endorka

[quote name='tinyd' post='529457' date='Jul 1 2009, 11:51 AM']I'd imagine from the kind of music that you describe that there will be a lot of root-fifth type bass lines - what I find difficult about these kind of lines is the strain on my little finger having to repeatedly hold down the fifth. On BG, you you can use your third finger for this, but on DB your little finger will take the brunt so watch out for this.[/quote] In general, when using the pinky to stop a note on the double bass, you should also be holding the same string down with all the other fingers as well, to distribute the load. So, if you're using your pinky on G on the D string, you would also have the 1st finger stopping F, 2nd finger stopping F#, and 3rd finger somewhere between F# and G. Regardless of this, the 3rd and 4th fingers should operate as a single unit; doing so addresses the strain on the pinky that you mention. Jennifer

In terms of developing bass skills, I'd say that some of my greatest leaps in ability have come from the following; - buying a keyboard, and learning elementary piano skills - transcribing all the instruments on tunes, then re-writing the arrangement for different instrumentation - getting *really* deep into a piece of complex music with the guidance of a tutor - playing classical music on the double bass - the realization the progress is sometimes measured in months or even years - having knowledge of a huge variety of musical styles The first two of these are great because they sharpen your ear and take you away from a purely bass playing perspective. You may be surprised how your outlook changes with respect to the bass part when you are arranging for an entire ensemble. Jennifer

[quote name='Major-Minor' post='513886' date='Jun 15 2009, 09:55 AM']I must say that stool you use looks very comfortable. Is it fairly light to carry ? And does it feel sturdy ?[/quote] Yes to both! Jennifer

[quote name='Major-Minor' post='512699' date='Jun 13 2009, 11:31 AM']Firstly re the stool: Ideally you should be able to sit with both feet firmly on the floor. This is the best position for your body ie your spine is fairly straight. However a lot of players like to put their left foot on a rung (if there is one) which can be a very comfortable way of playing although it does put some stress on your left "lumber" region. Personally I play with both feet on the floor for most of the time and just occasionally cock the leg up for a change of position.[/quote] I agree 100%, I also play the instrument this way, as per my avatar. The stool I use is this one; [url="http://www.thomann.de/gb/km_14052_stehhilfe.htm"]http://www.thomann.de/gb/km_14052_stehhilfe.htm[/url] For travelling on the underground etc. it fits into (and onto!) this rucksack; [url="http://www.highlander1.com/Rucksacks/Day_sacks/SUMMIT35.html"]http://www.highlander1.com/Rucksacks/Day_sacks/SUMMIT35.html[/url] Jennifer

And I almost forgot to mention - for best results in improving intonation, the above should be done with the bow :-) Jennifer

[quote name='subaudio' post='510041' date='Jun 10 2009, 12:00 PM']At some point my knowledge and theory from bass guitar will begin to merge with the DB and I can really start studying Jazz propper but I need to get the physical bassics across the fingerboard down first. Does any one know of anything aimed more toward that, that I can work on on my own, Simandl seems to be as you say a little difficult to work from without a teacher.[/quote] The "Evolving Bassist" has a good couple of exercises for getting your intonation and "muscle memory" together - they are Etudes II and III, starting at page 44 in my copy of the book. It is essential to do these very slowly, I'd say metronome set to crotchet=30 or even less, and also check the intonation of every note with a tuner as you're playing. If you have a sequencer or some similar software it is very instructive to program the exercises into it, then play along with them to check your tuning. Beware, this can be brutally revealing! A similar approach can be taken with scales and arpeggios, I'll try to think of some decent books or examples for this. Another aspect of the double bass vs. bass guitar is the emphasis on working out fingerings for the music; doing the same thing in exactly the same way every time will make learning more efficient and improve intonation. The same applies to bass guitar, of course, but often people seem to take a looser approach on this instrument. Jennifer

[quote name='jakesbass' post='509963' date='Jun 10 2009, 10:25 AM']If you don't have it already I would recommend Rufus Reid's book, 'The Evolving Bassist' it has a really good combination of technical exercises and ideas on how to construct walking lines, for intermediate to advanced. A damn good book IMO. Jake[/quote] I own several of these books, probably my most used is Chuck Sher's "Improvisor's Bass Method", which I started using about eighteen years ago. Scary thought! I've been looking at these books again recently, and my opinion is that I could probably revisit them in their entirety and gain much more than I did when I first studied them. The reason being that the experience of playing jazz for almost two decades allows me to interpret the information and lessons contained within them in a far more meaningful and structured way. With all the will in the world, there is simply no way I could have obtained the same information the first time round by myself... but if I had used the services of a tutor, I think I could have. Over the last couple of years I've been studying classical music, and it's the same with Simandl etc., but this time I have a tutor and it really does cut out a lot of the time spent staggering around in darkness figuring out things yourself. My experience of teaching would also indicate this. In a nutshell, I think the capability of books to self-educate people is limited, for the most part. Additional teaching support is almost certainly a requirement. Jennifer

Thanks for your reply to my initial question Bob - it's a great surprise to hear the answer almost a year later! Jennifer

I really like the removable clip idea. I have one of these, the K&K golden bullet; ...but don't like having it on the bridge all the time, so the removable clip would work well I think. How did you find the optimal placement of the mic? I spent some time sitting with the double bass listening to the mic through headphones, but I was still hearing so much of the acoustic tone of the instrument it was hard to judge. Jennifer

[quote name='bilbo230763' post='480047' date='May 5 2009, 04:20 PM']One other point to debate: the value of learning to read vs that of learning to SIGHT read a gig.[/quote] Are they not the same thing, just to different degrees? For example, one may be able to sight read a gig where the music is relatively simple (or familiar in style), but have to prepare more complex music (or music in an unfamiliar style) in advance? Jennifer

[quote name='The Funk' post='476184' date='Apr 30 2009, 05:01 PM']I'm sure you're right but would you be able to explain why?[/quote] I find that placing the emphasis on chord tones tends to lead to more interesting solos and basslines; one practical example of this might be the use of "guide tones", i.e. the 3rd and the 7th, to create lines emphasising the colour of certain chords, and the connectness between chord changes. It could be argued that the use of chord tones and their extensions is just an expansion of this, or something that makes this type of playing initially more accessible. Overemphasis of scales will lead to exactly that... a solo or line that sounds like it is built directly on a series of scales or modes that change with the chords. The result can sound disconnected, boring and unmusical, and is something that is fairly obvious to the ear. You hear it too often on jazz gigs. On the other hand, there is nothing to stop someone who is very proficient in either method, or something else completely (for example improvising around the melody), in making interesting and connected music. I just think that some paths lead to a quicker emphasis on the important stuff. Jennifer

[quote name='philwood' post='475114' date='Apr 29 2009, 02:28 PM']...shes saying that the Jazz musicians of the 40s and 50s always approached Jazz from Chord Tones and Chord Subs, Extentions, passing tones etc and they never thought of scales or modes, I wasnt around in the 40s and 50s so i cant comment...[/quote] I've spoken to people who remember playing music from that era who would certainly back up her claim - for example, rather than spelling out a scale on the staff as is done on the Aebersold style playalongs, some arrangers of band big music would specify the notes the soloist was to use with arpeggios with the extended higher notes in the staff, e.g. C E G B D F# A rather than C D E F# G A B. Sure it is a matter of emphasis... but I think it matters a lot. Jennifer

[quote name='alexclaber' post='475477' date='Apr 29 2009, 09:05 PM']No electronic tuners back then either so if there's no piano present they could easily be way off A=440Hz.[/quote] Tuning fork? Somehow I can't see it :-) Jennifer

[quote name='saxobass' post='472901' date='Apr 26 2009, 08:10 PM']Tried them recently on an oldish Reghin bass.....lovely sound, especially low arco, but the mediums were very stiff and hard on the fingers. Anyone tried the Hybrid `lights`?[/quote] My double bass had these on it when I bought it, and they are pretty much as you would expect; similar kind of sound, but lighter, slightly twangier, and I'd say a little more nasal when bowed. They were also easier on the fingers. Not bad strings at all, certainly if you're playing jazz, although I swapped them out for my set of mediums, as in my opinion the better tone was worth the extra work. Jennifer

[quote name='Jean-Luc Pickguard' post='468065' date='Apr 21 2009, 08:03 AM']Endorka, Have you seen the [url="http://www.gollihurmusic.com/product_details.cfm?ProdID=1771"]NS bass heel[/url] On his site Bob Gollihur says its not suitable for the WAV 4, but doesn't say why.[/quote] Apparently the profile on the back doesn't exactly match the neck of the WAV 4, but I am told that with a bit of sanding it fits fine. I've mailed Bob Gollihur about this but he doesn't have any in stock at the moment. I've also emailed NS Design some weeks ago but have yet to have a reply from them. Perhaps it is time for a followup email. Jennifer

[quote name='bassace' post='466955' date='Apr 19 2009, 08:10 PM']If you're not looking for a jaw-dropping sound I suppose any mic in the vicinity of the bass will do. The quick and easy solution seems to be a SM57 in a sponge and stuffed down the tail-piece pointing up towards the bridge.[/quote] That's a good tip indeed. I've had my best results using a mic with the H-Clamp; [url="http://www.exploraudio.com/productdetail.php?pid=11&vid=18"]http://www.exploraudio.com/productdetail.p...d=11&vid=18[/url] Works really well, and sound engineers love it, but as you say it is not always ideal live, being more prone to feedback than a pickup. I've had the best results when using it in conjunction with a good front of house PA, especially playing in musicals and similar where there is a significant amount of arco playing. Jennifer

[quote name='Cornfedapache' post='466935' date='Apr 19 2009, 07:51 PM'].....Bjork....[/quote] with Jah Wobble! It doesn't get better than that. Jennifer

I bought a 4U rack flightcase from Nik - quick responses to messages, case as advertised, and a speedy delivery. Great stuff. Jennifer

[quote name='6stringbassist' post='460534' date='Apr 12 2009, 01:10 PM']I came up with the idea of lying it on its side on the stand while not playing it, it looks kind of odd but it's really stable and not going to fall over.[/quote] That's what I do as well, it works just fine. The only thing you have to watch is that over time the bolt that secures the bit that goes into your waist can work a bit loose, and you might find the weight of the instrument alters the angle of this part, so that when you pick it up everything feels different. It's worth keeping a spanner with the instrument for precisely this reason. Jennifer

That Solstice device looks exactly the business if you'd like different settings for each instrument, simple and effective. Recently I've been plugging my bass guitar into the normal input on an Eden wt330, so it can make use of the preamp in that. The EUB goes into a Bass Pod XT Live, where I use the EQ, volume pedal and amp/speaker modelling; the latter really helps to get a good tone for bowed work, which soometimes sounds a bit harsh through an ordinary preamp. The output from the Pod then goes into the auxilliary input of the wt330 amplifier, bypassing the preamp. The wt330 then automatically feeds both instruments into the power amp. I can adjust relative volumes levels between instruments with the output level on the Pod. Muting of each instrument can be done with the preamp mute on the wt330 and the mute pedal on the Pod respectively. With this I get two independent preamps, similar to something like the Solstice. It is a versatile and great sounding setup, but perhaps a little on the complex side compared with something like the Solstice, which keeps everything in one place. Jennifer

[quote name='Rich44' post='459617' date='Apr 10 2009, 08:54 PM']I use simandl on frets 1-5 and with octaves/fifths generally, but I always get muddled say if playing something between 2-8, where a switch in styles is needed. Yeh, I guess its a common problem, the only reason I was considering shortscale was to make playing a bit more comfortable/less painful on the lower end, my hands have stretched alot since starting but I think i've maxed out. I guess its just something I'll have to keep practising with though. [/quote] When you mention things like stretching and pain in your hands, I'd say that's a cause for concern, something almost certainly technique based. On a normal scale bass, you should be able to finger frets 1,2 and 3 using Simandl style 1-2-4 fingers without much of a stretch at all; the fingers should only be slightly further apart than they are when the hand is relaxed, no need for contortions at all. I find it best to place the fingertips just behind each fret. Pain is a bad sign, and often a sign that you are not using the hand efficiently, and perhaps what is causing this is also causing the awkwardness you feel. Jennifer

[quote name='Rich44' post='459507' date='Apr 10 2009, 06:28 PM']Thanks, I'll try that. I think the problem I find is combining both having the fingers close to the strings at all times AND still having the ability to do one finger per fret. I always end up lifting my fingers off to "stretch" for finger-per-fret. I'm hopefully downsizing to a short-scale soon so hopefully that'll help.[/quote] In my opinion, getting a short scale bass is not the best solution to the problem you have, for many reasons, not least because it will severely limit your choice of instrument and compromise the sound quality - long strings are where it is at for bass guitar. Think of the sound of a grand piano versus that of an upright. The Funk's recommedation; "...I would recommend index, middle, and ring/little combined." ...is the most versatile (and cheapest!) solution to your problem. It's how double bass players have done it for many years. Very few people can properly manage "finger-per-fret" properly in the lower registers of the bass guitar, and even those who do often opt for the using the ring/little finger combined to grab octaves. Thoughtless promotion of the one-finger-per-fret technique is something that has baffled me for a long time; I've no idea why this idea persists when it is genuinely applicable to so few people. Sure, some can use it - and do so effortlessly - but in my experience, most cannot use it in the lower register of the instrument. Jennifer

[quote name='Golchen' post='459315' date='Apr 10 2009, 02:18 PM']I'm looking to get a chord book for 5 string bass. Anyone know of a decent one?[/quote] No, although Ed Friedlands "Working Bassists Tool Kit" has a chapter on the subject of 4 and 5 string chords. Regardless, it is quite simple to work out voicings for chords on any bass guitar; some simple rules: - try to keep the chords around and above the 12th fret or they may sound muddy - It is not always possible, or desirable, to have all chord tones present. The important ones are the 3rd and 7th, these define the sound of the chord most strongly as they can vary (minor or major 3rd, major or minor 7th). The 5th is *usually* always a perfect fifth, and therefore contributes little to the character of the chord, so it can be omitted with little effect. - It is sometimes possible, and indeed desirable, to omit the root from the chord, especially in the case of someone playing a bassline - "rootless voicings". This will give a far more open and intersting sound than vanilla root position voicings, and free up space for the bass player... if you have one. So, based on the above, it is perfectly possible to generate simple 7th chords that function well with only two notes, three if you include the root. The upper register of 4 and 5 string basses lends itself quite well to this. Jennifer

Be careful moving the soundpost - if you knock it over, it will be very tricky to put back in its proper place. You really need special tools for this, although I had a wee shot at it just now with a coat hanger and a heavy file. I detuned the strings by about a fourth before attempting to move the soundpost. It does seem to work as advertised. Moving the bridge is a lot simpler, there are some guidelines here about this and other things; [url="http://dennishavlena.com/bassetup.htm"]http://dennishavlena.com/bassetup.htm[/url] I've had good results from adjusting the bridge position and adjusting the length of tailpiece wire so that the strings on the afterlength resonate 2 octaves and a fifth above the equivalent open string. It made the bass sound better and louder; I also know it worked objectively because the bass became far more prone to feedback when amplified, a sure sign that the bass was working more efficiently. Jennifer

According to Chuck Traeger's "The Setup and Repair of the Double Bass for Optimum Sound", the positioning of the soundpost can affect exactly what you speak of; [quote]"Moving the post closer to the G string side of the top - away from the center of the top - allows the E string side of the top to vibrate more easily producing an increase in volume of the E and A strings in relation to the other strings... without changing the quality of quantity of the sound of the bass overall. It will also decrease the volume of the G and D strings... Moving the post closer to the center of the bass (toward the E) will have the opposite effect of making the G and D strings louder, and the E and A less loud. At no time is it advisable to move the post beyond the outside or inside edges of the bridge foot."[/quote] Experimenting with strings can be a time consuming and expensive business. When I have some spare time I'm definitely going to try moving the soundpost. Jennifer