or giving it large with their foot on the wedge.

Blue is right. We should strive to be note-perfect AND passionate. It can be done, it is done day in, day out all over the world. Don't settle for less.

I'd probably sell any of them if the right offer was made. I won't ever sell my Andrew McGill bow, just because it suits me so perfectly I'm not sure I could ever replace it! Everything else I would sell if the price was right, but I don't think anyone would offer enough to make me part with the Aria SB1000. I could be wrong,but I think it would have to be enough for me to order a new Wal!!!

2000 grit paper, 0000 grade wire wool then 3 or 4 coats of Danish oil would be my choice, but any of the approaches above will work as long as you're thorough

Now that's an idea!

I've got several music stands thanks, Hiram. Some play better than others!

With regard to upgrading amps/cabs, to what end? I have a sound from the rig that I'm happy with, and the different sounds from the basses give me the variety I need.

I do gig, maybe I m bored. As far as budget goes, I don't really mind. I thought about a fretted Wal to match the fretless, but that did seem a tad extravagant! Maybe an Alembic never played one but who knows? I know one thing, the Aria isn't going anywhere! Love it too much

I know I have a tendency to be a bit stuck in my ways, so I thought I'd see if I can make a change. I've had my Aria SB 1000 for over 30 years now, and I love it. It has occurred to me though that there might be modern alternatives worth a look. So, given that I love the SB, the way it feels and the way it sounds, and I also love my Wal fretless, give me some ideas for a bass that might replace my Aria. I don't do 5 string, don't like them.

So what you got?

It always makes me laugh when people trot out the "why do orchestras use charts to play 200 year old music". Try it. Go on. 2 days rehearsal for, say, a 15 minute overture, 35 minute concerto and a 45 minute symphony. Yes, maybe you've played it all before, but last time you had 2 rehearsals before the gig too. Not every Wednesday night for 8 months. And by the way, you can't just wing it, change your part because you fancy it, or make it up cos you get lost. That sh*t will get you fired. Every note needs to be right, right note, right articulation, right bowing, right phrasing, right dynamics. And guess how many repeated sections there are in, say, Beethoven 9? None. So if you think you can learn a 40 minute symphony in a week, by all means take the piss out of orchestral musicians. It's a different, infinitely more detailed and precise world. That's why they use stands

That really does show how much difference it makes to me - it turns out the Jazz has a satin neck after all!

Really don't care....

Cort B4FL. OK, it's active, but you don't have to switch it on. Sounds great, plays great

Look for a nice VM Squier. I've owned an American Standard, and thought it was overpriced. The VM Squiers are great. No idea what wood they're made of (does it matter? Really? Your fingers, amp and cab make far,far more difference) but my VM Jazz is lovely

Makes no odds to me at all. I have 4 basses, the Aria SB1000 (fretted) and the Jazz (fretless) have gloss necks. The Wal and the Cort (both fretless) have satin finishes. All 4 play beautifully, it never occurs to me what finish it is. I have no problems swapping from one to another, even though the finishes are different. To be honest, I've never understood the thing about neck profiles and string spacing either. All my basses are very different, all feel great, all get played regularly. I use the one that has the sound I want.

Reasons for not quitting: great songs, great guitar player, great singer, who are both great people too

Reasons I might quit: Drummers......