Duckyincarnate

Best one I ever got was as I was wheeling my bass down the road on its Bass Buggy: "Nice phone mate, from the 90s innit".

I will be saying a prayer for your Bryant in the loft given some of the hot days we have been having....

The rubber Ultra practice mute is actually quite effective when used for arco playing, less so for pizzicato.

Play mostly arco.

I think this is something that would be best addressed by in-person lessons (pandemic permitting). Lots of women play double bass. I have have been taught by two female teachers in the past, and they had no problems at all playing a 3/4 sized instrument. One was average height, and one was very short, probably about 5 foot tall. Some good points have been made above. I would add the following: 1. Your hands get used to the stretch over time and you will be surprised, if playing with good technique, of how well your hands adapt to the full tone they cover in half position (in Simandl terms). 2. The strength in your arms, shoulders and back takes a few months to build up. This too will help. 3. The set-up of your instrument is key. A teacher or luthier can advise on this. It makes a huge difference. 4. Get a teacher, if only for a handful of lessons (once lockdown is over) - this instrument requires some formal instruction in the early stages. Some do without, but the easiest, quickest and most effective way is to have someone observe you and give you real-time pointers.

I agree. Considering the lifespan of Innovation Honeys, they look ready for retirement. But hey, YMMV.

Ah, didn't realise you were in India. In that case, it sounds like a good option for you.

Have you taken into account the (very substantial) import duty and VAT you would likely have to pay on this instrument if you are buying from Australia? It might even things out with other travel basses. I have no experience with the instrument in question. It might be worth hanging fire on a travel bass purchase and waiting to see what pops up on the second hand market in weeks/months to come. No one is travelling at the moment and I could envisage people freeing up some of their money in basses that are not being used much. No hurry, right?

Those basses rockabillies stand on are heavily reinforced, to the point where the acoustic sound is significantly compromised. They fall somewhere between a musical instrument and a stage prop.

If you need a stand, the Hercules stand is really the only one I would recommend. Very stable and user friendly.

I am in the same boat as you, OP. I adapted by packing up the bass by laying the cover on the floor, sliding the bass in and zipping up like that. After a while it becomes second nature. No need to throw money at it, IMHO.

Nice write-up. I do think you are probably a bit too optimistic about the longevity of real gut strings - count on getting about one or two years out of them before they start to false. Three if you're lucky. Also, they can break a lot more easily if used for slapping. Great sound though.

So, you are learning a new instrument and you are learning a new genre. Why not separate these things for a little while? Start the new band using bass guitar, and aim to phase it out and replace it with the DB/EUB by say, July. Each rehearsal, you can play a tune or two on the EUB, gradually increasing its use. In the meantime, your big challenge is to get the left hand together on double bass. This is not easy - you are building finger routine and muscle strength, honing your intonation and developing a consistent relationship to the instrument. Simandl is a great method. Explore it with a teacher in regular lessons, and if at all possible, using a bow. This is the quickest way - with the bow, there is no hiding, it's like a spotlight on your intonation and the shape of your left hand. Any imperfections are mercilessly exposed, and it will force you to adapt and perfect your left hand technique. IME, the hard way is ultimately the quickest and most effective. The Latin Bass Book by Oskar Stagnaro is a great resource for learning about Afro-Cuban and Brazilian bass playing.

Oh my god Phil, stop it at once. Absolutely gorgeous.

Great minds! Saying that, if I won the lottery, I would be on the phone the same day to order one of Martin Penning's basses....

I also have a Bryant soloist and had the same work done as Bassace - some fingerboard work, shaping of the nut and a totally new, much larger bridge. According to Laurence, this is standard on any new Bryant. It completely brought my bass to life, night and day difference. Something to also consider - if your strings are new Spiros, then the first few weeks/months they will sound quite nasal with lots of overtones and a buried fundamental. They gain more fundamental as they become played in. Maybe that is what's throwing you off.

Very impressive result! That looks like a professional restoration. Well done! Now buy your wife something nice in the January sales...

I agree. And the scroll, which seems to be a kind of signature of the individual maker. But they can be grafted onto a new neck without much problem, it seems.

Lots of good advice. I would add that it is very possible, if not likely, that the cramps you describe could be aggravated by not playing in a relaxed enough position. We often hold far more muscle tension than we need to when playing, especially so after a couple of hours of playing. When playing, make a conscious effort to take focus on your breathing, allow the weight of your arms to do the heavy lifting rather than pushing down, shift your weight from leg to to avoid tensing up. It helps, not just physically but also with concentration on the music.

Very nice - and ambitious! Thanks for keeping us in the loop... I am just adding my own King bass for the hell of it: rolled out of the H.N. White American Standard factory in 1935. A Monster Bb rotary valve tuba with a recording bell. And it too has been refinished in its lifetime, as it happens.

Just out of interest, is it a poly lacquer or more of a traditional oil based finish?