You'll never run out of things to spend money on for your double bass 
, but it sounds like you've covered the essentials.
- Steve
, but it sounds like you've covered the essentials.- Steve
Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
Double Bass NBD: EH Roth 3/4
- Thread starter shrigg
- Start date
Just got back from my luthier's shop. Moved the soundpost, set the bridge properly and installed a 3/32" aircraft wire tailcord. The bass is now set up much better with action height of 4.5mm (G) to 5.5mm (E). It is a lot louder and all the strings really ring now. I have a new endpin ordered so I will go back next week to install that and maybe work on perfecting the bridge feet. I shot some video of the entire process and I'll post a YouTube video shortly. It was pretty cool!
Very interesting video. Thanks for sharing. It's great that you have access to a luthier that has this kind of knowledge and experience setting up and repairing double basses.
- Steve
- Steve
Thought I'd post this, pulled from the Bassplayer.com archives (which seem to no longer be searchable)
Charles Mingus’s 1927 Ernst Heinrich Roth
By Dave Pomeroy | July, 2006
After writing quite a few of these columns, it occurred to me that perhaps I would be missing the boat if I didn’t write about the original bass sound, the acoustic upright. But of course, I didn’t want to write about just any upright. Having seen various incarnations of the Mingus Big Band a few times during recent trips to New York City, I was blown away by the energy and spirit of the whole group, which is run efficiently by Charles Mingus’s widow, Sue Mingus, who has kept the flame burning since his 1979 death. In particular, I was really impressed with the bass work of Boris Kozlov, who does an amazing job filling legendary shoes, while bringing plenty of his own musical personality to the group. The first time I saw the band, I noticed immediately that he was playing Mingus’s famous “Lion’s Head” bass. Later that night, it struck me that this bass would be the perfect Retro-Rama subject.
Boris has “custody” of the bass, and when I was in New York recently, he was kind enough to let me spend some time with it before a Mingus Orchestra show and in between sets. Having heard its enormous sound on record so many times, I was somewhat surprised that it wasn’t ten feet tall! As a longtime Mingus fan, I can’t begin to put into words what a thrill it was to play “The Bass,” as Charles called it. There is a special aura about it, for sure, and I felt honored to be in its presence. But like all great instruments, it is meant to be played. Once I got over my awe sufficiently enough to pluck a few notes, the instrument sounded even and full, with no obvious “wolf tones” or dead spots. As you might imagine, I was very happy (and deeply moved) to play a few of my favorite Mingus licks on it, and I loved its big sound and comfortable feel.
Ernst Heinrich Roth, a second-generation instrument builder whose father founded the family business in 1877, built this bass in the late 1920s in Markneukirchen, Germany. The Roth is a 3/4-size, 41 1/2″-scale upright with a maple neck and headstock, and an ebony fingerboard. The body has a carved spruce top and flame-maple back and sides. The G string is quite close to the fingerboard edge, which may have facilitated Mingus’s unusual technique of “over bending” the G string, pulling it over the side of the neck for a percussive, almost flamenco-like sound that you can hear on many Mingus recordings.
No one seems to know exactly when Mingus acquired this bass, but in the documentary film Mingus: Charles Mingus 1968 he calls it the “Mingus Fingers” bass, referring to the tune he wrote and recorded with Lionel Hampton in 1947. He is seen playing it in numerous photos dating to that time period. The unique “Lion’s Head” carving (which has also been called the “Dragon’s Head” is of unknown origin, but it’s definitely not original; it is easy to tell that it was carved from a typical scroll.
A fan of gut strings, Mingus used Golden Spiral strings on this bass. While Boris prefers steel strings, the instrument still has a big, warm, earthy sound. A great example of Boris’s tone on this bass can be heard on the latest Mingus Big Band Orchestra & Dynasty CD, I Am Three [Sunnyside, 2005]—especially on the track “Tensions,” which he also arranged. The bass has been fitted with a David Gage pickup, which sounds great onstage with the Mingus Band. David did some work on this bass in the 1970s while Mingus was still alive, and he has continued to maintain it periodically for the Mingus estate. It has been damaged and repaired many times over the years but has survived surprisingly well, all things considered.
Special thanks go to Boris Kozlov, David Gage, and especially Sue Mingus for making this article possible. It is a beautiful, wondrous thing that this instrument, an icon of jazz music history, is still being played rather than collecting dust in a warehouse or sitting in a museum somewhere. Whenever the Mingus Big Band plays—whether in New York City or around the world—the spirit of Charles Mingus’s and his music is alive and well, and this bass is still making magic. Now, if it could only talk . . . .
Charles Mingus’s 1927 Ernst Heinrich Roth
By Dave Pomeroy | July, 2006
After writing quite a few of these columns, it occurred to me that perhaps I would be missing the boat if I didn’t write about the original bass sound, the acoustic upright. But of course, I didn’t want to write about just any upright. Having seen various incarnations of the Mingus Big Band a few times during recent trips to New York City, I was blown away by the energy and spirit of the whole group, which is run efficiently by Charles Mingus’s widow, Sue Mingus, who has kept the flame burning since his 1979 death. In particular, I was really impressed with the bass work of Boris Kozlov, who does an amazing job filling legendary shoes, while bringing plenty of his own musical personality to the group. The first time I saw the band, I noticed immediately that he was playing Mingus’s famous “Lion’s Head” bass. Later that night, it struck me that this bass would be the perfect Retro-Rama subject.
Boris has “custody” of the bass, and when I was in New York recently, he was kind enough to let me spend some time with it before a Mingus Orchestra show and in between sets. Having heard its enormous sound on record so many times, I was somewhat surprised that it wasn’t ten feet tall! As a longtime Mingus fan, I can’t begin to put into words what a thrill it was to play “The Bass,” as Charles called it. There is a special aura about it, for sure, and I felt honored to be in its presence. But like all great instruments, it is meant to be played. Once I got over my awe sufficiently enough to pluck a few notes, the instrument sounded even and full, with no obvious “wolf tones” or dead spots. As you might imagine, I was very happy (and deeply moved) to play a few of my favorite Mingus licks on it, and I loved its big sound and comfortable feel.
Ernst Heinrich Roth, a second-generation instrument builder whose father founded the family business in 1877, built this bass in the late 1920s in Markneukirchen, Germany. The Roth is a 3/4-size, 41 1/2″-scale upright with a maple neck and headstock, and an ebony fingerboard. The body has a carved spruce top and flame-maple back and sides. The G string is quite close to the fingerboard edge, which may have facilitated Mingus’s unusual technique of “over bending” the G string, pulling it over the side of the neck for a percussive, almost flamenco-like sound that you can hear on many Mingus recordings.
No one seems to know exactly when Mingus acquired this bass, but in the documentary film Mingus: Charles Mingus 1968 he calls it the “Mingus Fingers” bass, referring to the tune he wrote and recorded with Lionel Hampton in 1947. He is seen playing it in numerous photos dating to that time period. The unique “Lion’s Head” carving (which has also been called the “Dragon’s Head”
is of unknown origin, but it’s definitely not original; it is easy to tell that it was carved from a typical scroll.A fan of gut strings, Mingus used Golden Spiral strings on this bass. While Boris prefers steel strings, the instrument still has a big, warm, earthy sound. A great example of Boris’s tone on this bass can be heard on the latest Mingus Big Band Orchestra & Dynasty CD, I Am Three [Sunnyside, 2005]—especially on the track “Tensions,” which he also arranged. The bass has been fitted with a David Gage pickup, which sounds great onstage with the Mingus Band. David did some work on this bass in the 1970s while Mingus was still alive, and he has continued to maintain it periodically for the Mingus estate. It has been damaged and repaired many times over the years but has survived surprisingly well, all things considered.
Special thanks go to Boris Kozlov, David Gage, and especially Sue Mingus for making this article possible. It is a beautiful, wondrous thing that this instrument, an icon of jazz music history, is still being played rather than collecting dust in a warehouse or sitting in a museum somewhere. Whenever the Mingus Big Band plays—whether in New York City or around the world—the spirit of Charles Mingus’s and his music is alive and well, and this bass is still making magic. Now, if it could only talk . . . .
Here's the letter Heinrich Roth sent to the original purchaser of my E.H. Roth bass. He gave it to me when I bought the bass from him last year.
- Steve
- Steve
Super cool! Thanks for posting Steve!
Was the bottle of "cleansure/polisher" still with the bass?
Was the bottle of "cleansure/polisher" still with the bass?
Was the bottle of "cleansure/polisher" still with the bass?
No, but it did come with a set of gut strings, an unpadded canvas bag, a cake of petrified rosin, a very rusty stand, a non-adjustable bridge and a nice ebony mute. All appeared to be as old as the bass.
- Steve
Here's a picture of the bass from a recent outdoor gig.
It has a shield on the back with an "EHR" monogram.
- Steve
It has a shield on the back with an "EHR" monogram.
- Steve
Nice. Gotta love the extras!
Steve your bass is absolutely beautiful, what amazing condition! Is that the original finish? Love the crest on the back.
I'm about to try Evah Perazzi Weichs on my Roth since I'm primarily bowing at this point. Hope they are as awesome as I hear!
Yes, that's the original finish. The bass was stored for nearly four decades, so it looks brand new. There are two professionally repaired cracks on the top.
I just installed a set of Evah Pirazzi Weich strings on this bass and I couldn't be happier with them. Those strings plus the new flexible tailpiece wire made a nice improvement in the sound and response.
I feel like I've hijacked your thread. We're supposed to be talking about your new bass
- Steve
Yes, that's the original finish. The bass was stored for nearly four decades, so it looks brand new. There are two professionally repaired cracks on the top.
I just installed a set of Evah Pirazzi Weich strings on this bass and I couldn't be happier with them. Those strings plus the new flexible tailpiece wire made a nice improvement in the sound and response.
I feel like I've hijacked your thread. We're supposed to be talking about your new bass
- Steve
No problem, I did the same with the flexible tailwire (as seen in the video) and now the same strings... Crazy coicidence!
How is the Roth's pizzicato with the Evahs?
Very nice. The first phrase that come to mind is "dark and growly". Not as bright and clear as the Thomastiks they replaced, but warmer sounding with a much smoother arco response.
I used to use Pirastro Obligatos on my '49 Kay M-1, but they were too loose on this bass, especially the E and A. The Evah's are similar but with more tension.
- Steve
Now I've went and done it... I have an Oliv D and G on the way to try with the Evah Pirazzi's. That's it, I'm done!
Now I've went and done it... I have an Oliv D and G on the way to try with the Evah Pirazzi's. That's it, I'm done!
Suuuure you are
- Steve
So I was looking at your N.R. Jazz and clicked this link.
Looks like a Great Find.
I'm wondering where the video link is that was mentioned. Did I miss it?
And where did you go for the work? And what about updates.
Looks like a Great Find.
I'm wondering where the video link is that was mentioned. Did I miss it?
And where did you go for the work? And what about updates.
Latest posts
-
New five string bass. Question about dual action truss rod.- Latest: Dirk Diggler
-
-
-
Bleeding/Crosstalk of a Soundcraft UI24r digital mixing console?
- Latest: Mike Caldwell
