Thanks, no disrespect or bad feelings. 6k may not be something to hang a hat on. I do not know for sure. I do know that Andrea makes great basses and I am sure digging mine. I am just a player who like you (and much respect for for doing it) reached out across the world and put your money into a craftmans hands with an idea in mind. No worries.
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Double Bass Contrabassetto from the ground up
- Thread starter flatback
- Start date
Enjoy your bass, I have no doubt it is well worth the $ you paid for it.. and thanks for the informative thread about this instrument, without which none of us would likely have an inkling of this great Contrabassetto
And in retrospect,perhaps it would have been better to PM CV. I intended no offense. I would love to own a Contrabassetto.. but I alread have a Chennell Arco ;-}
I never meant to start any trouble. Like all of us bass nerds reading this, I am in love with Andrea Spadea's incredible concept and workmanship. If I could buy one I would do it immediately. I played my heart out at a gig last night and ended up with -$6 dollars after I paid the bridge toll. It will be a long time before I can afford a Spadea, so I appreciate alternative ideas.
I think it's interesting to have both the "original" contrabassetto plus some alternatives in the same thread. It elevates the genius work of Andrea as others try variations on the concept. My 2 cents.
I think it's interesting to have both the "original" contrabassetto plus some alternatives in the same thread. It elevates the genius work of Andrea as others try variations on the concept. My 2 cents.
Always been curious about the Chennell. Do you have a link to another thread with more details?
Well, out of respect to the OP, I don’t want to clog this thread with extraneous material. But if you do a search for Chennell Arco, there is some limited info about it, much of which I have posted. There seems to be very few folks who own one on this board. If you want to start a thread asking for info about the Chennell, i’d Be happy to reply
I started a new thread, and have some info about my Chennell Arco. I also deleted the posts I made previously, so as not to misdirect the OP’s thread. :Small, fractional,and travel doublebass thread
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These basses look great. I think we should start looking at a less drastic size reduction, though. I have been able to get around with the Chadwick pretty easy, and people seem fine with the removable neck basses. I am really happy with the Chadwick, but it can never be more than a solid, reliable option, because it will always just be a well set up Shen hybrid.
I like the idea of a nicer instrument like this for the future.
My main double bass is small but loud flat back 3/4, I think something slightly smaller than it, but a fine instrument like this and set up for travel would be a good way to go. That would shave a few inches off all around the size of my Chadwick, which is actually a bigger 3/4.
I think we have reached a point (thankfully) that travel basses should only need an amp for setting we would normally use an amp in.
I like the idea of a nicer instrument like this for the future.
My main double bass is small but loud flat back 3/4, I think something slightly smaller than it, but a fine instrument like this and set up for travel would be a good way to go. That would shave a few inches off all around the size of my Chadwick, which is actually a bigger 3/4.
I think we have reached a point (thankfully) that travel basses should only need an amp for setting we would normally use an amp in.
Have you been using the dyn B? I would think the body mounted pickups are perfect for these things. I typically hate the realist pickup but I love it on my tiny Bass. It's the perfect pick up for that instrument and once I plug in the thing sounds huge
One of rhe great advantages of the smaller body is that it amplifies so well. I am using a stat b and a Remic Red placed right over the F hole. If i tried that on my big bass it would feedback even with the amp off ( not really) but the little bass sounds big as hell and clear as a bell. I had the Ischell on there but the remic ( into the mas16 on the floor) is so fat and woody that it is killin. Reallly i have t he remic sitting over the f hole ... i ant believe it works so well.
Also on a contrabassetto the string length is 41 so it feels and sounds normal
Also on a contrabassetto the string length is 41 so it feels and sounds normal
Well what I struggled with at first with the Contrabassetto was a thinness (I call it plucked cello sound) that would happen up on the G string from about D up to G. It made me doubt a little. But the bass has gone thru a slew of strings and the addition of a raised saddle (super important in opening up the instrument). I kept looking for darker strings to cover up that thin ness . I eventually tried Zyex which made a big diff. and then Obligatos which I really like best. But then I put spiros back on there after the saddle and they have a loud punchiness that I am digging right now. When I first tried spiros they had too much treble.
I think a cat like Damon would go to town arco....the fingerboard stretches up into the Himalayas and all those note sound out too, all the way up. It's like another instrument up there there are so many notes.
Lately when I go to a gig I take the bass which you can carry like a guitar (suitcase) and the MAs 16 and a backback and in all the tight places I play and long walks from the parking to gig (mostly in SF) it is like I play a different instrument. I remember on NY subways standing there with my 7/8 in its bag on a wheel trying not to fall over or with the neck sticking out of a taxi just hoping I didnt decapitate some poor bicyclist going crosstown.
I still get jive from other musicians about the size of it but I just laugh and start playing and they shut up.
I think a cat like Damon would go to town arco....the fingerboard stretches up into the Himalayas and all those note sound out too, all the way up. It's like another instrument up there there are so many notes.
Lately when I go to a gig I take the bass which you can carry like a guitar (suitcase) and the MAs 16 and a backback and in all the tight places I play and long walks from the parking to gig (mostly in SF) it is like I play a different instrument. I remember on NY subways standing there with my 7/8 in its bag on a wheel trying not to fall over or with the neck sticking out of a taxi just hoping I didnt decapitate some poor bicyclist going crosstown.
I still get jive from other musicians about the size of it but I just laugh and start playing and they shut up.
