teej

I carry my bass about a lot and so I really want to get a bass wheel, but when I looked at the endpin to check the diameter I found that the pin won't fully remove. I've pulled it out about 9 inches and it's stuck. Don't really want to use any more force than I've tried so far. Anyone else come across this? Presumably I can remove the endpin unit from the bass and check what's going on, maybe saw off whatever's obstructing the pin? By the way the bass is a '69 excelsior (boosey and hawkes).
Cheers, Teej

Wow - how to choose?

For me rockers are out - surely that stuff's hot not cool? (with the possible exception of The Ox).

So, maybe George Porter Jnr, Meters (thanks Capt Bassman - didn't know his name), for laying down grooves that make me grin. Or James Jamerson for more instantly recognisable no1 solid gold hits than any other bassman ever (probably). Bootsy, anyone? Me'shell for that killer riff on 'If That's Your Boyfriend'.

What about Chris Woods (Medeski, Martin and Woods)?

But I'm an upright bluesman so: Willie Dixon for so many classic blues hits, and for playing with Muddy, The Wolf and Chuck Berry. Ernest Big' Crawford for that amazing syncopated line to Muddy's 'I Can't Be Satisfied'.

All of these players exude some kind of cool... but how about this:

Bill Black - for being in on that seminal Sun Studios session with Elvis and Scotty Moore, and especially for 'Heartbreak Hotel'.

[quote name='Sarah5string' post='260622' date='Aug 12 2008, 09:35 AM']My first gig ever, am I bricking it? Heeeeell no! Can't wait! Come see us and say hi!

£4 on the door, doors 8pm. 18+ only.

[/quote]
yeah - get stuck in, it's a real buzz!

[quote name='Stag' post='260583' date='Aug 12 2008, 08:44 AM']I have four - one is my workhorse (Ric 4001), one is for rehearsals and ease of portability (Musicmaster), one is fretless (Aria) and one is always in an odd tuning (Washburn, currently in drop C).

Although I might end owning another one by the end of the day - curse you, GAS![/quote]

My first real bass was a musicmaster (lovely little instrument), and I had a fantastic Aria fretless (both gone). Still got the Ric 4001 though! And a Gibson EB3. They don't see much use, though, 'cause I work with a '69 Excelsior Upright. Also still have my first upright - a handbuilt one-off chamber bass (a little bigger than half-size), maybe 19th century, in need of work and too precious to gig.

Oh ok, maybe it's safe here to confess - I've got a fretted/fretless custom twin-neck bass a mate built for me maybe 20 years ago when he first got into building (now has his own shop - [url="http://www.haywardguitars.co.uk/"]Hayward Guitars[/url], that's a pic of him playing it back in the day at the top of his homepage). I really did use to gig it, it sounds fab, and was really handy 'cause the frontman never worked to a set list and would jumble up the fretted and fretless songs, saved the hassle of changing instrument every song, if not my back!

Plus mr Hayward's old fender acoustic guitar (a gift), and a banjo.

Hi tinyd, like the sound of the afro-cuban outfit - well I've never played an EUB, much less a Stagg, but I made the transition from a slab to the upright about 20 years ago, never looked back. So my first reaction to your post was 'what the hell, just go straight to upright if that's what you want to play, shop around, you'll find one cheaper if you wait a bit', then I thought, 'well hang on, maybe you've got a point'.

Like I said, I've never played an EUB, so I can't comment on 'bad habits'. I guess an EUB will prepare you for the change in scale length and the angle of play, and would allow you to start gigging sooner. You can then gain experience and confidence, and work out whether it's for you. But, I doubt if it will prepare you for the physical challenge of getting a decent note out of an acoustic double bass. It's not just a question of technique, it really does need a lot more effort than a bass guitar. Plus, all the issues of amplifying a big acoustic instrument, that's knowledge and experience you could do with sooner rather than later. And (the real reason I started playing upright) - you can play it acoustically: when I first started playing I gigged regularly in a wholly acoustic old-time blues trio (guitar, washboard, upright bass), sometimes I still play acoustic at restaurant gigs.

I can totally see your reasons for considering the option as a step towards the real deal, and I have to confess that I'm looking at getting an EUB for travelling/flying (Eminence is getting my vote so far), but I'm glad I just jumped in at the deep end (pun intended). I'm looking forward to hearing what other players have to say, and to hearing what you decide and how you get on... cheers, Teej

and now for something completely different:



Red Jackson, Windsor, winter 2006

Hi there,
I've been enjoying reading posts in this forum after I came across it a week or so ago, and I just had to sign up and join in.

I've been playing bass for just over 30 years, 20 of those on upright. In fact, I've hardly touched a bass guitar in the last 15 years. I play a 1969 Excelsior: a Boosey and Hawkes import from Czechoslovakia (that's what it was called then anyway), but there's also a Rickenbacker 2001 and a Gibson EB3 neither of which I can bring myself to part with.

The upright has an Underwood pickup, and I use a Fishman Pro EQ preamp into the band's Yamaha Stage Pas 500. Sometimes I use a Polytone Mini-Brute amp, but I like the sound of the pa better - it's much more natural.

I work with Red Jackson, a blues trio, playing a mix of old-time delta blues and ragtime, boogie, chicago blues, new orleans grooves, jump jive/swing and rockabilly. It's the best band I've played with and I really look forward to going to work. We're all pro musicians, and our angle on that is busking: we take our show onto the streets of busy towns in the south of England with a small suitcase generator and pa system, selling cds and shifting the business card. About 95% of our work comes this way, from people who've seen us perform and want to buy a piece of that for their event.

I also work with a jazz/cabaret/comedy quartet called The Ukes of Hazzard (3 ukuleles and me on upright). Funnily enough, that's 'for fun' - and it is fun - but it's much harder work. Fortunately it's starting to pay as well.

Well, I think I've rambled enough for now, cheers...