Double Bass I am curious, why don't more people play 5 string upright?

[Reiska]

At first I have to point out that I`m no guru of any kind -But if I understood what you wrote about resonating adjacent strings with octaves correctly, are you talking about sympathetic resonance? It can be a problem with EB`s, EUB`s and amplified uprights, but for acoustic playing and intonation practise it is what I`m after in the first place. It`s about more audible tone and your instruments natural way of showing you the correct pitch. There are different takes about it for different players, and for different musical situations, but all in all, it`s the nature of a gigantic acoustic instrument

IMO and IME, comparing playability issues between EB`s / EUB`s and uprights just doesn`t make sense, it`s a different game with acoustic upright. The bass guitar frame of mind just doesn`t work out the way you wan`t it, stopped notes will sound very different in different spots on the fingerboard, and taking advantage of the open strings is a part of it all. I`d be more concerned about tone production, intonation and time-keeping than whatever fingering would work out for certain walking lines. With acoustic upright, as a BG player, you have the advantage of knowing about fingerboard, ie where the notes are, and knowing the music well allready. Playability will be different and have to be relearned anyway. -And sorry if i got you wrong, I didn`t read thru all the thread.

With all this said, nothing wrong with wanting a 5-stringer UB with low B. Those low notes can shake floors, and it`s highly addictive.

 

[Jason Hollar]

I'd love a low B like Paul Warburton. I tried a converted chubby Jackson years ago but it felt gigantic.

I might have to get an NS design Omni 5 ... but that's another thread.

 

[Whippet]

I wanted to check out the Del Sole but the link seems to be broken?

Invalid Link Removed

 

[Whippet]

At first I have to point out that I`m no guru of any kind -But if I understood what you wrote about resonating adjacent strings with octaves correctly, are you talking about sympathetic resonance? It can be a problem with EB`s, EUB`s and amplified uprights, but for acoustic playing and intonation practise it is what I`m after in the first place. It`s about more audible tone and your instruments natural way of showing you the correct pitch. There are different takes about it for different players, and for different musical situations, but all in all, it`s the nature of a gigantic acoustic instrument

IMO and IME, comparing playability issues between EB`s / EUB`s and uprights just doesn`t make sense, it`s a different game with acoustic upright. The bass guitar frame of mind just doesn`t work out the way you wan`t it, stopped notes will sound very different in different spots on the fingerboard, and taking advantage of the open strings is a part of it all. I`d be more concerned about tone production, intonation and time-keeping than whatever fingering would work out for certain walking lines. With acoustic upright, as a BG player, you have the advantage of knowing about fingerboard, ie where the notes are, and knowing the music well allready. Playability will be different and have to be relearned anyway. -And sorry if i got you wrong, I didn`t read thru all the thread.

With all this said, nothing wrong with wanting a 5-stringer UB with low B. Those low notes can shake floors, and it`s highly addictive.

Yes, sympathetic resonance.

Your statement makes a lot of sense. I'll work on your idea. Especially the timing. This has been a very big concern, since it's much more difficult than an electric.

As you mentioned, playability is a totally different animal and needs a different approach. Initially I was thinking it would be something like an giant electric fretless. But I was totally wrong. Even with the low action and amplifier, it was not. I should have listened to all you guys from the beginning. LOL

Most of the time, I have to play through a headphone amp and mine really amplifies the mistakes. I'll just have to play through the cab a lot more and see what the real world sounds like and how the sympathetic resonance sounds can be dialed in or out using the nobs on the amplifier.

Anyway thanks for the information. Much appreciated.

 

[Whippet]

I'd love a low B like Paul Warburton. I tried a converted chubby Jackson years ago but it felt gigantic.

I might have to get an NS design Omni 5 ... but that's another thread.

NS EU6, obviously is a 6 string but there's this dimple on the back of the neck. It is wide but the construciton fo the neck makes it really manageable. Which is why I was thinking of it as a gigantic electric fretless bass, but in the end, it's more a double bass neck than a fretless electric.

 

[Reiska]

As I wrote, I`m definently talking about acoustic upright and that there are different takes on how to deal with sympathetic resonance for different players and situations. For example, TB`s Chris Fitzgerald, who has a pizz tone to die for, talks about " playing only one note at a time ", and uses damping techniques on both hands to do so. On the other hand, great free / improvisation player Damon Smith writes here how he tries to let the bass ring as much as possible to get a strong acoustic tone. I use plain gut strings for GDA and have my action on higher end of the spectrum, and my goal is to get all the resonance available for those fat gut strings to ring and produce sustained notes. For that I need to take advantage of sympathetic resonance and play as much in tune as possible, it won`t happen otherwise.

 

[logdrum]

As I wrote, I`m definently talking about acoustic upright and that there are different takes on how to deal with sympathetic resonance for different players and situations. For example, TB`s Chris Fitzgerald, who has a pizz tone to die for, talks about " playing only one note at a time ", and uses damping techniques on both hands to do so. On the other hand, great free / improvisation player Damon Smith writes here how he tries to let the bass ring as much as possible to get a strong acoustic tone. I use plain gut strings for GDA and have my action on higher end of the spectrum, and my goal is to get all the resonance available for those fat gut strings to ring and produce sustained notes. For that I need to take advantage of sympathetic resonance and play as much in tune as possible, it won`t happen otherwise.

I am more for resonance like Damon and I really do not worry about muting on the upright. I have been bowing a lot now and it really opens up the bass even if you are doing pizz. And you need to keep on doing it unless you have an old bass (100+ years old) . I live in 2 places 800 miles part so I now have 2 basses, The bass that was not played will sound dull the first few hours I get back into and I just bow the hell out of it. I am planning on switching places with them as well. I work in a city near the sea and my permanent home is high desert. 6-7K ft above sea level.

Watch some of Mark Dresser videos and really try to learn where all the partials are on the bass. The best way of knowing where they are is bowing. I was once told "Arco is truth". I am not a classical player

 

[Reiska]

Mark Dresser surely is a master. I have a love / hate relationship with the bow, kinda masochist way, it`s easily the hardest thing I ever tried on any instrument ( I`m originally, and still am a drummer and percussionist ). I play and practise arco, it takes no prisoners when it comes to intonation, left hand and tone production. I feel that with plain guts it`s a absolute must, to get the strings, the bass and myself going with full resonance and in tune.

Sorry for the partial derail!