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Double Bass Unusual repair on an old German flatback

Hatpegs have one advantage: If the ensemble is loud you can stick one in your ear to hear yourself.

I tried this hatpeg-ear hack yesterday at big band rehearsal. It didn't work much, until I managed to knock myself into temple quite hard. After that, it came clear to me that, in truth, I don't need to hear myself better, rather I'll have to be satisfied with focusing more on what others are playing. So, in the end, it was a good lesson, simple and plain.
 
I guess by the standards of this thread, this dangerously local bass (listed at $1,500) would be 3 times the mistake of my original post. :)

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I tried this hatpeg-ear hack yesterday at big band rehearsal. It didn't work much, until I managed to knock myself into temple quite hard. After that, it came clear to me that, in truth, I don't need to hear myself better, rather I'll have to be satisfied with focusing more on what others are playing. So, in the end, it was a good lesson, simple and plain.

I've done it to tune when in a noisy space without a tuner, but I don't think I could play that way for long.
 
I guess by the standards of this thread, this dangerously local bass (listed at $1,500) would be 3 times the mistake of my original post. :)

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The cracks on the E-string side of the body and at the button *may* be fixable by wicking hide glue into them and, in the case of the button, doing some clamping. I don't see any way to fix the separation of the G side without removing the top. More experienced hands may want to chime in here.
 
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Top-off repair. I don’t know the Phoenix market but you’d be looking at maybe a $2k repair bill including setup. Or there could be hidden problems.

The French brand stamp, is, of course, bull****.

It’s worth a ride if being in public in Arizona right now isn’t a major concern for you.
 
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Top-off repair. I don’t know the Phoenix market but you’d be looking at maybe a $2k repair bill including setup. Or there could be hidden problems.

The French brand stamp, is, of course, bull****.

It’s worth a ride if being in public in Arizona right now isn’t a major concern for you.

Multiple cracks on the top, multiple cracks on the one side, crack at the button and an old repair at the button, seam separation, needs a new bridge - $2K sounds pretty optimistic. Also given that degree of damage (possibly from being in dry Arizona) the probability that there aren't other problems seems very low.
 
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Multiple cracks on the top, multiple cracks on the one side, crack at the button and an old repair at the button, seam separation, needs a new bridge - $2K sounds pretty optimistic. Also given that degree of damage (possibly from being in dry Arizona) the probability that there aren't other problems seems very low.

I was being nice for a change. Back off my d***.
 
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There was a time when I thought hatpegs were super cool, but over time, my tastes have changed*. What gets me about them now is that they're basically just decoration. The peg sticking out is non-functional, presumably just there to make the bass look like a cello, and honestly who isn't sick of people telling you "nice cello" (aside, the only proper response to that is "obviously, you're not a golfer").

You can maybe make an argument about weight, but if that's your concern, why have the ebony sticking out where it can bonk you? There's no right or wrong answer but personally I'd rather see some low-profile, reasonably and precisely geared metal tuners with a skeletal plate.

*see also, busetto corners
 
... who isn't sick of people telling you "nice cello" (aside, the only proper response to that is "obviously, you're not a golfer").

I'll have to try that. My go to response to "nice cello" is to turn red and gasp for breath, then scream "IT'S A BASS, NOT A CELLO!!!!"
 
How about " When I'm carrying it I wish it was a cello, when I'm playing it I'm glad it isn't"? As regards to hat pegs, which the bass I play mostly has: This issue is one that I frankly never really thought much about before this discussion. They're what the instrument came with and it didn't occur to me to want to change them. If one broke I fixed it. I like the instrument the way it sounds and figure it's all part of the package. I've tried different strings over the years but otherwise figured that if it ain't broke, don't fix it. I needed the instrument to be ready to go all the time and so I wouldn't mess with it unless something needed routine maintenance. This philosophy has functioned well for me, I think.
 
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