TheRev

If you've got £230 to spend, I can thoroughly recommend a set of Velvet Garbos. Nice, light, responsive strings with a great sound but not cheap....

I have a set of Helicore hybrids that were on my Aria EUB for about 6 months, still plenty of life left in them. Any use to you?

Have you checked that the bridge is sitting perfectly flat on the pickup following your string change? I've found that as the new strings settle in, the bridge tilts fractionally and loses contact with the Realist pickup. I don't know about a popping noise but my Eminence certainly sounds very thin when this hapens.

I tried out an 2010 American Standard Jazz the other week and very, very impressed - lovely neck and a full rounded tone and completely different to the MIM Standard Jazz. I'm seriously considering trading in my Musicman Sterling.

Been a good year for me. Done 32 gigs so far, including a handfull of weddings and functions through word of mouth & events agencies so it seems that we're building up a decent reputation. my drummer has now committed himself and has recorded our new demo and is using his contacts with previous bands to get into some better venues, so it's looking pretty positive for next year. On the down side, two of our regular (4 gigs a year with one and a regular monthly slot at another) venues have stopped putting on music as it's not commercially viable. They weren't well paid (£100) but they were nice little local pubs and the money mounted up over the year. Still, onwards and upwards.

I've got an early 90s Bass Collection (look at the 'obscure musical backwaters' post in the bass guitars forum) which has been defretted, so it's lined, and fitted with EMG PJ pups and BTS active EQ. It doesn't get used much since I started playing double bass so I'm looking to move it on. The nut width is 40mm, but the neck profile is shallower than a P neck. Sound like you sort of bag?

[quote name='Clarky' post='1002629' date='Oct 27 2010, 03:58 PM']So does anyone have a nice playing Eminence they wish to move on?[/quote] Nope I've had mine just over a year now and it's really starting to open up (aided by very good strings and improved technique). I've just finished some recordings so if they're not hideously out of tune I'll post a link so you can hear what an Eminence sounds like. For what it's worth, I bought my Eminence unseen and unplayed purely on recommendation from other users.

Ah- without a preamp it will definitely sound thin and weedy. The Realist pickup can be used straight into a bass amp, but it really needs to be a DB specific combo with the right input impedance. I always use a Fishman Platinum Pro with my Eminence. I can't really comment on the set up as I went from the Aria to the Eminence via a month or so of a hired DB so I have only limited experience of what e real DB feels like. All I can say is that the Eminence felt much more like the hired DB than the Aria did. The stock strings on the Eminence are Helicore hybrid mediums, which are a bit stiff. I've got Velvet Garbos on mine, which are much lighter to play and sound the dogs doodahs.

Did you try the Eminence plugged in? That's kinda how they're meant to be played. I've owned an Aria and now own an Eminence. The Eminence feels and sounds much more like a double bass than the Aria did. IMHO of course.... what strings are you using on your Aria? The right kind of strings can go a long way to getting you on the way the proper DB sound. Having said that, no EUB is ever going to sound like an unamplified DB, just as no amplified DB is ever going to sound just like an unamplified DB, but you can get close enough to fool most punters and on a good night, you can even fool yourself. I've long since given up trying to 'sound' like I'm playing double bass and just concentrate on getting a decent sound that sits nicely in the mix - this always has a better outcome for the song, band & gig than having an 'authentic' DB sound.

Very very nice.... I'd prefer a bit more growl and a bit less thump in the bass sound but that's just me. The sound as it is fits pefectly with the track. Are you in the Canteen for the jazz jam on Monday? I'm in town Monday night and if this is the sort of quality going on, i'll make a special effort to pop in.

[quote name='Zach' post='993832' date='Oct 19 2010, 05:46 PM']Have you got any recommendations for stuff with nice bits of DB to be listening to? Am also ignorant of most of the big names on upright, so some pointers for who to look at would also be cool.[/quote] Everyone has their own no 1 players, but my personal faves are: Jazz: Kind of Blue by Miles Davis. Bass by Mr Paul Chambers who is a total legend. Other jazz names to check out are Charles Mingus, Ray Brown and Dave Holland. A good modern jazz outfit to check out is E.S.T. Folk: Anything with Danny Thompson, but to get started, Solid Air by John Martyn and anything by Pentangle. You should also check out Beth Orton's Central Reservation and Trailer Park albums with the wonderful Ali Friend on bass. While we're talking about Ali Friend, check out his latest folkie/acoustic band, Clayhill and especially the 'Mine at Last' CD. Drum'n'bass: 'Brown paper bag' is a must listen (all hail Si Johns) as is anything and everything by Red Snapper (Ali Friend again). Danny Thompson has had the most influence on my playing, as much through his playing philospohy as through his music, His emphasis is on tone, feel and notes, in that order. There's a very noce interview with him in the latest BGM.

I'm a rather diminuitive 5' 4'' and I can reach everything. I rented from Cremona House on Park Row. Around £30 per month IIRC. There's a couple of Bristol based DB teachers on here so you won't be searching for too long.

Ouch. I dislocated my right index finger playing video golf (story for another time) four days before a gig. I played the gig but I had to use my middle and ring fingers as my index finger had swollen to the size of a Lincolnshire sausage. It stayed that way for about 2-3 weeks, not helped by having to do a lot of computer work using a mouse. All in all I reckon it was about 3 months before I could play without any pain and possibly a year before I regained full movement Like you, I had my finger yanked back in place almost immediatley, but the A&E nurse reckoned that the quicker it was put back in place, the less swelling there would be. As for playing a DB gig in two weeks... I don't think you'll be able to do it, you just won't have the strength in your joints to stop a note and that's before you take into account the pain and possible further damage. If it had been your right hand, you could get away with just using your index finger for plucking, but unless you can play your parts with just your left index finger, I reckon a gig is out of the question.

Good point - it really is in the fingers. The's a Youtube vid of Chris Mhin Doky playing his SLB200 and it sounds amazing - but again, he's changed the pickup and electronics. IIRC, a lot of the TB comments referred to early versions of the SLB200, which, as you've said, was intended puerly as a silent practice instrument. I believe that later instruments had redesigned electronics more suited for amplification. For me it was really an issue of not having to faff about with the electrics. The Eminence had a reputation for sounding good straight out of the box, wheras the general concensus was that the Yamaha needed fettling to get the best from it. That's not to say that I can't make my Eminence sound sh1t....

[quote name='Beedster' post='986206' date='Oct 12 2010, 08:38 PM']Wow, are people negative about these instruments sound-wise (in fact there is a monster thread on TB in which the SLB is pretty much hammered by everyone, and I mean everyone, and it's been going for 10 years [url="http://www.talkbass.com/forum/showthread.php?t=352752)"]http://www.talkbass.com/forum/showthread.php?t=352752)[/url]. But I have no idea why? Chris[/quote] This was why I went for an Eminence over the Yamaha. I like the feel of the Yammy but the issues over the pickup/pre and the overall sound just put me off. It's interesting that the Contra made such a difference - I'm seriously considering investing in one.

Have a look at Dave Mark's lessons on walking bass (www.davemarks.com). The lessons are based around typical jazz II-V-I progressions and really help to get your ears used to hearing where the bass should go. Once you've got the basics under your fingers, you can easily make it up as you go along. To begin with, I wouldn't worry about which modes go with which chords etc, just get used to following the changes using root, third, fifth, seventh type stuff, then add in some passing notes on beat 2 or 4, then, once you're comfortable with that, start thinking about modes and fancy pants scales. A lot of jazz isn't as complicated as you might think. If you have a copy of 'Kind of Blue', try playing 'all blues' - it's a pretty simple repeated bass part. For what it's worth, I'm in the same boat as you - approaching 40, indie (which I still love) bands don't want you, I don't want to play blues or standard pub rock...so jazz it is!

Free or Cream. If I can't have those then Dark Star.

Has anyone swapped their stock MM pickup for one of the Nordstrand direct replacements? I love the feel of my MM Sterling but have a hankering for a warmer & fuller bass end. Apparently the 4.2/4.3 does just that so, any comments?

Are you sure that going into the FX return doesn't bypass the preamp? I run my Platinum Pro into the FX return of my LMII and twiddling the knobs doesn't do a thing.

Anything by Johnny Cash, root-fifth all the way. Love cats by the cure is a good one as it's a strong melody which, is probably already in your head and will help with your intonation.

That Ibanez is the whippet's wedding tackle - there's just something about semis with Darkstars. Yum.

[quote name='walbassist' post='968667' date='Sep 26 2010, 06:31 PM']Ian's waiting on stock, so that'd be very handy if you would.[/quote] Looks like 1/2 inch.

[quote name='Twigman' post='973844' date='Oct 1 2010, 12:46 PM']And we have the luxury of most of our gigs being fly aways to the Med for a Fri/Sat show, so we get a weekend away with the lads with someone else footing the bill and come back with more cash than we left with - could you do that with a covers band?[/quote] Yes. I have done in the past and lots of people I know still do. On Tuesday I happend to run into a harmonica player who used to be in my (95% covers) band. Next week he's flying to Toronto with his function (covers) band, all expenses paid, to play a wedding for which each member will take home about £500. I used to distinguish between my 'covers' bands and my 'originals' bands but my 'covers' band does a couple of original songs and my originals does a handful of covers...... Plus, the covers that my 'covers' band do tend to be pulled about & rearranged to the point where some of them sound nothing like the original wheras the covers played by my 'originals' band are straight carbon copies. As has already been said, a good song is a good song and a good band is there to entertain an audience, not to stoke their own egos about playing 'their' songs. Does it really matter who wrote the song? Really? I could put together a set of original songs in a couple of weeks but they won't be very good songs and the fact that I wrote them doesn't elevate their quality above any other song.

[quote name='Clarky' post='971921' date='Sep 29 2010, 05:43 PM']What ever happens I don't think I will ever get near the Velvet strings you mentioned (from a quick internet search, £270 a set, good grief) [/quote] That's what I thought and yet here I am with a set of Velvet Garbos. Worth every penny. If you are going to splash out on a new set, you could do an awful lot worse than the Velvet Blues at a distinctly more affordable £120.