Is an EUB the right choice for me?

[hensonbass]

When I listen back to past soundboard recordings I notice the notes I played on the EUB would decay faster than I wanted them to. In a AUB context you would normally want that type of decay for most acoustic oriented music styles. But if you are playing more electric oriented music it's preferable to have a longer sustained note at a consistent volume like an electric bass exhibits.

That's probably why some EUB makers like Ned Steinberger include a magnetic pickup in their design. The Azola has only a piezo system. However, it's very natural sounding system and it works great for going between bowing (I do quite a bit of arco work in my band) and pizz without adjustment. There's a lot of "air" in the sound. I know I could add a magnetic pu but I think I'm after something else. I want to keep more upright tone in the picture, but at the same time alter some of its properties to make it fit my musical application. Does that make sense?

This week I've incorporated a Seymour Duncan SFX-09 Double Back compressor pedal into my setup that allows me to dial back in the unaffected tone along with the compressed tone so I get the both the thumpy/percussive attack and then a longer/louder sustain not normally heard in a typical upright tone. So far it's worked great.

BTW: I think sound techs refer to this as "side-chaining" your signal path.

[hensonbass]

BTW: Having a really good parametric eq is very helpful too to "cutting through" the mix. I've been using a Carl Martin parametric eq with great results although I'm sure there's other brands.

[zeytoun]

@hensonbass

It makes perfect sense, which is why I asked you to elaborate.

I love the full, roundness of an upright, but also love the sustain you can get with electric. (I adore the sound of a baby bass in salsa music, and this is often pretty close to the sound I'm often after).

I'm very uneducated about amping techniques, so your explanation is very helpful.

I don't have time just yet to listen to your recordings, but after your description, I'm really keen to this afternoon.

Thanks!

EDIT:

OK, I caved and took a break and am listening.

I totally hear a more percussive ping on the front end, I dig it!

[EggyToast]

Originally Posted by hensonbass

When I listen back to past soundboard recordings I notice the notes I played on the EUB would decay faster than I wanted them to. In a AUB context you would normally want that type of decay for most acoustic oriented music styles. But if you are playing more electric oriented music it's preferable to have a longer sustained note at a consistent volume like an electric bass exhibits.

That's probably why some EUB makers like Ned Steinberger include a magnetic pickup in their design. The Azola has only a piezo system. However, it's very natural sounding system and it works great for going between bowing (I do quite a bit of arco work in my band) and pizz without adjustment. There's a lot of "air" in the sound. I know I could add a magnetic pu but I think I'm after something else. I want to keep more upright tone in the picture, but at the same time alter some of its properties to make it fit my musical application. Does that make sense?

This week I've incorporated a Seymour Duncan SFX-09 Double Back compressor pedal into my setup that allows me to dial back in the unaffected tone along with the compressed tone so I get the both the thumpy/percussive attack and then a longer/louder sustain not normally heard in a typical upright tone. So far it's worked great.

BTW: I think sound techs refer to this as "side-chaining" your signal path.

Throwing a limiter on a signal path and upping the gain pre-compression is a pretty standard way to increase sustain on a tone. Side-chaining, though, is a little different -- it's when you have a different sound control the effect. So if you were to use a side chain in a compressor (which is very common), you would feed, say, the guitar or vocals into the compressor to control it, but the compressor would be an effect on drums.

Which is how you can get a loud drum sound before the rest of the music kicks in, or to make sure that if another part of the music gets quiet, a "background" sound can come up in the mix more naturally.

It's also what's essentially used for "ducking," which is common in radio/podcast applications.

[mr mastodon]

hey guys. i've just begun studying jazz bass at the university i attend. woo. it's a doozy. my instructor is primarily an upright player at this point in his life. during one of the lessons, he mentioned that some gigs call for a BG where an AUB couldn't fulfill all the duties required. likewise there are lots of gigs where a AUB is needed because a BG can't fulfill the requirements of that gig. he said, with my stature, that i struck him with a lot of potential for upright bass.

problem is, it's hard to find a decent one for my budget. i also live in a dorm and don't have any great mode of transportation (a hyundai sonata).

i was just wondering, are EUB's looked down upon within the jazz community? i guess what i'm asking is, is there come kind of stigma against them? i really want to learn upright, but the EUB is just more sensible for multiple purposes. would i lose out on gigs as a result?

[JtheJazzMan]

Originally Posted by mr mastodon

i was just wondering, are EUB's looked down upon within the jazz community? i guess what i'm asking is, is there come kind of stigma against them? i really want to learn upright, but the EUB is just more sensible for multiple purposes. would i lose out on gigs as a result?

In my experience, yes, there is a stigma, though I dont think that should deter you.

In the end you should decide who and what youre playing for, and stay true to your own musical tastes. Try as many styles of EUB as you can, and see if you can find one that feels good and speaks to you tonally. An EUB is no more a substitute for an acoustic, than an acoustic a substitute for an EUB. Tone is tone.

[bluesbass0945]

I guess I'm one of the few that got into EUBs expecting to find a middle ground between my electrics and my acoustics. I've never like traveling with an AUB and the feedback issues are also problematic, so I went for an EUB. I knew it wouldn't be "exactly" the same, but probably close enough.

Sure enough, I got a KYDD 4 Carry-on in '99 and have been quite happy with it. Yes, it's a short scale, but so are my other main basses so switching between them has never been a issue. I play mainly in an electric blues band where you would never expect an EUB but it works fine - many compliments each night. Also, the surprising URB-like tone and the novelty of a Bauhaus-inspired instrument on a photo tripod are quite the crowd pleaser. I also play out with local singer-songwriters and acoustic blues guys where the "acoustic-ey" tone of the EUB is an asset.

As for amplification, I use a K&K impedence matching preamp, an Eden 550 and a dbx 160a. I find the 550's three-band semi-parametric midrange gives me a great deal of control and the ability to voice for each room rather quickly. I don't use much EQ, but the Eden nails it. For cabs, it's all 12" - two 112s and one 212 and that group gives me the flexibility to go from small coffeehouse gigs to outdoor stages.

So, I don't think anyone who really wants and needs an URB sound should get an EUB - you'll just be disappointed. However, if you're willing to get 90% of the way there, there are a lot of great EUBs out there.