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Double Bass Finding a new teacher... how do you know when it's time?

My son attended the Richard Davis conference for several years when he was young and I think he got something out of it. Rufus Reid is usually there and I seem to recall my son particularly liked him.

Lyn Seaton who is one of our resident experts and if I were you I'd pose my questions and concerns to him perhaps even posting a link to the youtube clips you have here.

If you haven't done so already I'd have a chat with your sons teacher. Express your concerns and see what he has to say.
 
It seems like your son probably has issues with tension, and with poor quality-control in his practice. Essentially, it relates directly to his daily diet of scales and left-hand exercises, and right-hand exercises. At a minimum, he should be developing the basic bow strokes legato, and martele. He should be working on bow distribution, on disciplining his arms and hands to create smooth bow changes and solid sound.
I'm going to go out on a limb and say that I don't think his teacher is working well in this situation. Ideally, the teacher should keep the student playing material that the student can in fact play perfectly. This would not mean spending 6 months on Twinkle, Twinkle, but it would involve a lot of remedial work.
Honestly, I don't think that music presented as fun and exciting can really bore a child so much. Your son is suffering during his practice time through hearing himself sound less polished than he or you would like. He isn't broken, he's going to work these issues out some time. But he won't be able to by playing the Dittersdorf. He's not emotionally equipped to handle works of that magnitude.
There's an illusion that bass players have to be less musical, and have lesser technique than other string players. But this is because pedagogy is dominated by players who don't understand the developing mind, haven't properly pondered the mechanics of playing, and have not developed a sequential approach to introducing material.

This child's teacher does not demand perfection from him, so how is it ever going to emerge?
 
I think his teacher has focused more on challenging him than with perfecting his technique with easier pieces...

Also...it is a bad idea to focus on challenging him with advanced solos rather than PERFECTING his technique on easier pieces. It doesn't make sense. What seems more reasonable and necessary: perfect technique, or challenging solos (that your son cannot handle) and play them with bad technique? I mean no offense to your son's skill level - he is very advanced for his age, but age aside, he cannot and will not be able to handle and play any music well without refined technique. If your son cannot handle one of the most basic of all the fundamentals (technique), then how can he become an advanced player (which he definately has the potential to be)? Sooner or later your son will face having to go back and perfect his technique, so why not do it now while he is young? I would suggest going with a new teacher who has a better understanding of this
 
I started playing at age 11, 11 years ago. So, while being five years later than your son, I still have some memories of what it was like back then. In the beginning, it's all about motivation. Really. There has to be something that makes your kid want to continue, indeed, a challenge. You don't want to be the Nazi dad, Murry Wilson or Joe Jackson style! The current teacher seems to provide that motivation. That being said, there should always be room for a bit of technical improvement. Just some few minutes every day before jumping onto the fun stuff would do wonders, and the earlier your son starts with those things things, the less problems he will have later on. I know people who started playing very early, always loved it, because their teacher is such an awesome guy. But, they never got their technique worked out properly; despite all the practising hours and the pleasure taken in playing, they had a hard time entering college; in that sense, all those playing hours led to nothing because they didn't lead to any mastering of the instrument.

I first started caring about technique when I was 16 or even 17. The professor I switched to had me drop everything else, and ONLY play etudes that seemed so fundamental it seemed silly to me. Needless to say, it worked wonders, because it was necessary. I had entered a school which sole purpose was to get their students into a an arts Uni, and it was a very challenging atmosphere, which made me take it seriously after a while. Had I been home I would perhaps not have cared so much. Can something like that be found for your son later on, I say shoot. Summer courses and camps are really important, too. For motivation, for the fun, and for taking things more seriously than is usually the case at home.

It can feel a bit awkward to change from a teacher you like, but in my experience, a new teacher always meant a huge leap forward. I've never played for the same teacher for more than two years, and I see no contraproductivity in that. Different teachers have different views, and in a couple of years they will perhaps not have made a star out of your son, but they've had plenty of time to etch their special points into the head of your son. The risk of having the same teacher for too long is that he will know what you'll sound like, and you'll know what he'll say, without it leading anywhere really. Of course, you can become the best of players studying for the same teacher all your life, but I say a change is a good thing, as long as it is to a good teacher. But, of course you have to talk it over with both your son and the teacher. I have yet to have a teacher who doesn't like the idea of me change to another, but I know there are examples of rather possessive teachers - as if they'd like to take credit on the account of their students' talent.
 
Thank you for your insights, mrmann. We decided a few weeks ago to change teachers, and unfortunately my son's former teacher was not very happy about it. He was kind enough to recommend my son to his own former teacher for his opinion and advice. This teacher is a very well known bassist and educator. After an initial meeting where he listened and watched my son play, this teacher has agreed to instruct our son, and the first few lessons have been fabulous - he is focusing on left hand technique, and having our son go back to the early pages of Simandl and 2 octave scales. He is also working on developing his ear by having him play fun pieces from memory, as well as giving him additional fun melodies to play that he has written himself. I am deeply indebted to all of the wonderful bassists on this website who have offered their advice and encouragement. Thank you!
 
I am happy to hear that your son's new teacher is working out so well for him!

My current bass teacher made a comment a few months ago that he thinks that students should change teachers by the third year, because by the third year, the teacher has pretty much exhausted the information he can supply. So, I do not think all bass teachers would be upset about a change after that period of time. At least mine would not be.