Hi All,

I bought this B2 at the end of December, but had most of January off, so I just finally had a chance to play it at a gig. I've been playing the B2 at home pretty much everyday, but just through a little practice amp. Although it sounds pretty good through the cheesy little practice amp, I wasn't really sure what to expect in a gig situation.

This was a smaller casino gig and is typically a low volume scenario so I used IEM's (Westone UM2's). Normally I play a 5-string Sadowsky through a PODXt Live at this venue. So, I decided to just run the B2 through a Fishman Bass Platinum Pro EQ.

I'm pretty spoiled by the sound of my Sadowsky (it's a tone machine), so I wasn't sure how the B2 would stack up. After spending a couple minutes figuring out the Fishman (also a new purchase), I came up with a sound that worked for me. We launched into a song and immediately I felt that nice big round tone wash over me. It's not quite as "ballsy" as my Sadowsky, but it has a nice deep round tone (and remember this is with in-ears). Needless to say, I was very happy. Also, the rest of the band was quite impressed and loved the look of the bass on stage.

Unfortunately there weren't any other bass players in the house, so I didn't get to hear it through the FOH speakers, but the soundman said it sounded great and my wife (who has developed an ear for bass) said that it was really good.

My only challenge is getting used to setting up the stand and moving it around on stage. Part of me wished that it would roll on casters or something, but I'm not sure how practical that would be. I probably just need a little time to get used to it. One thing I did get used to right away was playing in the vertical position. It feels quite natural.

I think I may want to try it with a set of flats as well. I play mostly country and I think it would be great to use the B2 for those songs that need a little more "upright" sound. Anyone have any experience with flats on a B2?

Anyway, I really LOVE my new B2 and am so happy that I purchased it (I had to explain to my wife how I accidentally won the ebay bid....that's really not my fault ...is it?).

Here are a few cheesy shots of me with my B2 at the gig:

Pretty dashing pair there, I'd say...I only wish I could have heard it!

As for moving the bass around, here's what I do: left hand on the stand right below the head, right hand on the neck of the bass, right above the body. If the endpin is trapped in one of the legs of the stand, those two hands keep the bass engaged to the stud on the stand, and it's a pretty easy thing to pick it up and put it where it needs to be.

Regarding the flats, I'd love to hear other comments about that. I'd never put a set on any of the B2s or Brios until NAMM, or just before, when I found a set of SIT flats in the Drawer of Deep Miscellaneous at the shop. I found, at the show, when I could noodle on a bass I was always drawn to that one. I don't know if that was a tactile preference or an auditory one.

Anyway, your comment has persuaded me to try a set on the Brio with the Villex pickup in it. I'll be playing it twice a week at my church gig, so I'll have some good A-B experience since I've been using roundwounds on a B1 for many years there.

I'll give the RWs a few weeks first on the Brio then change 'em out.

Thanks for the report, and the pix, Seattle Bassman. You two on stage look like you're twins separated at birth and just reunited!

Kindly,

Lee

regarding strings: i always use flats. i like la bella tapewounds. i have also used the status tapewounds and like them very much. i prefer the la bella tapewounds. they are very clear and articulate to my ears. they sound more like a 'bass' to me. i can't stand the feel of roundwounds and don't even care for the sound much anymore.

i play fingerstyle. i often rest my thumb right near the corner edge of the neck heel. my main gig is for a country band that also plays cajun and oldies tunes. (no wonder i like the tapewounds, eh?) i like the la bella tapewounds so much i got a set for my guitar....

i'm not sure how close to a traditional 'upright' sound you will get because the barker sustains for a loooong time. (me like! :hyper: ) maybe a combination of flats and a foam mute with the treble rolled back would work, just like what one would do with a p-bass.

regarding moving the bass: on those rare occasions where the band boss asks me to sing lead on a tune, i simply pick the peanut up off the stand and haul it to the front of the stage. that works okay for a song or two--wouldn't want to do that for the whole gig, though!

regarding playing vertically: that's wot's it's all about, innit?:cool: i, too, had that epiphany--not just immediate adaptation but immediate preference. it's the 'horizontal' bass that feels awkward and unnatural to me. Yay Lee! later, ron

... I think it would be great to use the B2 for those songs that need a little more "upright" sound. Anyone have any experience with flats on a B2? ... ... i'm not sure how close to a traditional 'upright' sound you will get because the barker sustains for a loooong time ...This is what you want to do ...

1) Get a set of LaBella Deep Talkin' Flats or LaBella Black Nylon Tapewounds. (These are the stock strings on the Barker B1)
2) Get a set of foam mutes from Lee.

That will give you the thumpy sound you're looking for! :cool:

It's semicosmical that you'd mention the mutes. As soon as I get a few more homey chores done, I'm off to the shop to cook up a batch o' mutes. I'll post to the forum when they're ready to ship.

Kindly,

Lee

Anyone have any experience with flats on a B2?

I switched from the LaBella Tapewounds to the Deep Talkin' flats ( I have a B1), and the tonal differences were immediately apparent to me. Even though the sustain (which I happen to LOVE, BTW :D ) is still as present as ever, the individual note clarity is greatly improved .... and it wasn't bad at all to start with .... I particularly hear the improvements further up the fingerboard with the Deep Talkin' flats, where the tapewounds always seemed a bit dull.

I've got some Labella tapewounds on my fretless, and I've gotten quite a few unsolicited comments about similarites in sound with the traditional slappy uprights. Especially if I'm playing country 1st/5th stuff. A little tap on the strings at the pickups to deaden the note (damn that confounded sustain!) is a big part of it.

Fortunately, like most of you, I'm not trying to copy a double bass. A little tonal similarity is fine, though. You certainly won't hear me complaining...

Okay, I have to admit to a fear. In both the settings where I typically play, there is no percussionist. I take seriously the responsibility to be right there on the front edge of The One.

I'm in tall timber here, with folks who know more than I do. Hence the question:

Will I be losing that by going to the Brio (p-bass electronics) with flats? Or is the difference more tonal than articulatory?

And did I just make up a word?

And (in parentheses) Hi, Firstborn Son, slayer of dragons, husband to my favorite biologist, instrumental renaissance man and hail-fellow-well-met!

Lee to all and Dad to a few...

I've been thinking of trying some Flats on my B1. I use LaBella 760 Flats on my old Fender Jazz bass, and I've thought maybe I would like to try them on my Barker. DR just came out with some flats, and I played a Lakland P bass with some on them. Sounded very nice. I may try the new DR flats too....has anyone tried the new DR flats on any Barker yet? Leo Goff

I've been thinking of trying some Flats on my B1. I use LaBella 760 Flats on my old Fender Jazz bass, and I've thought maybe I would like to try them on my Barker. DR just came out with some flats, and I played a Lakland P bass with some on them. Sounded very nice. I may try the new DR flats too....has anyone tried the new DR flats on any Barker yet? Leo Goff
I have tried the DR's in the past on other (non-Barker) basses and they didn't appeal to me. The LaBella's are a pretty high tension string with a very smooth feel, whereas the DR's were definitely a bit looser to the touch (kind of similar to the LaBella tapewounds) and had a grittier texture.

For me, the LaBella's have a tighter punch and give me a bit more control when muting .... :cool:

ok....2nd gig with the B2 (or is it officially a "Brio" now?)...This time I was running through my Aguilar DB680 and Schroeder 1210. Man what a nice big sound. I love it!! The band is really into it as well ....and the nice added bonus is that it's like a beacon for any other bass player in the house, so now I always know if there's another bass player hanging around ;-)

I still haven't tried the flats yet, but I think I'm gonna get a set as the Deep Talkin LaBella's that Pointbass recommended.

ok....
I still haven't tried the flats yet, but I think I'm gonna get a set as the Deep Talkin LaBella's that Pointbass recommended.

I use Thomastik JAzz Flats, and my Barker just simply sings with these strings. They have been my strings of choice since Carol Kaye turned me on to them years ago.... how's THAT for name dropping?:D
Paige

Pretty dashing pair there, I'd say...I only wish I could have heard it!

As for moving the bass around, here's what I do: left hand on the stand right below the head, right hand on the neck of the bass, right above the body. If the endpin is trapped in one of the legs of the stand, those two hands keep the bass engaged to the stud on the stand, and it's a pretty easy thing to pick it up and put it where it needs to be.

Regarding the flats, I'd love to hear other comments about that. I'd never put a set on any of the B2s or Brios until NAMM, or just before, when I found a set of SIT flats in the Drawer of Deep Miscellaneous at the shop. I found, at the show, when I could noodle on a bass I was always drawn to that one. I don't know if that was a tactile preference or an auditory one.

Anyway, your comment has persuaded me to try a set on the Brio with the Villex pickup in it. I'll be playing it twice a week at my church gig, so I'll have some good A-B experience since I've been using roundwounds on a B1 for many years there.

I'll give the RWs a few weeks first on the Brio then change 'em out.

Thanks for the report, and the pix, Seattle Bassman. You two on stage look like you're twins separated at birth and just reunited!

Kindly,

Lee
Hi Lee. What kind of strings will my Brio come with?

Anxiously awaiting the large box,

Joel

Hi Joel--

First a general comment on my Brio which is now officially my church bass. (Alas poor ol' 72, who served so faithfully and so long, is now unsure of her status!)

I tried flats on the Brio and it lost something in the mix, and I don't quite know how to put words on it. Perhaps less clarity than I wanted. We do not have percussionists, so since I'm the guy landing on the Big One, I need a nice front edge to the note. I put on a set of GHS Brite Flats, size 52 - 103 (set ML3075), and I am very pleased with the results. These are RoundWoundGroundDowns. YMMV, of course.

So, Joel, I was planning on a set of roundwounds on your bass just because I hadn't thought any different. Would you prefer the GHS, a set of which I likewise have in stock?

Kindly,

Lee

Would you prefer the GHS, a set of which I likewise have in stock?

Kindly,

Lee



Yeah, let's do that Lee. After lurking and listening in geat detail to other Barker players, using some form of flat-wound and possibly a mute could push the vibe in the EUB direction somewhat and that could be very cool for a lot of the swing stuff.

Joel:bassist:

I put on a set of GHS Brite Flats, size 52 - 103 (set ML3075),


Hey Lee. Are these the only gauges available? I don't think it'll matter much. I'm such a creature of habit though. I'm a 45-105 kind of guy. If that's what ya got though, do what you need to do.

So much impending shock to my nervous system,

Joel

The medium light gauge of the Brite Flats have heavier top and lighter bottom. I think the mediums have a thicker E string and a thinner G. (I kinda like the ML's myself....)