Double Bass Take it or Leave it: 2024 Bass Trends

[the_Ryan]

Hey bass world, now that it's almost the new year I thought it would be fun to get everybody's perspective on what bass-related trends or practices we're taking into 2025 and which ones we're leaving in 2024.

Here's a few of mine as a freelance classical player.

Take it to 2025:

1. Pops Rosin - I must have tried every pops alternative on the market this year and been disappointed by every single one of them. In 2025 I'm sticking with the Texas special
2. Ergonomic setups - pretty much every gig I go to now has most of the section on low stools with yoga blocks, both feet on the ground, angled endpins or some combination of these. It's great for everybody's longevity to be focusing on the ergonomics of setup and I think it makes more precise and musical playing when everybody's not throwing their back out.

Leave it in 2024:

1. Low tension orchestra strings - I tried a couple of different string setups this year including a stint on some very low tension (and expensive) gut-like strings and they just didn't cut it for orchestra playing in my corner of the world. Modern symphony orchestras in the USA are expecting more sound from fewer players and an immediacy of attack that imo these kinds of setups just don't work for.
2. Koussevitsky concerto hate - while it's not my audition concerto of choice (Vanhal supremacy), I really came to love this piece this year. It takes a LOT of work to bring out the musicality of the piece and keep it interesting but when it's done right I think it can be really powerful and emotional. Dominik Wagner's recording is a good example
3. Bass bro culture - we try to leave this behind every year but we can always do better, let's everybody be more supportive and welcoming to our colleagues in general (and especially those from backgrounds that aren't as well-represented in professional bass sections)

What are some of yours?

I think mine are similar to yours, although I'm still a bit stuck on rosin: I got a couple of bad cakes of Pops' (definitely soft and fresh, but it just didn't grip the string) and I'm back to a Kolstein soft/Nyman combo for the time being. I tried the Leatherwood BASS and the Upton rosins too this year, but both of them didn't stay on the bow as well as a good cake of Pops'. Kolstein soft is still the closest I've found to both the grip and duration of Pops, but I find the tone is a little lacking, hence the light scrubbing of Nyman after application of Kolstein.

 

[Mark_T]

Man I think weekly about buying an Ergobass, it seems so comfortable!

I use it because it lets me have the bass positioned how I want it, with my feet flat on the floor, without needing yoga blocks. If I was taller or had a different shaped bass, it might not be necessary.

Yoga blocks are fine but it's easy to slide or tip them, and I like being flat on the floor better.

 

[avant_chard]

I think mine are similar to yours, although I'm still a bit stuck on rosin: I got a couple of bad cakes of Pops' (definitely soft and fresh, but it just didn't grip the string) and I'm back to a Kolstein soft/Nyman combo for the time being. I tried the Leatherwood BASS and the Upton rosins too this year, but both of them didn't stay on the bow as well as a good cake of Pops'. Kolstein soft is still the closest I've found to both the grip and duration of Pops, but I find the tone is a little lacking, hence the light scrubbing of Nyman after application of Kolstein.

I tried so many blends of the Leatherwood and was never happy with is, really so expensive too. Upton+ was better but still not sticky enough for my super dry climate. Wiedoeft is also great but can be a little much.

 

[Mark_T]

I think mine are similar to yours, although I'm still a bit stuck on rosin: I got a couple of bad cakes of Pops' (definitely soft and fresh, but it just didn't grip the string) and I'm back to a Kolstein soft/Nyman combo for the time being. I tried the Leatherwood BASS and the Upton rosins too this year, but both of them didn't stay on the bow as well as a good cake of Pops'. Kolstein soft is still the closest I've found to both the grip and duration of Pops, but I find the tone is a little lacking, hence the light scrubbing of Nyman after application of Kolstein.

My teacher and I both had trouble with Pop's too. Kolstein is okay.

I tried the Upton 2-rosin solution and it is not bad. I like using the sticky base layer and topping off with the harder stuff. I think that gets me closer to the sound I like but the grip is in the outlying neighborhood of Pop's (still no quite as good). During a concert I can usually get away with just adding the hard stuff, and that usually just between pieces. I don't like to rosin during a movement or work of I can avoid it.

 

[Don Kasper]

I'll risk repeating myself (see earlier ."..& Rosin" Threads) - for those of you who like Nymann's, but can't apply enough of it on the hair, due to its hardness:
Thoroughly Melt and Thoroughly Mix 50% Pops and 50% Nymann's - you'll be amazed at how it captures the ease of application (of Pops) with the solid, reliable grab of Nymann's. It was my favorite rosin for about 10 yrs.
Give it a try!?
Full Disclosure: I currently use a cake (new old stock) of G. Brohan's Oak Bass Rosin (Soft), (no longer in business!) which is the BEST rosin I have ever used.
Fuller Disclosure: I am not, nor have I ever been, a Full Time Orchestral player...just a Classically trained jazz player, (full set of Spiro Mittels w/C ext.) who still spends a lot (...not enuf) time with The BOW.
IMFO, of course, as always.
Thx.

 

[srbbass]

Leave: I might leave black horse hair behind. I was counting too much on it for grip and articulation, I've discovered. I bought a new Arcus french silver bow which came with perfectly coiffed white hair. After playing and working out some rosin improvements, I am convinced that the white bow hair gives more dynamic range and the ability to play with much less edge on the over all tone, especially open strings. One bonus is that it sounds much better amplified than the black hair (at least through Schertler Stat B Duo pickup and WW amp).

Happy Bass New Year!

 

[Chris Fitzgerald]

Leave behind:
-I'm with Chris on the four hour gigs.
-No more gigs with drama or friction on the stand. Music making should be enjoyable.

I am fortunate at this point to be in a position to operate under what we locally refer to as the "Rule of Three". Under this approach, two of the following three criteria must be met in order to take the gig. The gig in question must offer:

1) Great pay
2) The possibility of making great music with musicians who actually give a damn about such things
3) The likelihood of a good hang with desirable folks, and no drama whatsoever

 

[bassmanbrent]

"

I am fortunate at this point to be in a position to operate under what we locally refer to as the "Rule of Three". Under this approach, two of the following three criteria must be met in order to take the gig. The gig in question must offer:

1) Great pay
2) The possibility of making great music with musicians who actually give a damn about such things
3) The likelihood of a good hang with desirable folks, and no drama whatsoever

I've also heard this referred to as the gig triangle. Whatever you call it, I am getting better at sticking to this rule, but still get sucked down the drain from time to time. I guess my goal for 2024 should be to try harder to observe this rule. And to practice more of course.

 

[Greg Clinkingbeard]

I am fortunate at this point to be in a position to operate under what we locally refer to as the "Rule of Three". Under this approach, two of the following three criteria must be met in order to take the gig. The gig in question must offer:

1) Great pay
2) The possibility of making great music with musicians who actually give a damn about such things
3) The likelihood of a good hang with desirable folks, and no drama whatsoever

I'm at that age where I have less time or patience for toxic situations. If I'm called to gig with people I haven't played with I may try one or two but if it doesn't seem like a good fit, that's it. Why is it the best musicians are usually the most fun to play with and some of the others are a drag? Sorry, take your insecurity elsewhere.

 

[Paps]

I like Pops and will probably stick with it until I sort out the other variables...

I recently found the A&O rosin from Hungary. Nearly worth a try to get the reinforced container.

 

[fdeck]

Take it: More advice from experts.

Leave it: Pretending that I know anything. Needing to prove my strength by playing loud. Having passed 60, I'd rather get more years out of my hands, than more sound out of my bass.

 

[Bruce Calin]

This "gig triangle" concept fascinates me. As a full-time freelancer for most of my career this would have been a real luxury. The people I preferred not to work with were very few, and I would try to figure out some way to make any gig tolerable. There would be some sort of musical nugget that I could find, and I really did enjoy playing so that the less appealing parts of the business could be ignored, at least for a while. In my leadership roles I didn't like to fire people, but I did it when necessary. The idea was to make any gig as pleasant and enjoyable as possible, and players who couldn't fit in for whatever reason usually didn't last very long. Getting a gig with people I didn't know and hadn't worked with was an adventure. I would never not take a gig because I didn't know someone. I've met too many good players that way.I felt extremely lucky(still do) to be able to do something I loved and make a pretty decent living at it. We all have our own reasons for taking or not taking a gig, but in my case there would have to be a good and specific reason not to.

 

[bassmanbrent]

This "gig triangle" concept fascinates me. As a full-time freelancer for most of my career this would have been a real luxury.

Hey Bruce. I live in a city with a very healthy but fairly small music scene. With exception of some recent college grads, I know pretty much everyone connected with the jazz and freelance scenes here, so I know who's a drag to work with. When I started out and for many years after, I took every gig I was offered. This sometimes led to complicated situations where I had to scramble to find subs. Unlike some other places, bandleaders here can occasionally get quite bent outta shape when you sub out, so these days I just try to avoid taking the gigs that don't meet the triangle concept so I don't have to try and ditch them later. I love meeting and playing with good players that are new to me. I also know who I don't enjoy working with (for various reasons) and try to be unavailable when they reach out for a booking. All this to say that our situations are different, I guess. I think I do understand where you're coming from though. Everyone has to eat and live somewhere.

 

[Jason Hollar]

Leave behind in 2024 -
over doing it.

Taking into 2025 -
working smarter, not harder.

 

[Bruce Calin]

Hey Bruce. I live in a city with a very healthy but fairly small music scene. With exception of some recent college grads, I know pretty much everyone connected with the jazz and freelance scenes here, so I know who's a drag to work with. When I started out and for many years after, I took every gig I was offered. This sometimes led to complicated situations where I had to scramble to find subs. Unlike some other places, bandleaders here can occasionally get quite bent outta shape when you sub out, so these days I just try to avoid taking the gigs that don't meet the triangle concept so I don't have to try and ditch them later. I love meeting and playing with good players that are new to me. I also know who I don't enjoy working with (for various reasons) and try to be unavailable when they reach out for a booking. All this to say that our situations are different, I guess. I think I do understand where you're coming from though. Everyone has to eat and live somewhere

Thanks for the reply. I meant for my comment to be more about time than place. My most active freelancing period was quite a long time ago, and the mindset may have been different. I'm not saying the triangle isn't a good idea, but it wouldn't have been the way I or the players in my situation thought. I wanted to play as much as possible, not just for the pay, which I needed, but because I loved to play. I liked different styles of music and felt I had the skills to be successful. I would try to approach every gig with a good attitude and not get bummed if things weren''t that great. There was always another gig. I got involved with the business side mainly because somebody had to, and that made it even more important to play as much as I could since it was a kind of antidote to some of the stress and hassles of that. I still have to remind myself at recording sessions that I'm not the contractor and don't have to watch the clock.
Like I said before, I'm happy to still be playing and realize it's a different world in a lot of ways. Keep swingin'.

 

[oldNewbie]

Taking :
The new methods of practicing especially Molly Gebrian's new book and website and Josh Turknett the Brainjo guy. And taking my years of PT for guidance in the movements of playing, applying them with new practice methods. My own version of @Chris Fitzgerald 's Bass jitsu. Having methods to refine the movements makes progress with the new and better strategies, possible.
Also for playing with my community orchestra, learning the music for concerts months in advance, to have time to sleep on it and hopefully memorize it.
Leaving :
Not doing it that way.

 

[kinopah]

Taking :
The new methods of practicing especially Molly Gebrian's new book and website and Josh Turknett the Brainjo guy. And taking my years of PT for guidance in the movements of playing, applying them with new practice methods. My own version of @Chris Fitzgerald 's Bass jitsu. Having methods to refine the movements makes progress with the new and better strategies, possible.
Also for playing with my community orchestra, learning the music for concerts months in advance, to have time to sleep on it and hopefully memorize it.
Leaving :
Not doing it that way.

As a longtime aikido practitioner I really enjoyed that! @Chris Fitzgerald super cool application of principles - I need to consider other aspects of how whole-body aikido instruction might apply to what I often perceive (incorrectly) as the smaller scale of bass technique.

 

[Chris Fitzgerald]

As a longtime aikido practitioner I really enjoyed that! @Chris Fitzgerald super cool application of principles - I need to consider other aspects of how whole-body aikido instruction might apply to what I often perceive (incorrectly) as the smaller scale of bass technique.

I haven't practiced Aikido since my 20's, but it was the gateway drug that led to a lot of technical revelations on several instruments. My guess is that if you have the Aikido training and you play the bass, and that if you have the idea that they might be connected, then the pieces are all there waiting to fall into place. Think of how the joint locks all come from isolating a small portion of the body and cutting it off from the support of the core, then apply the opposite to the bass and the answers are all there. It's a really interesting journey!

 

[kinopah]

I haven't practiced Aikido since my 20's, but it was the gateway drug that led to a lot of technical revelations on several instruments. My guess is that if you have the Aikido training and you play the bass, and that if you have the idea that they might be connected, then the pieces are all there waiting to fall into place. Think of how the joint locks all come from isolating a small portion of the body and cutting it off from the support of the core, then apply the opposite to the bass and the answers are all there. It's a really interesting journey!

So true. A nikyo might be expressed through the pinky finger but it'd better be connected to the shoulder, hips, and knees. It's fascinating how certain things you may feel you know well in isolation without being conscious of their connective tissue. Aikido informs how I carry myself and move through the world, so it informs how I address the bass. What's interesting to me is that I've considered an "aiki" approach to musical harmony and interplay much more deeply than I've considered its physiological application to the bass.

 

[bassmanbrent]

Thanks for the reply. I meant for my comment to be more about time than place. My most active freelancing period was quite a long time ago, and the mindset may have been different. I'm not saying the triangle isn't a good idea, but it wouldn't have been the way I or the players in my situation thought. I wanted to play as much as possible, not just for the pay, which I needed, but because I loved to play. I liked different styles of music and felt I had the skills to be successful. I would try to approach every gig with a good attitude and not get bummed if things weren''t that great. There was always another gig. I got involved with the business side mainly because somebody had to, and that made it even more important to play as much as I could since it was a kind of antidote to some of the stress and hassles of that. I still have to remind myself at recording sessions that I'm not the contractor and don't have to watch the clock.
Like I said before, I'm happy to still be playing and realize it's a different world in a lot of ways. Keep swingin'.

Thanks Bruce. Like you, I enjoy playing a bunch of different styles of music and I generally like/need to keep myself busy with gigs. That said, I've been at this for over 35 years now (not as long as you by the sound of things…) and burn out is a real thing. I know a few colleagues that hit that wall and don't get as many calls as they should as a result. I'm hoping the triangle will help me avoid that. Glad you're still enjoying playing. All the best to you!