fatback

[quote name='Raslee' timestamp='1411731428' post='2562322']
Yes i agree about the visual element, which is largely what we're going for I think in this band, but equally experience for me in playing the DB. The mag pick up option is seeming more logical for what we're aiming for.

Has anyone got any suggestions on magnetic pick ups other than the Krivo that Clarky mentioned? Have to say I am really liking the sounds of the Krivo that i've seen on youtube but wondering what else is out there too....better still anyone selling a magnetic pick up
[/quote]

Kent Armstrong. About £90, excellent. You may need to email Aaron who does the making, but i can't find the addy. Maybe someone can helop with this?

You draw the profile of your fingerboard end and he makes one to fit. neat. Fixes with studs or velcro and is almost invisible.

EDIT: beaten to it

[quote name='Raslee' timestamp='1411664268' post='2561729']
This is a very interesting point. As previously mentioned the drummer, and also the keys player, go through our overly monstrous, and reggae sound system style, PA, .....and of course it's facing right at me - rattle rattle!!!.

Hmmm, thinking about the magnetic pick up if i can get more volume and less/no feedback. Of course i'll experiment with what i've got though first.

This sounds good [url="https://www.youtube.com/watch?v=WXt6BE2Qk9Q"]http://www.youtube....h?v=WXt6BE2Qk9Q[/url]
[/quote]

A big PA should be fine if you have your own monitor and you can place it where it doesn't point at the bass body. On a stand works well, and with lots of mid so you can hear it. It's backline that tends to cause the biggest problem.

Practice rooms are different though, 'cos you've probably got the PA behind you.

To be honest, I'm not sure you'd be losing too much by going for a mag. In a loud band, the upright is mainly a visual thing imo.

Love the idea of db in a reggae band though.

Everyone has their own solution to this one, but for what it's worth I've been using a EA Doubler for its transparency, with a Barefaced Midget 1 X 12 for small size, power and clarity.

Keeps up with a very loud drummer no problem, and weighs nothing at all.

[quote name='Clarky' timestamp='1411072387' post='2556317']
Hey invicta59, Fatback and Geoff many thanks for your messages. The pain has almost disappeared now. I am not too downhearted about this (worse things happen at sea) but it's just something I need to think about and manage
[/quote]

I wouldn't rush into changing strings either. When you manage your gout, and get the anti-inflammatories going sharpish each time, the joints shouldn't suffer permanent damage, so no weakening.

I do use Weichs, but that's because I'm a wuss. Nothing to do with the big G.

Clarky, don't worry too much about allopurinol side effects. Long term use is rarely a problem. My solution is to take it for three months, stabilise levels, then stop until my levels of UA build again (which can take many months).

So many foods have high purine levels that I gave up after years of trying to control with diet. The only dietary change I made is to effectively stop drinking beer, except for rare occasions. No alcohol is good, but beer is one of the worst (lots of recent research on this).

Wow, I'm out iof the closet. We should start some kind of sub-forum. The biggest problem with gout is the way it makes other people laugh, especially if you're youngish (like wot we are). Sympathy quotient = zero.

No doubt that renting could be a better bet for a growing teenager than buying a 1/2 size and changing it over in a couple of years. A tutor is absolutely essential if injury is to be avoided.

Great to hear of female bass players always. I take it she knows of Esperanza Spalding. What a role model she would be.

[quote name='geoffbassist' timestamp='1410626378' post='2551416']
Hey Fatback, great to hear you have got to the bottom of it.
RE: transcription. I tend to focus on learning phrases and playing them in loads of different contexts, rather than learn full transcriptions, especially in walking bass lines. For solos there's certainly no harm in learning a full one, but you could still just focus on learning the phrases that catch your attention and you can use.....both ways work really, so maybe mix it up. Good luck, it's a great thing to work on! Cheers Geoff
[/quote]

Thanks Geoff, that's really helpful. The thought of learning whole walking lines was pretty daunting, but I didn't want to be a shirker either.

I suspect what I need to do is pay more attention to the harmony behind the lines I'm reading (if I can work that out).

Hat!

Clip on tuner!

You can stick it on the bridge to check your intonation every now and again (some folks will be horrified, but it worked for me. .

Aha!

Thanks for the advice guys about playing lower down the board with the right hand. I think I've sourced the problem.

When I bend my elbow much and play a bit up from the end of the board, something about the angle means that when I do the wrist action to play on the E, there's a reluctance to alternate first and second fingers. I wasn't aware that I was playing mostly with my first finger, and no wonder I was having control problems in faster passages.

For some reason, when I play further down the board I alternate fingers naturally (while still revolving the wrist to a degree). Better timing. More consistent sound.

Thanks again.

[quote name='HazBeen' timestamp='1410545894' post='2550688']
Duuuuuuuhhhhhhhhhhh! Check the section before you respond..... Head hangs in shame ;p
[/quote]

Naw. Done it a million times myself. Posting is always good.

[quote name='geoffbassist' timestamp='1410540362' post='2550602']
+1 I find I get a better, more focused tone near the end of the fingerboard....but I still have to open the elbow a bit to allow it to fall. I find for right hand technique that string crossing exercises with open strings and a metronome are really useful. I also look at my right hand either directly or in a mirror when Im working on it in isolation. The other thing to always bear in mind is to try and stay as relaxed as possible....Good luck with your practice, I hope it goes well, cheers Geoff
[/quote]

Thanks Geoff. I'll be looking at your excellent vids later too. It's only that hand rotation trick on the E string that's a problem. I'm fine with the rest.

btw, here's a q for you (while I have your attention ) I'm getting my reading going by playing lots of transcription material, especially my hero Ray brown. Is it worth the effort trying to memorise full transcriptions? Do folks do that much?

[quote name='bassfunk' timestamp='1410534425' post='2550525']
Do you play with your fingers at the end of the fingerboard? I do this (mainly because my arms are fairly long so that's where it's comfortable) and find it easier if I'm at the end of the fingerboard.
[/quote]

Interesting you ask. I have to remind myself all the time while playing to extend my arm so my hand is down closer to the end. I'm inclined to stick my elbow out. I hadn't thought it might help with that wrist biz, so i'll watch that at practice tonight.

[quote name='bassfunk' timestamp='1410523657' post='2550343']
Get back on your own side of the fence

I have a problem with the E too, sometimes I pull off the string and lose contact with the fingerboard for a second. If it's a fast piece I stay on the fingerboard and use both fingers. But I'm never sure if I'm doing it right!
Geoff did a RH technique lesson [url="https://www.youtube.com/watch?v=iJ99qaJV3XQ"]https://www.youtube....h?v=iJ99qaJV3XQ[/url] I can't watch it at work so not sure if it's any help?
[/quote]

Hi there Hazbeen, thanks for the reply, but My problem is with upright. Not that I don't have plenty problems with the other machine too.

Bassfunk, thanks, I'll check that out.

Definitely a big problem with db as opposed to bg is that point where momentarily you have no anchor. I try hard not to use the fingertips except for fast passages, as I really like the big sound you get with meat of the finger, especially on the E.

Playing the E string, I use the revolving wrist technique, to keep as much of the side of the finger in contact as possible. But I'm having real problems getting an even tone. Sometimes timing goes off as well. Horrible.

Are there any good vids out there that deal with this?

Any ideas greatly appreciated. No amount of practicing seems to be improving things. A tutor is out f the question, unfortunately, cos of where I live.

Definitely try a preamp with the Markbass. Also, if you get one with high pass filter, a notch filter and polarity switching it'll help help tame feedback.

Full Circle is a great pickup, so it's worth getting the best out of it imo.

Ed Friedland's 'Jazz upright bass' vid is especially good in right hand technique. He shows a 'locomotive' technique for getting efficiency at speed really well.

Agree with thisnameistaken that some lines just aren't right for upright. Why not double?

I've always mounted both piezzo and mag pickups. i've never had to switch to the mag, but the fact it was there gave me a lot of confidence when I started gigging the db.

I feel it's useful to have a backup as well, in case the Full Circle packs in mid gig one day.

Sounds to me like you either need the security of new, probably a Gedo, or you need to buy from an experienced player you can trust.

I did the last, driving a 700 mile round trip to buy off a guy I didn't know. I'd only ever had one lesson at that stage and never held a bass otherwise. I decided to trust the guy, A because he played jazz, and anyone so other-worldly could hardly be a cheat, and B he was a true craftsman, and in my experience craftsmen are invariably honest.

It all worked out really well. The setup was atrocious, but the bass was great after a couple of hundred spent at the luthier and a second hand set of strings.

Take your time. The right one will come your way.

[quote name='stingrayPete1977' timestamp='1408882126' post='2534262']
Mine was around £90 I think.
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I think this is the most popular one, and the one I have:

'Advanced' model.

http://www.ebay.ie/itm/Advanced-Model-Carbon-Fiber-Double-Bass-Bow-French-/200403175627?pt=UK_Musical_Instruments_Sting_Instruments&hash=item2ea8f5c8cb

There is a 'top' model, but I'm not seeing it on the site atm.

Delivery is fast, and most people seem very happy with them. I'm waiting for the 'Harry Potter' magical version. The one that will play me rather than me playing it.

[quote name='Dazed' timestamp='1408280061' post='2528552']
If something has lost it's varnish etc is it more susceptible to humidity or moisture getting into the wood?

Are carved tops better than ply sound wise or more/less sturdy ?
[/quote]

Ply is resistant to cracking. You can really abuse it without problems, so great for pub gigging, busking etc. I can't imagine the varnish would matter at all. With ply you lose some richness of sound, but imo you gain peace of mind over an expensive, sensitive solid wood bass.

A compromise is a hybrid, with ply sides and back and solid top. So you get some of the sound benefits of the solid without the worries. i have one of those, and it sounds great.

Eastern European, three or so decades old, ply or hybrid, and you're away.

Can;t comment on the ad, but the advice i got on here before I bought added up to the following:

Older E. European can be good quality.
Ply is robust - no worries about humidity control etc,
Avoid Chinese.
3/4 is the size you want.
Ebony board is best (other hard woods ok too, but avoid painted softwood).
D neck is most common,
Four string is maybe best for beginners as it's standard, but some folks do opt for fivers right away,
You will change strings, so don't worry about them (good 2nd hand sets to be had on BC).
BC sellers trend to be good to deal with.
Getting a db player to check the bass out is good, but don't be afraid of buying without any special knowledge if you have good reason to trust the seller.
Allow a couple of hundred quid for a setup and a pickup,
If you buy new, Thomann and Gedo are good.

I wouldn't go for anything that has been tinkered with so as to be 'non-standard' but that's just me.

Good luck with your search. Take your time.

[quote name='BassInMyFace' timestamp='1407238986' post='2518601']

im just saying i think its a good idea to sacrifice a bit of ego and do soemthing you're rubbish at for a while and see where it takes you!
[/quote]

For me that's playing the double bass.

I suspect it's the thing in life I'm worst at. Except for wrapping presents.

Congrats on the purchase you really landed on your feet there. Himself will be gobsmacked.

The Rufus Reid book is a great suggestion.

Good thread.

Bowing is a good example. A huge investment of time for something most of us will never use. But always there's the guilt if we give it a miss. Or there is with me anyway.

I guess it's all down to how much practice time you've got and how much of that has to be taken with learning tunes etc. Not to mention the tricky question of how talented we might or might not be. I'm sure it takes me many times longer in practice hours to master a thing than it would many other people. Economising isn't optional.

This is probably why not gigging can be so damaging. You spend all your playing time doing stuff you can't do, instead of enjoying what you can do.