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Double Bass Cleveland New Standard-Why?

#21
Jake deVilliers said:
You got me to wondering about that Mingus. From the American Standard website.

" That same year (1929), the Standard Sanitary Corporation merged with American Radiator Company to form the American Radiator and Standard Sanitary Corporation. The corporation adopted the name "American Standard" in 1967. "

So the bass came first. :)
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Interesting to note: My house was built in 1915. In 192_ , it got indoor plumbing. The toilet, with an "American Standard" logo on it, has the manufacture date molded into it;- October 1922. The name "American Standard" was obviously used very early on in the toilet business.
 
#24
Yes it is a lot of money for a plywood. Arnold a Wil seem to follow the maxim, "Always charge top dollar, always give 'em their monies worth." My Cleveland laminate is worth every penny.

What others have said +1. Very even sound up and down the neck.

I have had opportunity to do extended A-B with a friends Shen hybrid, very well set up, and my teachers fully carved flatback. All three had the same type strings.
The flatback had nicer arco sound, equal volume, but pizz the Cleveland was superior, tone and volume; and the NS both pizz and arco sounded louder and better tone to me than the Shen.
 
#31
This thread had some real potential for a while.

BTW - I went with a friend to Kolstein's today for him to try out a bass for Jazz playing. The Hybrid he's putting out which is made in Eastern Europe and is fully set up in his shop is just a well made, great playing and sounding instrument. Certainly worth a look!

Pete
 
#34
CamMcIntyre said:
Ok-i need to leave in 8 mins for my jazz jury [woohoo-playing in front of Scott Mason, Rob Amster, and other assorted characters].

My Cleveland ply is my very first bass. I had been playing on an old Kay throughout high school. Action sky high, strings at least 5 years old [i say this because we never changed them and i figure they had been on awhile before i got it]. I achieved great hand strength from playing that bass. The sound it had was killer-really loud and thumpy.

However, after 3.5 years with that bass [school kay], my Dad ordered my Cleveland as a graduation/birthday/christmas present so that i could have it in time for auditions. I forget if we ordered it in October and got it in December or ordered it in June and got it in October-i really don't remember for sure.

The bass sounded good when i got it back in Lafayette-i had 3 of my teachers take a look at it so that i could get a better idea of what i actually had. Scott Pazera-liked it and suggested i get a realist, Lynn Colwell-liked it enough to when his bass went in the shop-he asked if he could borrow the bass, Jeff Boswell-liked it and thought that i made a great decision.

Now that was in late 2004/early 2005. Now-late 2007, i love this bass more than ever.

The sound-it's huge and when recorded with a nice mic-it's exactly what i hear in my head. I am able to get a Ray Brown-esque sound out of it for walking yet i can also get a sweeter tone [heavily influenced by Paulie Danieliison {i know i can't spell his last name}]. I am actually going to be playing Paulie's solo off of 'Country' by Keith Jarret here today for my jury/transcription.

The playability is great. The adjustable bridge let me dial it in. Compared to some of the other guys at school-i like my action on the higher side. [I consider it med. high]. I don't do a whole lot of thumb position acrobatics, but it's low enough where i can still get around up there without pain, yet it's high enough where the bass is still a cannon unplugged.

The size works well for me. I'm a pretty big guy [6ft 230lbs] and when i play it-it doesn't feel big at all, yet when i see video/pictures of me playing it-i think "wow, my bass is huge". Better yet-i had a former bassist [now harpist] friend of mine play it. She's 5ftish and tiny. That made me smile.

I'm up for answering any questions-cept i need to take off. I'll post more once i'm done at school for the day.
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How'd you make out at the jury? What'd ya play?
 
#35
MingusAmongUs said:
How'd you make out at the jury? What'd ya play?
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The jury went well.

I played my transcription of Paulie Danielsson's solo on "Country" off of Keith Jarrett's 'My Song" album. That went well. Rob (Amster) mentioned that Paulie was a great guy for me to transcribe and study as he has really great phrasing. In my now 5 completed semesters at CCPA, i've transcribed Ray Brown for 3, Charlie Haden for 1, and then now Paulie Danielsson for 1. I feel like i learned a lot from this tune. I plan on continue to study this specific transcription for awhile as i really want to get as much of the phrasing/feel out of it that i can. Right now-i feel like i'm playing a bit too robotic with it and not letting it sing like it should due to needing to further fine tune some technical hurdles.

I only had to play 1 tune-so i played Honey Suckle Rose-went well. No scale test for this semester.

General comments that i received: ''you've got a real great sound', 'keep working on the phrasing-you're close, but i know you can have it closer', 'man, you've come a long way since your first semester here'.

I think the whole thing took maybe 10mins including passing out copies of the transcription, cuing up the CD, and doing a quick sound check.

I had a lot of people in on my jury: Roger Harris, Scott Mason, Paul Wertico, Neil Onderdonk, Rob Amster, Henry Johnson, John McLean, and then this other guy that i didn't recognize/hear his name. When i walked in the room i said "holy ______, it's almost every jazz teacher i've ever had." Normally, there's 3-4 people in for juries.

I get excited whenever i see most of those guys in on my juries/forums because i love the comments they have for me. So it almost makes it easier because i know even if i bomb on certain parts, they'll acknowledge that but then give me valuable info about how i can get the desired results.

More bass related stuff: Something that i dig about my Cleveland is how it sounds in a room with hardwood floors. It's like the bass sounds like it is connected to the very vibe of the place and it sounds amazing.

Part of our combo program last year-we got to record at the Chicago Recording Company. I was on the tail end of having the flu. They took a DI out of my pickup [realist] and then mic'd my bass. When i heard the sound in my headphones i said "are you guys doing anything to my bass or do i really sound like that?" to which they responded "that's straight from the mic-we haven't even turned up your DI yet" to which i said simply "sweet" and started to grin. I think i've mentioned in many threads, but the sound of my bass w/a nice mic in front of it is the closest thing i've ever heard to what the tone is in my head. Now the playing that comes out.....well-i'm still working on that part.

The better i get, the more the cleveland responds and produces the sounds that i want to hear. It's a great feeling knowing that i still have a lot of growing into to do with regards to the sound of my bass. If it sounds this good now, and i'm no where near as good as i want to be, i'm stoked to hear it when i'm actually more technically proficient at it.
 
#39
I dig in where ever possible. Carpet, wood, anyplace that I can without ruining something with the spike. Keeps me from moving around. The rubber guy can slide around on wood floor or some rugs. I prefer it without the rubber if I can get away with it.

...among other things.
 
#40
Uncletoad said:
I dig in where ever possible. Carpet, wood, anyplace that I can without ruining something with the spike. Keeps me from moving around. The rubber guy can slide around on wood floor or some rugs. I prefer it without the rubber if I can get away with it.

...among other things.
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Nice one, Toad. :) I feel the same way. But that's what got you in your pooey predicament!

Man, the bass is better every time I play. Mighta been the wood floor helping out, idunno. But I was in a room with 5 guitars, mando, fiddle, banjo, washboard and dobro and I was able to use ridiculous dynamics and not once was I drowned out. Lovin it.
 

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