Richard Jinman

Lovely looking thing... glwts

Having decided to settle on a French grip bow I thought I’d sell two German grip bows I’ve acquired. 
 

the best one is marked Guasti & Bottoni and is (I believe) Pernambuco. I bought it from a classical player for £160. It could do with a re-hair, but there’s plenty there to be getting on with. 
 

The G&B bow is the one at top of the picture directly below this text. 
 

the other bow does not have a maker’s stamp and is priced to let someone answer the question ‘Will I get on with German grip’ without breaking the bank. Buyers pay postage, but shouldn’t be much. 

Good point about GAS (classical gas?). I too used to trade bass guitars on a whim, but in the DB world you’re forced to commit. Once you’ve got a bow, a quiver and a stand (optional) you’re pretty much out of options in the accessory market. And the strings last 10 years and take 10 hours to attach so that’s 

not a GAS option. No, it’s only when you decide to amplify the damn thing and type ‘what’s the best pick up for double bass’ into Google that your troubles start.

Just now, NickA said:

I had one on loan from Turners for weeks.  I had to pay them £40 for insurance and they kept my own bass for "evaluation" and as security.  They were in no rush for me to return it.  I got to play it at home and take it to orchestra a few times ... well worth £40.

 

Didn't buy it, the price differential was still too much for the difference in quality.

… and that last point is worth it’s own thread. Like hi fi and wine the 5 per cent improvement in sound seems to require an 80 per cent increase in expenditure 

10 hours ago, Burns-bass said:

I benefitted from the advice of an expert when I bought my bass. It’s worth bringing someone with you that can play for several reasons…

 

You can both play the bass and hear it being played (projection, sound quality etc).

 

They’re likely to spot things you won’t about the construction and playability.

 

You won’t be lonely on the journey. 
 

Perhaps someone here might be able to help you? I would if I could play and had any idea what I’m doing (which I don’t).

 

 

Good tip… 

20 hours ago, Bloopdad1 said:

From your original post you mentioned that you'd seen similar German basses from the 1880's with dramatically differing prices... 

It's all about the sound, feel and projection. 

They're priced differently because they sound / play differently. 

 

Firstly (and most importantly) It's all about the sound and playability. 

Secondary the condition. 

Third, it's about the pedigree / provenance (resale value) 

Fourth, the construction / woods. 

Fith, can you convince the missus you're buying another bass....? 

 

A '70's P bass - you kinda know what you're getting as it's a factory made instrument...

Luthier made instruments differ massively from one to the other. 

I know of a 250yr old Italian Ceruti bass that was sold recently for $250,000 in NY, it did the rounds in the UK in the '80's and' 90's before it went across the pond, I played it once (as did loads of others when they were trying to sell it) - It just didn't make a sound - a complete dog! I've played plywood instruments that sounded much better! But because it's a Ceruti, people (well, Americans, ha, ha) forked out for it. 

 

As advised, try as many basses as you can. You'll soon discover what price mark you need to be looking at. Also, only go to trusted dealers or better still, talk to players in your local pro orchestra. Many will know of a decent bass for sale. 

 

One tip - steer clear of a pristine condition old bass. It obviously hasn't been played as often, they just don't seem work so players park them up and avoid them (like the Ceruti mentioned above) - better to go for a battered, scratched, chipped one.... It's been played every week all of its life for the last +100yrs because it just works - "it's a good 'un". 

 

Good luck hunting for your instrument. 

 

Thanks for the detailed reoly

8 minutes ago, Beer of the Bass said:

I'm not sure about the correlation between insurance valuations and realistic sale prices. My bass came with a valuation written in the late 90s for £2750, and I feel that even ignoring inflation and that it's had a good new fingerboard fitted since, that would be an ambitious price if I were to try and sell it.

Yes, I agree… I think there’s usually an enormous gap between insurance valuations and realistic selling prices. Selling a secondhand DB isn’t easy in my experience. It’s a small market and people are unlikely to buy without trying the bass first… all adds up to sluggish sales. Unless it’s a red hot bargain of course. 

1 hour ago, JoeEvans said:

Or to short cut all of the above, pick it up, pluck an open A, rate the magic from 0 to 10 and value accordingly...

I think this is a great idea, but I guess my point about pricing is really a question about resale value. If I drop £5k on a secondhand bass (not an inconsequential amount of money for me) it would be good to know I’ve paid a competitive price for it. If you buy a 70s precision you’re pretty confident it’s worth circa £2k - £3k for eg. But DBs (magical A strings notwithstanding) seem to be a free fire zone. 

I’m starting to look to upgrade my DB and despite doing some research online I’m still intrigued/confused by the prices attached to used basses. I realise of course that anything is ‘worth’ what someone will pay for it and I also know I need to play a bass before buying. But with that set aside I find it odd to see (for example) two German basses both made circa 1880 priced at £3200 and £7500 respectively. In other cases the ad will say ‘maker unknown, but possibly….’  And the price will still be well over £5k. Perhaps some people are getting insurance valuations and using them as sale prices… but it feels like the Wild West compared to the electric bass market where price parameters are fairly consistent. Any thoughts?

Perfect… thanks very much

I have to go to Hamburg in a couple of weeks and was wondering if anyone knows if there’s a good DB shop in the city? Thanks

any pictures?

PM’d

PM’d

On a related matter, I've just bought an AI clarus focus 2r version iii (what a mouthful) as a backup to my newish AI clarus. Does anyone use one of these? It's got a range of effects which I'm unlikely to use (delay on a double bass?), but I'm intrigued by the 'hall' setting which the manual suggests is for small rooms/chamber music. At the moment I'm just bypassing the effects, but I'd be intrigued to know if any DB players use them and why?

Just reporting back on my AI clarus and Barefaced Super Midget set up. As suggested it's pretty incredible. Played a big room last night using the Clarus/SM as a monitor and DI'd to a PA. Admittedly I was in a corner at the back of the stage, but with the cab angled up towards me I could hear every note (and mistake). So, thumbs up for this combo. 

Sold my Ai Doubleshot to Marc. Lovely bloke. 

Yet another reason why DBs are better than violins

Imagined it was people using DB’s as canoes… which to be fair would make good telly. 

Yes, it’s a close call. I love the sound I get from the Doubleshot, but it’s a more dispersed sound… perfect for jazz and smaller gigs. Has anyone ever had a successful word with a drummer?

This Acoustic Image Doubleshot is essentially new as I bought it from Laurence (who ran AI Europe) a couple of months ago. It comes with the AI Mooradian backpack which will take a smaller head (such as the AI Clarus) and all the cables you need. So, you can move a DB and your amplification in one go (assuming it’s not a massive trek). I’m selling it because I’ve started playing with an, erm, enthusiastic drummer, and need a bigger cab to keep up. The Doubleshot is perfect for smaller gigs, fantastic neutral sound as you’d expect. I paid £469 for the cab and £78 for the backpack, so consider this a decent price for gear that’s been used at a couple of rehearsals. All technical specs are available online (despite AI’s sad demise). Happy to post at buyer’s expense. 

This Acoustic Image Doubleshot is essentially new as I bought it from Laurence (who ran AI Europe) a couple of months ago. It comes with the AI Mooradian backpack which will take a smaller head (such as the AI Clarus) and all the cables you need. So, you can move a DB and your amplification in one go (assuming it’s not a massive trek). I’m selling it because I’ve started playing with an, erm, enthusiastic drummer, and need a bigger cab to keep up. The Doubleshot is perfect for smaller gigs, fantastic neutral sound as you’d expect. I paid £469 for the cab and £78 for the backpack, so consider this a decent price for gear that’s been used at a couple of rehearsals. Oh, I’m sure everyone knows this, but the Doubleshot is designed to allow a small amp head to sit on its top surface. It’s an incredibly neat, compact package. All technical specs are available online (despite AI’s sad demise). Happy to post at buyer’s expense. 

On 31/12/2023 at 12:56, MarkBuffaloStokes said:

It’s a beautiful thing.

and with the lovely headstock (not so lovely from Fender's point of view) that was replaced by the Marmite one. 

6 hours ago, MuddBass said:

Hi Richard

 

I use one, and you're more than welcome to try mine if you like - I am Hampshire based.

 

It won't add to your overall volume, rather adds to clarity of note. Positioning is key, and I use a mic stand to get nearer my head height. 

 

For me, I don't really notice it when it's on, but seem to notice it when I don't use it. 

 

Hope this helps,

 

Greg

 

 

Thanks Greg, that's interesting. I've bought a barefaced super midget to try instead of my AI doubleshot, so I'll be seeing if some of the other posters are right - that a more directional cab is the solution. But if that doesn't work I'll gladly take you up on the offer of trying the ear box. Thanks again, R

On 19/12/2023 at 21:17, Richard Jinman said:

That’s a great recommendation thanks

Such a compelling recommendation in fact I've just bought a Super Midget on here ...