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Double Bass Bass Player Live - Miles Mosley on Upright...

JPSBassist

JPSBassist

Feb 10, 2010
3,204
38
Santa Barbara
www.jon-hyde.com
#1
This is a short clip of Miles' sound check. I'm editing the full performance clip and will have it soon.

He has figured out a way to handle the feedback issue with electrically amplified upright basses and his bass, which is a standard construction wood-made upright, is capable of a wide range to tone when amplified and run through a series of customized peddles that Miles has spent a couple of years working out.

It's a great evolution of the traditional woody bass sound that uprights can produce (and solid body electric bass guitars cannot) and yet he can easily move into the tonal area usually reserved for solid-body electrics with his configuration.

Check it out:
Miles Mosley Sound Check
 
#6
JPSBassist said:
This is the first upright bass I've ever seen that when amplified didn't produce noise or feedback like a banshee when you walk it up in front of the amp.
Click to expand...

Over the last 20 years, acoustic instrument amplification has come on a long way and I must have seen hundreds of DB players who get great acoustic sound, when amplified - John Patitucci was the best of those I have actually seen play - i.e I was in the audience hearing that sound directly. :)
 
#7
Thread cleaned of derail. Let's try to keep this one on topic. While I have a more traditional concept of amplified sound, I actually like seeing the DB used for different purposes and in different genres and styles. Watching James Singleton from Astral Project do some wild things with effects, and watching Tony Marino do the same with Liebman and Vic Juris the other night, I think this is a subject that deserves to stay open.
 
#8
I love nasty amp sounds, I am using a bp-100 now, and it does the job. The good sounding pick ups are too permanant, and I play acoustic so often I don't want them on the bass.

I am not a fan of effects at all, especially distortion. Lynn Seaton does a more interesting Hendrix tribute using ponticello. The double bass has a lifetime of sounds that can be accessed by physical means.
 
#10
I'd like to thank Mr. Chris Fitzgerald for the redirect of this thread.

I want to talk about the bass that Miles is playing.

His website says his bass is a BLAST CULT One4Five Upright Bass.

Is anyone familiar with this instrument? If so, how does it compare to other upright basses of both modern and vintage build?

He said that the maker of his bass had figured the feedback issue out. And I suppose with the large amount of pedals he uses this is important in ensuring that feedback isn't an issue.

I'm friend with Darryl Anders at Dunlop and he's getting me a list of Miles' pedals. So that will be helpful.

But I know pedals already and am less interested in that than I am learning more about the BLAST CULT One4Five Upright Bass.

I also want to share a little background on myself. I'm 41 years-old. I started playing guitar when I was 12. I really wanted to move to bass when I was 14 but my father wouldn't allow it... I'm originally from Nashville (but grew up in Georgia) and come from a long line of acoustic guitar pickers. There has always been a misplaced sense of tradition that men in my family should only play acoustic guitar and I'm gladly bucking that tradition.

I didn't start playing bass guitar until about three years ago. I've learned an enormous amount in three years and know that I have an even larger amount yet to learn. I want to learn upright as well.

If any of you have seen the Police Synchronicity concert video. It was filmed at the Omni (which doesn't exist anymore) in Atlanta and I was there. Sting and that concert was a major influence in my desire to take up the electric bass guitar. I tell you this because if I had seen someone like Miles Mosley perform, I would have been drawn to the upright instead.

The spark that influences someone to become interested in learning an instrument is important. And I think it's great that instead of playing an upright that is electric in origin (like my friend Ned Steinberger's instruments), Miles is playing what appears to be a traditional acoustic upright that has been amplified after the fact.

I plan on investing in an upright and spending serious time learning the instrument. My intention is to learn it from a traditional standpoint. I think performers like Miles, regardless if you like or don't like his style, have to know the instrument from a traditional standpoint to be able to do what he does with pushing the envelope of what is expected.

What do any of you think about the BLAST CULT One4Five Upright Bass? I'm really sorry, but I don't know good upright basses from bad.

Thank you everyone for your patience.
 
#11
looks like a factory plywood bass with a heavy poly finish, and i'd guess that it's had some extra bracing or interior damping material to help mute the feedback. the original ampeg baby bass was filled with foam i believe. Dunlop has helped him with the impedance and line noise issues.... he's playing some nasty licks here, ala' the original Hendrix solo from "Manic Depression". pretty hyper imo, but it looks like a soundcheck situation,so.... Charnett Moffet is another player who has been doing this sort of thing for awhile. he has monster chops..... having an endorsement with Dunlop will help Miles be noticed. lots of new electric bass players being promoted right now, just look at the cover of BP. and yes, this fellow is an electric bass player, nothing is acoustic about this performance clip. the power of advertising. oughtta at least help the world at large notice the bass violin as a shape. don't forget sting doubled many of his parts on "Synchronicity" with upright, it's a large part of the fabric of that recording
 
#12
There's lotsa stuff on Google, apparently BLASTCULT used to be the slapbilly bass maker KING BASSES. This one seems to be particularly informative.

As to what I think of them, since you asked, as they are headed in the polar opposite direction of what I'm striving for, I haven't really given them much thought.
 
#13
the finish on these must be the same that they use on internationally shared military equipment. apparently you can write/attach images to it and then wipe 'em off. and it sounds like they are using some pretty heavy duty poly glue to assemble these as well, more tone damping i suppose.
 
#14
To those of you who enjoyed the brief soundcheck clip, I'd like to give you the link to 7 videos I posted about the different effects I use. [Invalid or Expired Link Removed] it is.

Many of you here share my enthusiasm for opening and embellishing on new ideas and concepts for the upright bass. To those who see music as I do, an unending journey full of possibility and excitement, I hope that these videos aid you in your endeavors.

Not that I have to, but I'd like to mention that I think of this setup "Blast Cult Bass + Effects" as it's own instrument. Growing up in Los Angeles I wanted to be Ray Brown as kid, fortunate for me I was able to study closely with him, and Al McKibbon, John Clayton, and several L.A. Philharmonic Bassists. There's nothing I appreciate more than the big beautiful natural sound of an acoustic upright bass, over 250 years old, ringing out through the ether. I have a bass just for that purpose that is never aided by anything less than a Neumann U47.

However, traveling the globe and trying to cut over a large and loud band is often my performance surrounding. This "sound/concept/setup" is what I've developed to allow me to find the middle ground.

I hope you all enjoy the videos with an open mind. Thank you for the support over the years my fellow brethren of the low end.

I'm happy to answer any questions you may have about the videos, process or setup. Just post your comment here or under the video it pertains too on the site.

The next video to be edited will answer all the questions about the Blast Cult One4Five Upright Bass I'm playing.
To quickly answer the most commonly asked question though. The Bass is made from 5ply Maple Wood. I had a high gloss piano finish and a chalk board paint job done in their custom shop. It is impervious to feedback. It's inherent acoustic value is null and void, since it's designed to be played through an amp. However, it has an adjustable sound post that allows you to release the tension on the front plate of the bass allowing for an acoustic value should you want to couple it with a mic.

We all own basses that have an Acoustic tone we love and admire. This bass is not meant to replace that. It's meant to allow you access to situations where you need to step on a stage in front massive speakers, monitors or front of house subs, and still get an upright bass tone, with minimal compromise.

dobrien said:
The acoustic sound has too much mid range for my taste the electric sounds are very cool
Click to expand...

I'd blame the mic on the camera for that. :) We bassists have a hard time conveying tone over the internet i find. Thanks for the compliment though partner.

Chris Fitzgerald said:
Thread cleaned of derail. Let's try to keep this one on topic. While I have a more traditional concept of amplified sound, I actually like seeing the DB used for different purposes and in different genres and styles. Watching James Singleton from Astral Project do some wild things with effects, and watching Tony Marino do the same with Liebman and Vic Juris the other night, I think this is a subject that deserves to stay open.
Click to expand...

Very kind of you Chris.

Respectfully,
Miles Mosley
 
#15
Miles, nice resume man! in another thread i read you saying that you had toured with Korn. that would be one of the loudest bands anywhere i believe. outside of feeling the raw visceral energy and physical sound pressure that kind of volume produces, frankly, i don't understand how you could do that night after night, without hurting yourself (and others). but it seems to be selling records and filling concert venues, and is a very legitimate way to make a living these days. do you use ear protection? if so, what kind do you use? i it must be a real challenge to get the bass up to those kinds volumes and still be able to listen and articulate the way you did in the demo clip.
 
#16
MR PC said:
Miles, nice resume man! in another thread i read you saying that you had toured with Korn. that would be one of the loudest bands anywhere i believe. outside of feeling the raw visceral energy and physical sound pressure that kind of volume produces, frankly, i don't understand how you could do that night after night, without hurting yourself (and others). but it seems to be selling records and filling concert venues, and is a very legitimate way to make a living these days. do you use ear protection? if so, what kind do you use? i it must be a real challenge to get the bass up to those kinds volumes and still be able to listen and articulate the way you did in the demo clip.
Click to expand...

Well, to be exact I toured with Jonathan Davis (the frontman for KORN) Doing his solo project. Stage volume wasn't dangerous :) Loud yes, but these days it's WAY louder in the audience than it is on stage. I don't use ear protection generally speaking. I'm usually the MD on my touring gigs and really stress dynamics.
But with the Blast Cult bass I can always be heard that's fer sure. I find that on BIG stages, no matter how loud the band is, if I plan on playing a passage really fast, I try and change my tone a bit so that the subs under the stage don't kick in until I want them too. The percussive element of the upright helps with articulation a lot as well. It's tricky but I feel like if you're always trying be musical FIRST, you'll find the right space to place dexterity. HERE is a link to some of the Live shows with JD that have good sound, you'll hear where I find my spots.
 
#17
well, time will tell how everybody's ears hold out in your situation......it doesn't take long for permanent damage to occur, and the hangover effects from loud sound will eventually be permanent. take care man. you are a fine player.
 
#18
I was there on Sunday and witnessed Miles' performance first hand. (standing two ft. behind the op of thread) I had never seen him live before, but have heard nothing but positive things by progressive players who think outside-the-box.

I was absolutely floored.

The guy, his talent, fluidity on the fingerboard, tone and pedals were all very inspiring. The pedals aren't my bag, personally, but Miles uses them with the utmost taste and style. He filled the room like a 4 piece band, but with only him and his drummer. Killer amplified tone.

Also, it was very pleasant to hear a Blast Cult, finally. (and NOT slapped! YAY!!!!)

Miles, keep it up man. You shred. You will be responsible for influencing many many future double-bassists.... and for this, we ALL should be thanking you!
 
#19
KStewart said:
I I had never seen him live before, but have heard nothing but positive things by progressive players who think outside-the-box.
Click to expand...

Could you explain what you mean by "outside the box", and "progressive players".

It's already been established that Miles can play, that what he's doing has already been done in the past in part, and that there are other established players doing it now. Outside the box to me would mean that he's doing radical things with original music along the lines of Cecil Taylor, Einojuhani Rauttavara, Eric Dolphy, Elliot Carter.....heck some people around here might consider those musicians inside the box.
 

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