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Double Bass Is it bad to mark positions?

#21
Originally posted by lermgalieu
However, I have to say that this is often a HUGE challenge for me because in my main band we get quite loud (Hammond B-3, guitar, and drums) and have a very tight practice space, so I can tend to get a little off due to all the sounds going on, and sometimes feel like I have to fixate on my amp to be able to hit notes right, which can negatively impact my interplay with the band.
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Oh yeah! That's another thing. I play in concert band where I cannot hear myself at all. So I would have to look more. In jazz band I'm not so dependent on the markers.

Incidentally, on days that I wear high heels to school (and to play), my intonation goes off, and that's another time to need the markers occasionally.
 
#23
Actually a good point...I was thinking about this yesterday. At home I tend to play in my socks, while obviously at gigs and at "rehearsal", I play in shoes. My endpin is out as far as it will go, so there are no variations there. Two things - a) do you think that slight height difference can negatively affect my playing, or does this variation actually build your ear and lessen any stubborn muscle memory/inflexibility from development and b) when I put my new longer endpin in, will I be constantly struggling to have it at a constant height from gig to gig? I suppose I could mark it...is that what others do?
 
#25
Originally posted by lermgalieu
Actually a good point...I was thinking about this yesterday. At home I tend to play in my socks, while obviously at gigs and at "rehearsal", I play in shoes. My endpin is out as far as it will go, so there are no variations there. Two things - a) do you think that slight height difference can negatively affect my playing, or does this variation actually build your ear and lessen any stubborn muscle memory/inflexibility from development and b) when I put my new longer endpin in, will I be constantly struggling to have it at a constant height from gig to gig? I suppose I could mark it...is that what others do?
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Well that's extreme, you have to be familiar with your bass. Mark your endpin. My endpin has notches, so it's very easy for me to always raise it to the same height. It's also easy for my to adjust depending on whether I'm where shoes or not, or sitting or standing. But I always try to have to bass at the same height and angle in relation to my body.

If you extend the pin all the way when you're wearing shoes, don't quite extend the pin all the way when your not. Set it 1/2" - 1" shorter. If your new, longer endpin doesn't have notches, mark it. Buy an endpin with notches.
 
#26
Yeah I have one with notches now, but I have to extend it even beyond the last notch - I guess because its not the longest of endpins and I am fairly tall (6'2"). I bought a new one that's longer, but unfortunately this one aint notched. I will mark it, but I guess until I put it in I am gonna start always playing in socks as the height of my bass in socks feels right, and it feels a little low in shoes.
 
#27
You should practice under performance conditions. What could be more obvious? ( A young man asked Zoot Sims "How can you play so well when you're stoned?" Zoot answered "I practice stoned.") If you're not going to perform in your socks, don't practice that way.
Endpins without notches are riskier than notched.
The fact that Edgar Meyer does something will never be reason enough for me to do the same. I believe some of what he does is pure show business.
 
#28
Originally posted by lermgalieu
I will mark it, but I guess until I put it in I am gonna start always playing in socks as the height of my bass in socks feels right, and it feels a little low in shoes.
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I know a cat who never where's shoes when he's playing; any gig, anytime of year. And it's not because his endpin isn't long enough. Playing without shoes isn't a big deal, go for it. But
just make sure you've solved any foot odor problems you might have first.
 
#29
Yeah I'd rather play in socks than play in bad position with shoes. I think that's more obvious than Don's suggestion, which seems to be to opt for the more uncomfortable and spinal wrenching position. I think he has it out for me. Just kidding Don! I am not too worried about getting a non-notched endpin because I basically am not using the notches on the one I have now, so I am used to it - though next time I will heed your advice.
 
#31
Lerm,

I'm also 6'2", and I had exactly the same problem with the endpin on my old bass. I remember one gig specifically where my intonation was sh*t for the first two sets, and I tried everything to figure out what the problem was...turns out I hadn't taken my regular stool ( a tall one, which has me almost standing) to the gig 'cause I knew they had one there, and with the one there, the bass was sitting too high in relation. I figured this out on the second break, lowered the endpin, and my intonation problems (the ones caused by the height problem, anyway...) were fixed right then and there. I got a new endpin with my new bass - it (endpin) is made by the Bass Cellar, and it not only has notches, but it's so long that Shaq could play the bass if he wanted. But the notches are great, because they're really closely spaced, and each one clicks into position. I just count the clicks...and if I have on my "tall shoes" (hiking boots - coffee house gigs only), I just add an extra click.
 
#33
Originally posted by Don Higdon
There's no law that says you can't cut off the unnecessary length of the pin. I've wondered if the unused length inside in any way absorbed energy that would be better transferred to the wood. I don't know who would know.
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My teacher (Greg Sarchet, principal bass with the Lyric Opera) is of the school of thought that it's best to chop off the excess end pin. He has most of his end pins chopped down to very little and plays with his bass VERY low. In some ways I find it uncomfortable to play on his bass, especially when I'm well up the neck and need to bow close to the bridge, but his bass is so much better than my own that this is by far outweighed by the better quality of sound of his bass (it's an 18th C. Italian bass, IIRC)
 
#35
YANKYEROWN -

Have you happened to notice that we have a moderator now? For the record, he makes that liquid metal guy from T2 look like Beaver Cleaver. How about we quit playing games and assuming idiotic false identities, whaddaya say? I'd say that this is getting old, but it's way past that...this is getting f***ing prehistoric. Drop the moronic alter-ego or get lost.

Or both.
 
#39
Originally posted by Don Higdon
What the hell did I miss? Is our moderator too quick to bring in the toilet plunger? Is he showing excessive mercy to a dork before we get in our shots? Wha' happened?
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I'm Tellin', I'm Tellin! ;) It was just the return of Masterbasser.(you know who) He came in and attempted some sarcastic remarks which were promptly dismissed.
No big deal.
 
#40
Originally posted by nickchalk
I am surprised nobody has talked about Edgar Meyer yet. Mr. Meyer inlaid dots on his bass up and down the fingerboad. I'm not sure how he actually has them placed, maybe like a guitar. Anyway I noticed that when he played during the Grammy's year of two ago. Comments?
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My teacher also has some on his bass: One at the octave, one at the fifth and one at the major third (because the low G# is central to so much opera stuff). Maybe one more, I don't remember.

While it can be handy to have markers for occasions like when you have a passage starting at a very high point on the fingerboard, I've found that I just don't have the attention to devote to looking at the fingerboard while I'm playing. I need my eyes to see the music and conductor. Even when I'm playing in a rock or jazz context where there's neither music nor conductor, I find that I don't look at the fingerboard (or fretboard, as the case may be). My fretless BG has fretlines which I generally ignore.

-dh
 

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