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Double Bass NS EUB megathread

#343
on my cr5m i'll boost the bass to about 2 o'clock, and cut the treble to about 11 o'clock, leaving the piezo/pup blend at 50/50. i find with this setting that when switching from pizz to arco i don't need to touch the eq. it is an older model with the pizz/arco switch, which i always use in full pizz or full arco setting, never the center , or "both" setting. the bass is currently strung with helicore hybrid mediums.
the amp is an alembic f1-x pre set flat, > qsc 3002 power amp> bergantino ht210 cabs. the tube pre definitely mellows the inherent "nasal" tone which i've always experienced with every piezo system i've used. the sound is definitely more hybrid...a nice arco voice, very pronounced, while the pizz sound is quite dark and dubby. the strings have mellowed considerably, as they are 4 years old. looking to try
to get a bit more growl with pizz, but that means different strings...
which will, of course, change everything.
 
#344
Hey Thanx... Thats pretty close to what I tried.. I also have the older model and used the switch on Pizz and the blend alittle more towards piezo.. I use a Bergantino IP-153 and a Presonus BlueTube for a preamp...




D.A.R.K. said:
on my cr5m i'll boost the bass to about 2 o'clock, and cut the treble to about 11 o'clock, leaving the piezo/pup blend at 50/50. i find with this setting that when switching from pizz to arco i don't need to touch the eq. it is an older model with the pizz/arco switch, which i always use in full pizz or full arco setting, never the center , or "both" setting. the bass is currently strung with helicore hybrid mediums.
the amp is an alembic f1-x pre set flat, > qsc 3002 power amp> bergantino ht210 cabs. the tube pre definitely mellows the inherent "nasal" tone which i've always experienced with every piezo system i've used. the sound is definitely more hybrid...a nice arco voice, very pronounced, while the pizz sound is quite dark and dubby. the strings have mellowed considerably, as they are 4 years old. looking to try
to get a bit more growl with pizz, but that means different strings...
which will, of course, change everything.
Click to expand...
 
#345
ok, i've been doing the search, reading, thinking, and my head hurts....
here are the specifics:
i need to replace the strings on my nscr5m.
it is currently strung with helicore hybrid mediums, which have been great, but are 4 years old now and really whipped.
i've tried the helicore lights and corelli strings...after trial, both sets came off and the current helicore medium set went back on.
my needs are a string for 50% pizz, 50% arco.
what i would like: the same even tone and low end, the same sustain, the same playability with arco and pizz, but more "growl".
the strings must work with magnetic pups as well as piezo.
any help/suggestions would be greatly appreciated!
thanks!
 
#347
I just approach it like a double bass, the fingerboard is the same, the technique can be the same and most EUBs sound best when played with some power like a double bass.
For my 7 string I was also playing out of Dotzauer's 'cello method in both octaves.
I just treat it like a double bass.
If you have a technical quest just ask it without even bothering about EUB or double bass.
One thing I do with my EUB-only students is let them play my double bass at some lessons, just to see what the difference is. So that is a good idea, rent or try double basses when you can.
I think as Airlines get more uptight/technology gets better/wood gets more expensive we are just going to see more and more EUBs.
 
#348
Thank You Damon Smith ... I have a friend that has an Upright in his home and he welcomed me to come play it anytime. I told him he should try my EUB, but at this time he is not interested but I think once I show it to him, it may stir some feelings. But I will do what you suggest. Thank you again Very much!! You seem to get it!!:)
 
#349
I've been playing an NS CR5 for many years now and there have been many threads about it round here!

I find that the more I play it like a real DB the more it sounds like one - so my view has always been that reading about DB technique has been very useful to me and I have never felt that there was a lack of relevant threads around here! :)
 
#351
I played classical as a kid(Toronto Symphony Youth Orchestra) and was pretty good
but stopped playing for 20 years. Got back into it with an EUB. I don't play acoustic at all. I like the EUB better. I do use a mic modeler that gets rid of that awful piezo sound. Not quite acoustic in tone but nice. The one technique I would say is different
is that up in thumb position, you don't have to change your postition much. I do play sitting down like a cello btw(the nut is about eye level). Eberhard Weber does this as well. Anyway, I find that I can keep the angle of my hand and arm very similar to the lower positions with the exception that my thumb is over the strings. There's not as much elbow gymnastics going on.
My playing in the second ocatave is sooo much better than it was as a kid playing acoustic. The sitting position is great. Basically the body rests about mid thigh with the tummy rest just below my diaphram. This means you can balance the bass and even angle it with no hands. For me, it also means you have access to fiddling with fx on the floor. People will come up to you and ask if that's a cello or god knows what but that's part of the fun. I do get flak from "old school" types until they hear it.
They mostly shut up after that:)
 
#353
Good post Marcus, I agree they don't have to be a poor substitute for "real" Double Bass.
They have their own advantages which is what made it much more appealing than a Czechease or Eminence for me.
I have really good dialog between the two at this point. The high C and F on my seven string have really made me better able to hear in that range on my double bass, my thumb position is now much better on double bass.
The EUB will bring certain quiet sounds forward and allows more subtlety at high volumes rather than falling back on a what could get through with double bass.
I think the idea is to have a wider view of using it to get our music across with the EUB in place of double bass rather than trying to get a one to one replacement.
 
#355
Good Morning Guys

What a great megathread, although it'll take a while to get through all the stuff. Already I'm seeing a lot of useful advice here.

I've just bought a used (approx 10 hours) CR4M with helicores to add to my UB's. I'll take the advice and raise the bridge so I can just about get my little finger between the G and fingerboard. In so doing I'll resist the temptation to play fast and tricksy and hopefully sound a bit like the DB player I'm meant to be.

Then I will phone the leader and querrelously ask him if I can use it on next week's gig instead of upright.

Very much looking forward to exploring and enjoying the instrument and I appreciate all the advice given on the thread.
 
#356
I've just done my first gig on my CR4M and thought I'd share some of my experience (?) with you.

The EUB had Helicore Hybrids on and , having raised the action so that I could slip my little finger between the G and fingerboard, I got quite a good DB sound - running through a GK. In fact the guys didn't detect any difference; the singer didn't even notice I wasn't playing URB until two numbers before the end, exclaiming over the PA 'Holy s**t, Roger, what's that?!' - she's American, from Seattle originally.

So I'm not hung up on whether it sounds like a DB or not - I'm just going to get on with gigging it.

Two points of interest:-

1. Along with several (most?) DB players I play slightly in front of the beat. This is principally because the DB speaks slower than the other rhythm instruments. The EUB, of course, doesn't speak so slow and I'll have to modify my timing slightly on this instrument.

2. It's great to get such a precise sound cutting through the mix very easily, particularly all the way up the G string. Because the EUB is very precise, intonation becomes more of an issue. The fingerboard is well sprinkled with position markers but it would be helpful to have a few strategic ones on the side where they could be seen.

Altogether a great experience!
 
#357
Hello there,

on the 04/03/08 (last week) I've received my brand new NS Design CR4. I am very happy with the purchase, however I'm experiencing a couple of issues with the bass that surprises me, wondering if they are normal or there is something wrong with my bass - is there anybody that may have experienced the same and could help me? Here's the story:

1. when I've received the bass,the batteries provided with the
instrument where completely dead. I have replaced them immediately
with two alkaline Duracell extra long life, and since then I have
played the bass no more than 1 or 2 hours a day, always making
sure to unplug the jack from the bass every time I stopped playing
for the day. However today, when I plugged in the bass, the
batteries where again completely dead. Considering that in total
I've played the bass for no more than 5-6 hours consequently since
I've got it, I'm quite surpised by the short life of the
batteries. Can you please advice if this is normal or if I need to
do anything about this? I wouldn't like to be left without power
during a long gig!
2. when I firmly attach the bass to the stand , the bass is steady
and I can play it easily, however when playing certain notes ( for
example on the open g string) I hear and extra grinding noise
coming from the bass (this noise is luckily not amplified by the
pickup), like a vibration noise like that something may be loose
in the stand or in the bass. If I play the same notes when the
bass in not connected to the stand, I don't hear no noise, so I
suppose this noise may come from the stand itself. I have checked
all the movable parts of the stand, but they are all screwed good
and nothing seems to be loose at all. But the unwanted noise is
still there - seems coming from the junction between the bass and
the stand. Your advice on this is very welcome.

Thanks!
 
#358
I haven't had any such problems (referring to the battery). In fact, I used the same batteries through a 1 month tour last July/August and I just ended up replacing them about 2 weeks ago. Not because they were dead, but because we were starting another tour and didn't want to worry about. I'd probably contact NS about it, they'll most likely be able to help you out.
I don't use the tripod stand (end pin and strap) so I can't help you with that one, but probably the stand resonates with that sound.
 
#359
pallino said:
... 2. when I firmly attach the bass to the stand , the bass is steady and I can play it easily, however when playing certain notes ( for example on the open g string) I hear and extra grinding noise coming from the bass (this noise is luckily not amplified by the pickup), like a vibration noise like that something may be loose in the stand or in the bass. If I play the same notes when the bass in not connected to the stand, I don't hear no noise, so I suppose this noise may come from the stand itself. I have checked
all the movable parts of the stand, but they are all screwed good and nothing seems to be loose at all. But the unwanted noise is still there - seems coming from the junction between the bass and the stand. Your advice on this is very welcome.
Thanks!
Click to expand...

I also had this problem when I first got my NS CRM 4, and the only thing that "cured" it was to un-attach the bass from the stand, then reattach it slowly and carefully. Most of the time, when I reattached it, the noise would go away. There is something about the screw-in mechanism that attaches bass to tripod, that is flawed on mine (and apparently on yours as well). So try un-attaching it, then reattaching it again slowly.

Also on mine, the legs of the tripod stand are uneven. I manage to get it steady, and I still use it and like it for situations when I need to be LOUD, but the quality control was lacking in mine.

Good luck.
 
#360
Pallino,

Does the stand vibration occur at various heights? There is a problem that sometimes happens when the stand is at its lowest. The bottom of the central shaft vibrates at the bottom. I hope this makes sense, it's kind of hard to describe. If you raise the height a bit it goes away. NS is aware of this, but haven't come up with a definative fix. One possible solution is to cram foam in at the bottom of the stand. Another is to shorten the vibrating piece - but that limits your ability to raise the instrument to its full height. I like to play sitting down with the stand at its lowest height so I've just learned to live with the vibration.

Bryan Caldwell
 

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