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I’m seriously considering this system. I play bass and acoustic guitar and I’m thinking it would be ideal for both. Anyone have an update on how they like it for bass?

Me and my Stanley.

Love mine. Versatile, light, reliable.

There was most definitely a Hofner Verythin bass “back in the day”. I had one 50 years ago. It wasn’t a stopgap to save up for a Fender. As far as I knew no one I had seen had one as a stopgap or anything else. Until the new reissue I never actually saw one in person. When it got stolen, I used...

My trusty GK got ruined in a flood. I finally chose a Phil Jones Bass Bg450 to replace it. I’m happy with it. Similar footprint, sounds good, well built. No rattles either.

Someday My Prince Will Come.

I used a GK 150 for upright for years until I lost it in a flood. I’ve just picked up a BG-450 to replace it. Very excited about it.

Hmm. I’m going to give these guys permission to use whatever charts and changes they want. I think they’ll make out all right.

Likely solved with new strings, but you may have to shop around to find the one you like. I’ve played short scales for years and found that Alembic work best for me but other rounds work too. I’ve never had good luck with flats but haven’t experimented much with them.

The hedge sound great and play great. The short scale and 24 fret fingerboard are the cat’s meow. Two downsides from my experience with my’69 Les Paul: you may find it extremely heavy (mine is) and you need to convert the impedance for use with the vast majority of amplifiers. I believe there...

Owned: Hagstrom Hofner Gibson Music Man Fender Vintage NS Designs Alembic Rented or borrowed for extended periods: A different Hagstrom Gibson Ripper

Steel players sit. Keyboard players sit. Harpists sit. In orchestras almost everyone sits. There’s precedent. Sit. Consider piano benches or the seats that steel players use, some of which have a back. I don’t personally think a taller stool is necessarily more desirable.

Great deal! Too bad I’m in Canada!

I’ve used short scale basses for many years - an Alembic and a ‘69 Les Paul. I love them both. The Alembic will do anything. I also use a p bass or a music man on occasion, both regular 34” scales, but I’ve always been happy with the shorts, both in studio and live. They’re anything but a baby bass.

You could also try looking for an early Squier P bass. The early Japanese Squier basses - ‘82 -‘83 - were very nicely made. They aren’t always cheap but you can occasionally find a decent price.

No.

I agree with the Shen recommendation. I have an SB88 and I’m very happy with it. And I don’t have to worry about it.

Sound techs almost always have one, but I usually throw my Sansamp in my bag just in case.

My experience is that it’s a mistake to avoid thumb position on an EUB. The increasingly awkward angle of the wrist as you go higher can - and for me did - cause a strain injury. The bright side is that thumb position playing is physically more forgiving on an EUB than on an upright, with most EUBs.

Barts.

I’ve played in big bands for over 50 years. I’ve gone through every phase of thinking about this, from “there’s no way I can play that piece of ##” to straight reading. Ultimately I think this: read it as is until you are thoroughly familiar with the chart. If the chart doesn’t have changes...

Tower of Power every time.

QTron.

There’s so much great gear, big and small. It’s an inconvenient truth that there are some gigs where the look matters, in the gear, the instruments and the dress. If that kind of gig is what you want, get the quality gear that looks right. It seems petty but it’s better to get the right gear...

The 88 was my choice when I decided to move back to a laminate for workhorse gigs after many years with a fully carved bass which required a lot of tlc. Very happy with it.

I got my Alembic by lurking on eBay for years until an affordable one came up and I pounced. Got it for the same price as an American Fender would have cost. So…patience I guess.

I used a GK MB112 for years with acoustic bass. It was loud and a real workhorse, lots of versatility. It survived everything but being submerged in a flood.

An interesting aside; Casals originally recorded the Bach cello suites as a protest against fascism. They have such an interesting history.

Remarkable! Lovely. Thanks for posting!

I have the same question. I have Shen SB88 with Helicore Hybrid strings. I play jazz, swing, roots, country, and anything else that comes along. Mostly pizz, some arco. I’m finding the strings a bit dark. I’m thinking about trying spirocore weichs. Any thoughts? Hope I’m not hijacking the thread.

Quite a project!

Alembic.

I agree with Double midi. And there’s no real problem, either, with a bass line that puts a second (or third, or fourth) degree of a scale based off a chord tone if you can take the line to a satisfactory resolution. So for example an F# over an E chord walking up or down to a third or root...

I have the D800+ with the Mesa subway 1x15. Love it.

SF2 Is the answer for sure. They come up for sale in the Alembic club from time to time.

An acquaintance of mine had their ‘72 P-Bass stolen a week ago. Here’s a picture of very similar bass, with contact info should anyone spot it. Thanks!

I guess the answer is no.

Sorry to dredge up this old thread. Does anyone have any experience with Upton bass stands? Double Bass Stand - Wooden Upright Bass Stand by Upton Bass

When my fully-carved bass needed some expensive work, I made the decision to switch to an 88 and let the luthier restore and resell the carved bass, presumably to a serious player who needed, or believed they needed, a carved instrument. After 40 years with the carved bass I know that for me...