• 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 Will it get any better

#21
Infrasonik B. said:
Also worth noting is that technique plays a HUUUUUUGE role on tone and volume with DB.

I had the same complaint when I started (low volume, especially on the E) but the more I play the more volume and clarity I get.
Click to expand...

+1!
 
#22
tez123 said:
are you naturally that arrogant or do you have to work at it
Click to expand...
No arrogance here. Just confusion over who told you that 1/2 sized was the right size. If you're on this forum long enough, you learn that size is really only an issue for people who are too small to fit their arms around a bass - like if you were a dwarf. Even then you could prolly still do it. Quick search yields stuff like this: 10 Year Old Playing Blanton "Pitter Panther Patter" on Double Bass - YouTube.

The bass is bigger than the kid and he's playing a tough piece to execute. I'd say he has short hands. I've been in a bass camp with dozens of kids with short hands. They seem to do just fine. IMO, buy choosing such an instrument you automatically put yourself in an uphill battle to get a good sound. If you can do it, more power to you (make sure you get a good teacher to help you out).

But you've already bought it so.... the best you can do at this point is spend lots of time practicing and developing a good sound as others have suggested. Then there's buying lots and lots of strings to find the right one that gets you the sound you want (esp out of that E). Before alla dat, there's getting that set up done as has been suggested as well. IOW: It's gonna be expensive! Practicing and developing that right hand pull is polly gonna be the cheapest option - but also the hardest to achieve. It's already hard enough trying to get a decent sound out of a 5/8 or 3/4 bass, much less a 1/2. So like I said... good luck with that (not being facetious).

ps: I own two EBs, both fretless so don't think that I think I'm holier-than-thou because I play a 3/4 bass.
 
#23
tez123 said:
...I dont need to play a 3/4 or bigger to prove my manhood... I do respect the guys that help with positive input.
Click to expand...

If you were complaining about a lack of volume from your EB rig and someone suggested using a bigger/more speaker would you be offended?

Also, if you're only using it through the amp and you can compensate with the electronics... what's the problem?
 
#26
tez123 said:
Hi all I am new to DB after years of playing Fretless ,and making up exuses as to why I don,t play a DB I finally bought one. I went to a shop that specialises in stringed instruments and tried a few cheap basses ply and solid top , I did not like ply and settled on a solid top with ply sides etc ,it is a Hofner (prob China) it had been set by the shop and is quite playable . my greatest criticism Lack of overall volume and a weak tone on the E string . as I play jazz and its amlified I have a K& K with its pre amp as the pickup and I can get a reasonable sound through the PA .my Bass amp is not suitable for it, not transpaant enought and too may hot spots.I hope to buy an AI when I have the money . My main concern is will it improve with playing? by the way it 1/2 size with 40" scale great for me as I am horizontaly challanged with small hands
Click to expand...

Not sure if you ever got a satisfactory answer... my personal recommendations (note: not trying to start any tiff, this is just my simple opinion): Even if you know how to play this "beast", I would have someone (qualified) to take a look at your technique of playing and supplement by occasionally playing in front of a mirror. Also I found understanding the nuances of the instrument from Chuck Traeger's book "The Setup and Repair of the Double Bass for Optimum Sound" to be very helpful. You may not be a luthier, but you can work with your luthier to help you get the most out of the db by understanding it.

Side note to this... I have 3/4 hybrid and have owned it now for a little over a year. I play it almost every day (anywhere between 1 - 2 hours). I have noticed subtle changes in the quality of sound, but I cannot say for sure whether the aging of the wood, changes in the environment or just that I am starting play a little better (under the direction of a qualified instructor) attributing to this. Needless to say, I wish you well in your sojourn in this new realm of music
 
#28
Hi.

Without going into a peeing contest about who's got the biggest one, or what having the smallest one means, I have to say that when I finally get my working space ready, this one will be among the first to go through my bench:

Pikkukontra.jpg


That's a 1/8 CCB ~34" scale, and I'm about 175cm.

Sure beats hauling a full size or 3/4 to amplified gigs.



My first DB was a 1/2 Sam Jin, probably pretty much the same as Your Hofner, mine was fully carved though. I repaired the neck that was deliberately smashed by the importer for insurance purposes, and did fit the bridge.

Now, that was my first ever attempt on any of that, but according to the bloke who bought it for a very reasonable (for me) price, the setup was more than passable. The strings were some lower priced Pirastro steels, and I didn't notice any drastic volume differences with pizz, after quite a bit of sound-post tweaking of course ;).
Can't bow, that could've revealed further inadequacies in my setup I'm sure.

I'm not a pro, so weigh my advice accordingly, but as a someone who's somewhat been there, done that, I'd try a few different E-strings first.
Since the selling price of Chinese strings is about 25€/set IIRC, I wouldn't actually be too surprised if You ended up with an uneven set or a dead E.

The PU placement is also often very critical I've noticed as well, so if the amplified tone (judged from a distance as suggested) is OK ish, do try if fiddling with the pickup helps any first.

Please, do also try to read between the lines as much as possible when here at the DB side of TB, most of the guys and gals over here are an endless fountain of knowledge, it's just that some of them like to argue about certain things ;).

Regards
Sam
 
#31
As others have said, better technique yields better tone. You can spend a lifetime working on it.

A good bass will sound better, however the resonance that makes it richer can be a hassle when amplified. Part of amplifying a bass without feedback involves cutting down on the resonance to avoid feedback.

My amplified pizz bass is a cheap ply job that had a weak E when new. When I had it set up, I asked for even tone and volume across all strings, and then I run it through an amp. (Of course this would be useless for orchestral work).

The other thing you can do is experiment with different strings, and you don't necessarily have to use a matched set.
 
#32
fingerbun said:
As others have said, better technique yields better tone. You can spend a lifetime working on it.

A good bass will sound better, however the resonance that makes it richer can be a hassle when amplified. Part of amplifying a bass without feedback involves cutting down on the resonance to avoid feedback.
Click to expand...

I suppose this all depends on the sound-pressure level of the amplified music, etc. I've never had any substantial problem with feedback issues when amplifying a nice, resonant, carved bass. That's likely because I mostly play in relatively small groups with minimal amplification. Still, in those situations where the amplification has had to be greater, careful positioning of the amp has been successful. I can certainly understand how high levels on-stage could be a nightmare, though.
 
#33
drurb said:
I suppose this all depends on the sound-pressure level of the amplified music, etc. I've never had any substantial problem with feedback issues when amplifying a nice, resonant, carved bass. That's likely because I mostly play in relatively small groups with minimal amplification. Still, in those situations where the amplification has had to be greater, careful positioning of the amp has been successful. I can certainly understand how high levels on-stage could be a nightmare, though.
Click to expand...

Fair comment and all true. In a jazz setting I don't usually have issues.

My point was not to derail the thread into a discussion on amplification, but to pick up on the weak E string and make the point that, depending on your situation, there may be more than one way to skin the cat.
 

Latest posts

Top Bottom
Back