Doublers

[phippsyg]

Hi,
Not sure if this is the right spot but I have a question for those that double on electric.

What sort of electric bass do you play and why?

I ask because I am playing more upright than electric now and have found my tastes to be changing. I have played an Alembic for a long time and am thinking I would like to own an electric with somewhat more organic sounds.

[kmanley_29649]

Hot-rodded pawnshop P-bass knockoff with Badass-II and DiMarzio Split-P's.

[mattfong]

I usually play my Squier Vintage Modified Jazz bass because it's simple, versatile, and it sounds and feels good. Nothing fancy.

That being said, I hardly ever play electric.

[OliverH]

I play a Fender Jazz Fretless, but I consider that to be in a completely different realm to my upright playing. I love the "Jaco Pastorius" sound on the electric bass, but I prefer the "John Patitucci" sound on the upright. I don't think my guitar/upright tastes influence each other.

Then again, I play jazz on both. If I played metal on the electric and rockabilly on the upright I guess it would a much different story though.

[bassist1962]

I play a Squier P Bass Special. Total stock w/D'Addario Chromes .100 - .045.

[Pacman]

Mostly jazz basses, because I like the sound.

[Eric Swanson]

Beat up old Japanese "Penco" Jazz Bass knockoff, with crazed sunburst finish, rosewood fingerboard, and tortise-shell pickguard, hopped up somewhat with Badass II bridge, Schecter machines, and Seymour Duncan pickups. Homemade high "E" fret added.

I went with a cheap knock off because:

- It sounded and played just as well as my "real" Fender did

- Not as groovy as my old pre-CBS Jazz, but I didn't cry when it fell off the bandstand, either.

- I sort of dig the "thrift" store thing; taking something inexpensive and making it sing. Radically avoiding the whole "my bass is hotter than your bass" thing.

- There is something sort of fun and mildly subversive about laying down some deeply musical stuff on a cra*py bass on a multi-band gig, when all the other bassists have super-expensive, very precious instruments.

- I got it when I was gigging with a sci-fi surf band whose credo was cheesiness. The Penco fit right in.

- Keeps the "Black and Decker" bass in its appropriate place (IMHO). Doesn't make the EB out to be more than it is; a useful power tool...

[PocketGroove82]

I have thinned my E. Bass Family down to what I consider the classic sounds.
-Alder/Rosewood 60s Jazz Bass covered by an Alleva-Coppola LG-5
-Ash/Maple 70s Jazz Bass covered by a Sadowsky Metro
-Passive P Bass covered by a Sadowsky Metro P/J (which can also cover the wooten sound and a passable "Modern" active thing.)
-MusicMan Stingray.

I use other basses sometimes but those are the real keepers/money makers. Eventually, I might broaden the palette even more with a fancy MTD or Sadowsky Modern, but really I need to save around 20 grand for a better upright and bow!

Anyone wanna hire me?

[Chris Fitzgerald]

I have a Rob Allen mouse because I think it's cool, and an old Fernandes 4 string passive plank that I paid the bills with for about 10 years in a society band - I only keep that one for sentimental value. At this point, I'm more of a BG holder than a BG player.

[Jason Hollar]

I'd love to try a Mouse!

I just bought a ten-year old Warwick Corvette Std 4 string fretless cheap for when I can't bring my upright. Very warm sound and awfully fun to play!

I also use a relatively inexpensive Yamaha TRB 1005 for blues & rock gigs.

That said, I'm saving my pennies for a better upright -- like an Upton or New Standard.

[peterpalmieri]

Passive J style bass.

I find the more I play the upright the more I want to dig into a passive slab and the less I want to have a touch sensitive super active bass.

[johnfowles]

I play an Overwater Custom 6. It's very natural sounding. I never use effects. The work I do (from pop to pit) requires for me to either play very straight, or sight read quickly. So a great quality 6 string suits me great.

[TroyK]

Before I played doublebass or played it very much, I had a jazz bass with flatwounds and amps that made it sound as "organic" as possible. Now, I feel that if that's the sound I want, I need to play my DB and won't be happy with any sound I can get out of any EBG, regardless.

So, on the very odd occasion that I actually gig or record with my Fender, I'm usually going for something different. I want a tighter, punchier sound, more electric. Otherwise...

[Tanglehead]

It seems like your Alembic should be versatile enough to cover whatever electric gigs you're playing, but that's completely your call. If it weren't for my Zappa rep ensemble that requires 24 frets and 5 strings (at least it makes some of those lines way more managable - I know Scott Thunes played P basses mostly) I could probably survive with just my MIJ late-80's Fender Jazz (fretted AND fretless versions.) That said, I always seem to come back to my Pedulla MVP 5 - to the extent that I'm seriously considering offloading my SR5, Smith Burner 5 and maybe even the Pedula Rapture 5...and putting the cash toward a 5 string DB or one with an extension.

If I were you, I'd think twice before selling your Alembic - you may regret it. I only play about 10% electric at this point, and can see a day where it's just a couple times a year, but I don't intend to let go of the MVP5.

Then again, you describe that your tastes are changing - that should really be the biggest factor - the right tools to do what you want, whether it's a specific sound, a specific set of techniques or a specific style. It's also a matter of what kinds of assets you have with which to buy, maintain and store this menagerie of basses. If I had everything I wanted ( nearly do, except for a better orchestral bass) I would probably keep every bass I have, knowing that someday it will come in handy and unless it's really beat up, should maintain at least a modicum of it's value today.

Hope that helps - and good luck.

Tanglehead / Brian Casey

http://www.myspace.com/tangle_head

[Jeremy Allen]

I play a 5-string Sadowsky Metro (jazz bass copy), and while it is the PERFECT bass sitting in a mix I wouldn't describe it as organic. My oldest partner is a Lakland US four-string with a Moses Graphite neck that is, for some reason, extremely warm and wonderful, especially with flatwounds. I also play a Tokai P-bass copy from the early 80's and I'll be darned if it doesn't sound about the best of any of my basses for just holding down the bottom end on a blues or country gig.

I currently have the fretless bass pictured here in my possession for a few weeks, and organic? This is the one. A work of art that lets your fingers shape the tone. For $1399, I may have to just buy it and laugh when this kid becomes famous and triples his prices.

[bolo]

#1 - Lakland Bob Glaub, alder/rosewood, LaBella flats
#2 - Lakland Joe Osborne 5, alder/rosewood, Lakland flats

Why? I was born in 1960, and grew up listening to the music of the 60's and early 70's. Organic like you said. Matches the vibe and sound I dig most - a 60's P bass and a 60's J. The Bob Glaub in particular just feels and sounds so good.

I also have a 1986 PRS (Paul Reed Smith) fretless that was my "jazz" instrument for a long time before I bought an upright. Used Rotosounds and later some kind of black tapewounds back then. Halfrounds now I think. I play 90% upright now, so after years of trying to make the fretless sound like an upright, I was able to take it in the opposite direction and make it sound like ... a fretless w/ roundwounds.

[AndreasH]

I have a Yamaha TRB 5-string with active PU's. That's my "Hi-tech" bass and then have my old Ibanez EXB404. It was my first bass and it actually sounds really good! It's more organic and "Lo-tech" than my Yamaha.

[glenfong]

does organic = non-active electronics?

ever since taking on the upright, most all of my gigs hardly called for electric. recently, my regular Fri gig (5-piece and vocals) for the ballroom dancers started requesting more oldies rock, that's when I'll reach for the Fender Jazz Deluxe with active electronics and large single pole pickups (they sound thicker than the stock dual poles). I find it's easier to dial in a tone with the onboard pre (it really has a wide range of eq), then I can pretty much leave the amp eq set for the upright. The body on this Fender is also scaled down as well, easier on the shoulder!

when doubling with a guitar duo or trio, I'll take a Roscoe LG3005 5-string. It's nice and lightweight. I like to chord comp a little at times to change it up from walking during guitar solos.

[Jason Hollar]

Most of the time I cut the highs and boost the lows on my active Yamaha. With my Roto flats, I think I get a pretty organic sound.

That said, I almost always run my upright piezos through an active preamp...still trying to dial in that elusive "natural" sound!

[Rebop]

Depending on the gig I will use:

1968 Gibson EB-0
Mid-90's Japanese Fender Jazz fretless
Roscoe SKB-3006

The Gibson sounds so thick, it's amazing. The Fender sounds like what it is, and the Roscoe sounds very modern. All great but the Gibson has been seeing most of the EB gigs lately.