Beedster

I'm looking for a powered mic stand monitor that I can feed with the pre-ampat my feet as opposed to from the PA. PJB Ear Box looked perfect but appears to be passive when I really need active (we run a very small desk with limited I/O options).

When I gigged electric bass I had energy to spare after gigs, now on DB exclusively I have to measure my effort to make it through three-hour sets. Factors over and above those mentioned include the height of your bass - too high can fatigue your back, shoulders, and neck - as well as your posture - if you are leaning you will tire at a faster rate. Another common factor is to be too low in the mix meaning you spend the whole gig digging in to be heard which is also very tiring. There are many more. Gigging double bass is an endurance event, every percent counts 👍

Double bass is tortuous and exhausting, it’s why we play it 🧐

Harsh 😆

Tomorrow I will reveal all Owen 👍

Extraordinary person and life, all too easy to overlook that at a time of serious sexism and elitism she was always seen by audiences and colleagues alike as the real deal and never a token, and that was still the case 50 years later among audiences and colleagues of very different generations and cultures. RIP Annie ❤️

Thanks @Beer of the Bass, that resonates with what I've read over on TB, it turns solid and stubbon pockets of glue into something like sticky plasticine that then needs to be removed quite carefully. I have just acquired some wihite vinegar and, just in case, some white wine vinegar

Interesting question, there's certainly a few threads on TB about reducing scale length, which strikes me as a pretty dramatic step although there is also something of an obsession among some for modifications to optimise the overall tone (e.g., mode matching) that might explain this as much as playability?

Decided to try again, this time by email, and had an immediate response. Guess their web forms aren't working which might be worth keeping in mind

That was always my understanding @Bloopdad1, having played in orchestras when I was younger (not DB by the way) I always expected double basses to be far bigger than those I started to come across when I got into playing DB in bands. Is it still the case that most orchestral players play 4/4?

That's my thinking, but I'm guessing a chemical appraoch would not only be less work but potentially a whole lot cleaner. I'll do some investigating and report back 👍

Thanks Pete that's very helpful. I've considered all the options in question and a new neck is one of them, in part because the original has three issues, a broken scroll, the heel, and a very worn fingerboard. I'm going to see how it goes with the original in the meantime 👍 The notch is a mystery

Thanks Lawrie, this is very much save it from the skip. @pete.young's Option 2 was what I was initially considering but it looks like I'm not dealing with a broken instrument but a poorly repaired one, which leads me to worry that even if the neck and body will fit back together nicely around the glue and splinters - which is a big if as it looks like the two have been apart for some time - it's probably going to be neither stable in the long term or positioned correctly. So yes, as you suggest, clean up the PVA, see how things stand before potentially doing further woodwork. And yes this will almost certainly need a new bridge although the original one is hanging around somewhere 👍

Thanks @JoeEvans 👍 I'm reading on Talkbass that white vinegar can be used to remove the glue residue, any thoughts on the credibility of this and the potential to damage the wood?

Less a circle, and more an out-and-back to and from Clarky 😆

Many thanks Pete, yes it's clearly suffered a poor repair, and the more I look at it the more I suspect the repair was an attempted modification, perhaps to reset the neck angle or height. I can't escape the feeling that what I'm going to call the wing - the protruding piece of wood near the cap - has been glued on to the cap where it has been cut away (the lines are too clean for it to have been a break) from the back of the bass. So, if this is the case reversing this modification as far as possible might be the best path. I'm going to do some fine measuring and drawings on Saturday to see how it might all work out. I suspect that whatever path I opt for there's going to need to be some screws or bolts involved, unless I'm very lucky. Chuck Traeger will of course be displeased, but all going well it'll be playable and stable But in the meantime I'd welcome the thoughts and advice of people who actually know what they're doing 👍

Which would you choose to play all other things permitting Jack?

I've owned a 4/4 upright that I bought as a kit from Germany in 2015 and which as such is my longest standing item of gear. Until that point I'd played 3/4, but the moment I played the larger beats I knew I felt more at home. This is nothing to do with my stature, I'm 5'11'', with quite small hands. It's not really something I thought about until recently when I started gigging a 3/4 for al the wrong reasons and in doing missed the larger bass. Anyway, i was reading over on Talkbass the opinions of a regular poster and apparent expert on DB that 4/4 instruments are very much an anachronism, unnecessary in an age of advanced string technology, good quality amplification etc. He even suggested that owner of 4/4 instruments will not be able to sell them therefore their value is significantly below 3/4 instruments of equivalent quality. Seems that much like my affection for large and heavy 1980's Mesa amps my affection of 4/4 basses is out of keeping with the current zeitgeist? Not that I give a flying f**k really! But it did leave me wondering just how many folks her plays 4/4 and why?

Folks An old double bass requiring some serious repair has come into my possession; in fact it would me more correct to say a collection of parts that all belonged to the same instrument have come into my possession. My aim is to rebuild the instrument to the degree that it's playable and structurally sound, as opposed to restoring it to its original state. These books, as well as the expertise of this forum, will be my guides It's a 4/4 with a 43.5 speaking length. It has a break at the scroll (which is only held on by the tuners), the endpin gets no traction with the body, there is no nut and the tailwire appears to be made out of a piece of old fence. However a good look around the inside of the body suggests no cracks, no loose bars and - perhaps miraculously- the sound-post is still in place and appears to be quite stable. The main challenge at present relates to the neck, which is not attached to the body, has a considerable amount of glue residue and splintering, and also a curious shape. Going on the obvious signs of previous alignment between neck and body the piece of wood that appear extended sits inside the back of the instrument, that is inside the body. Ultimately I'm not sure what purpose that V-shaped gap serves and whether is is something to retain or fill. Thanks in anticipation of any help you can offer? Here's some pics of the business end of the body And finally a photo of the neck almost in place

This. Hard times don’t stifle creativity they drive it. Looking at the last 20 years ir so of economic stability and the music it produced……. Need I say more 😕

Ha ha, ‘some diversity’ of opinion is an understatement! In the grand scheme - wood, bridge, soundpost, strings - even if a factor I imagine it’s quite low down the list so I’m going to do some experimentation 👍

I messaged Bass Bros a week ago about a consignment sale and had no reply so I’ve opted to go somewhere else