Duckyincarnate

12 hours ago, Thomaswest said:

Are these still available?

On 06/03/2020 at 22:59, Jezyorkshire said:

Sold

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. 

I don't expect this to hang around very long - great price for a lovely bass. Good luck with the sale!

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

48 minutes ago, Burns-bass said:

Snap! I had exactly the same work done by Martin Penning. 

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...

On 04/01/2020 at 09:52, philparker said:

The amount of Hawkes I have seen in the Luthier's being repaired, improved or totally restored just to enable playing is quite considerable. When discussing with the Luthier the term 'worthwhile investment' always comes into the conversation.

No, I'm no more learned than anybody else on this subject, but if I was buying a bass, I would want it set up to my playing requirements more than originality. Apart from the main body - everything else is adjustable or replaceable!

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. 

Looks like one of these: http://www.czech-ease.com

Heaps of info available about them online, particularly on Talkbass. 

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? 

Thomann lists the internal dimensions of all their cases on the website, so that’s worth a browse. Your friend might end up with a 4/4 sized case. 

There are custom case makers in the US if fit is important, but obviously ££. Nice bass.

This is the kind of thing that a good teacher is invaluable for. It could be any number of things: building up key muscle strength, the set up of your bass, bass height and angle, shape of the left hand, etc.

There is a reason that people keep suggesting to beginners to find a teacher, and that reason is that this instrument can be very unforgiving. Most double bassists over their years of playing will have to deal with a playing related injury. Invest in tuition early on to develop a healthy approach, and you save yourself a lot of trouble and grief. 

I have been changing my posture with the help of a teacher in recent months (after playing for more than 10 years), and it has helped me to radically reduce the tension and strain of playing. But you really need someone to observe you playing, make detailed suggestions and correct mistakes before they solidify into habits. Just my 2p. 

I did see that. Wasn't it an acoustic instrument?

No worries! Here you go:

https://www.basschat.co.uk/forum/76-eubs-double-basses-accessories-for-sale/

Some cheap ones in the classifieds at the moment!

32 minutes ago, TheRev said:

I've used a well padded gig bag (Cristopher brand) for 60+ gig a year for 8 years without any problems whatsoever. It's been in cars, in the back of vans, in pickup trucks, on tractors and once on a steam engine.

I'd only consider a hard case if I was flying or if my bass was being regularly loaded/unloaded by random stage crew. 

This. Also, have you looked at what those fibreglass cases cost?? I could just buy a new bass, really. 

Sounds like a few lessons with a German bow player might be the ticket? There is also a course on the German bow on Discover Double bass, maybe worth checking out as well. 

Oh my god those screws through the fingerboard 🙈

Saves on a gym membership though! But seriously, the only cumbersome bit are the stairs, everything else is just walking like you would otherwise do. Manoeuvring a bass with the Bass Buggie becomes second nature after a while. 

On the gigs I play (mostly straight ahead jazz), bandleaders would not consider hiring a bass guitarist. If I brought one, I'd never get the call again... So the temptation tends not to present itself!

Contrary to opinions above, I use public transport all the time, and so do many other double bass players in London. Indispensable in doing so is the brilliant Bass Buggie, which allows you to push your bass in front of you. https://www.gollihurmusic.com/product/2334-UPRIGHT_BASS_BUGGIE_BASS_TRANSPORTER_BASS_BUGGY.html

I lift up the bass to avoid potholes and kerbs, done by a little flick of the knee. A good case is important. I have been doing this for years now and haven't had any trouble. Use lifts where available, and bring the least amount of stuff you can get away with. Carrying a bass up a set of stairs is alright once you get used to it. Avoid rush hour and know your way around stations.