Lessons Learned: My Progress on Playing String Bass

Listen to the Band Here.

Last night my Big Band, now called "the Cats Swing Band," gave a recital to mark the end of the semester. The Apostolic Church on Parr Avenue in Campbell, CA were kind enough to make their church available for our performance, and the pews were filled with friends and family. 

I played my acoustic string bass, and all the band members loved it more than my bass guitar.  My friend and attorney, who plays alto sax in our band, said that there is "no comparison" between the sound of my stand-up bass and my bass guitar, and he favors the former.  I agree.

However, a string bass requires a lot more stamina, and I need to improve mine. I was pooped by the end of the performance.  Playing a stand-up bass is much more physically demanding than playing a bass guitar.  This means I need to do my practices on my double bass (string bass) rather than my bass guitar.  I need to run several fast plucking exercises each day, perhaps by playing a few stanzas of a fast jazz song, like the jazz piece "Cute" or "The Blues Walk."  Do it until I get tired.  Learning to play bass is more than just reading notes and learning chord patterns; it also involves study of technique and gaining the physicality needed for long and loud performances. 

Everyone told me I played quite well, but being my best critic, I am far from satisfied. I was, however, blown away by the enthusiastic audience, who broke into raucous applause when our lead tenor sax player soloed.  They broke into applause several more times before the performance ended.  This was thrilling for me, as I have played in many bands, but have never experienced this before. 

Everyone in the audience was grinning, open-mouthed, from ear to ear, including my always grouchy little wife. Afterwards we had a pot luck dinner. The band was ecstatic over the successful performance.

Some important milestones for me:
My new Acoustic Image Contra 4 bass amp performed very well:  I could hear my string bass above the orchestra!  The tone was great -- it sounded acoustic rather than electrified.  Some performances are known as "noisy gigs," and a band our size (15 members, mostly horns) creates a lot of volume.  However, my new amp has solved the problem of being heard, without feedback.  This was the best $900 bucks I have spent recently on my musical pursuits.

My Tuff Bag protected my bass:  I learned that my Calin Wultur Panormo bass is actually 7/8 size, not 3/4 as I thought.  So I ordered a Tuff Bag (gig bag) from a source in Arizona, and it protected by bass quite well, transporting it to and from the gig. No scratches or damage.

My note reading skills continue to grow.  A year ago, I couldn't read notes.  I have come a long way since then.  I am now reading much better in the keys requiring 3 or 4 flats, i.e. Eb and Db.  Learning to read music is a gradual process, a skill gained over time by repetitive exercises.  I can sight read slow songs in the easier keys, but not in more demanding pieces.  I will keep at it, and eventually will be able to sight read even difficult pieces.  Patience and practice are the keys.

Learning Double Bass: Attack On All Fronts!

Lately I am obsessed with learning to play jazz on a double bass (also called string bass, stand-up bass or acoustic bass).  I give not a scatological expression for anything else.  I get on these kicks, where I want to learn as much as I can as quickly as I can.  So I listen to jazz music, paying particular attention to the bass, I read articles on how to play jazz bass, I play exercises, I read musical scores, and I play along to backing tracks.  Lately I have even used a free musical notation program to write my own bass lines from the chord sequence of a song, e.g. "Blue Monk."

Today I finally understand what a 1-6-2-5 chord progression is.  There are many different chord progressions, all described by equally strange numeric references.  The 1-6-2-5 is used in "rhythm changes" jazz tunes, such as "I Got Rhythm."

In other words, when it comes to double bass, I am attacking on all fronts simultaneously.

Ultimately, after digesting a ton of music theory, you have to actually sound good.  So lately I have emphasized playing to backing tracks or the recordings of actual songs.  I don't want to just ad lib, I want to play the chord sequences in clever but accurate ways.  Sounding great on bass is the one overriding goal.  All the rest of it, i.e. the theory, just supports that goal.

I am in my second semester of Beginning Big Band class.  The band leader is a gigging jazz trombonist who really knows jazz and swing, and he is leaning on me to improve (he seems to like me, though).  He is always telling the brass section to "Listen to the bass!  Listen to the bass!"  The bass lays down the rhythm and chord changes that keeps the rest of the band on track.  If I screw up, the whole band can get lost, especially the soloists.  That's a lot of pressure on me not to screw up (i.e. losing my place in the song's bar sequence).

I have learned so much since beginning this class, but there is so much more to learn.

FEEDBACK! How Do You Stop It?

Last week at my big band class, I started getting feedback from the amplifier.  There was a loud hum, then chairs and music stands began falling over and dust fell from the ceiling.  The other musicians all got under their chairs, fearing an earthquake.  But it was just my bass, feeding back.

How do you stop feedback?  It is a common problem with an amplified double bass!  As soon as I find out how to fix the problem, I'll get back to you.

UPDATE:  I stopped my feedback by reinstalling my Realist Copper pickup, securing the pickup bracket through the G string eye hole.  I had to take off the G string and then run it through the bracket holes, but the trouble was worth it.  Oh yes, and I didn't reinstall it on my practice bass, where it was originally.  I reinstalled it on my carved bass.

At big band class tonight, the tone and volume of the bass were quite nice, easily heard over the sea of horns.  And no feedback!  The band leader said the difference was like night and day, a big improvement over last week.

This fixed my immediate problem, but I think the feedback demon needs greater analysis.  I use a practice amplifier (for bass guitar) to amplify my double bass.  Bass guitar amps were not really made for an acoustic bass with its feedback problems.  There are amplifiers specifically made for double bass, and worth your consideration.

On some of the bass forums, they talk about amplifiers with "notches," a means of electronically eliminating feedback.  I need to research the best amplifiers specifically designed for double bass.  One that I have my eye on:  the Contra bass amp from Acoustic Image.

Two Easy Ways to Improve the Tone and Volume of Your Double Bass

I have been reading Chuck Traeger's books on the repair and setup of the double bass for optimum sound.  In his short addition, Coda, he explains two easy ways to improve the tone and volume of your double bass.  I am trying them out, and will report back here how they worked.

1. Put .005" teflon pads underneath the feet of your bridge.  Chuck says these pads allow the body of the bass to vibrate with less constraint from the pressure of the bridge.  The result is a noticeable increase in volume (more vibration = more volume).

My solution:  I ordered some from Metropolitan Music (metmusic.com), here's the link.  Price is $10 for enough teflon for three basses, plus shipping charges of $9, for a total of $19.  Installation instructions are provided.

UPDATE:  I installed the teflon pads under my bridge.  I am not sure if it increases the volume, but the sustain seems much improved.

2. Change your metal end pin to one made of wood.  Most bass end pins are made of steel or graphite.  End pins do more than just hold up your bass: they vibrate and add to the volume and tone of your instrument.  Steel end pins don't vibrate very well.  Graphite vibrates better, with an increase in volume, but the tone isn't optimum.  Traeger experimented with end pins made of different types of wood, and was amazed at the difference in sound -- he has concluded that the end pin is even more important to sound production than the sound post.  Various woods produce louder or softer volume, brighter or darker tone.  The ones you choose may depend on whether you play arco or pizzicato.  You should consult Traeger's book for a more comprehensive discussion of the various woods to learn which may be best for you.

Chuck found black oak to work best, but cautions that every bass is different.  The end pin wood has to match the impedance of your bass.  The wood end pin you choose will depend on several factors, e.g. the construction of the bass, the type of wood it is made of, whether it is carved or a laminate.  Even the type of strings you use can be a factor.  Therefore, some experimentation with different woods may be necessary.

The wooden end pin must be 5/8 inches in diameter for optimum sound; larger or smaller diameters don't work as well.  I searched the internet for wooden end pins, and those available from dealers are few and expensive ($80 to $150).  Too rich for my blood.

My solution:  After browsing several bass forum sites, I learned that common drumsticks can be used for end pins.  To get drumsticks that are 5/8 inches in diameter (.630 inches), order size 2b.  2B drumsticks are thicker than most drumsticks, and are used for heavy metal and other ear-busting music.  You can buy drumsticks in different types of wood, like rosewood and hickory, but oak is probably best in most cases.  However, I couldn't find any in black oak, so I ordered some in Japanese white oak (see link here).

You can get a rubber cap for the end pin at most hardware stores.

Drumsticks generally cost around $10 a pair, with another $5 - $8 for shipping.  Or, try your local music store.

UPDATE:  Unfortunately, the collar for most bass end pins is smaller than than 5/8 inches, so you would have to drill the collar to widen the hole.  Probably not worth the trouble.  I did note, in some bass forum, that a bassist used a 3/8 drumstick instead of the optimum 5/8 size, and still had good results.  Rather than drill out my end pin socket, I will try using a 3/8 size dowel.

MY SECOND ATTEMPT:  Regular end pins are only 10 mm, slightly larger than 3/8 inches.  10 mm = .393701 inches.  You can buy wood dowel rods off of Ebay; the closest fit would be 3/8 inches in diameter, or .375 inches.  So the wood dowel would be slightly smaller than 10 mm.  I think it should still fit okay; in any case, I ordered a walnut dowel that is 36 inches by 3/8 inches.  If it works, I will have enough for both of my basses with room to spare.  I ordered such a dowel off of Ebay for $10, which includes shipping.  We'll see if that works.

Note:  For more details on these topics, buy Chuck Traeger's book Coda.  It also has other tips for maximizing your sound.

Big Band Practice: My Progress on Double Bass Continues

Last night we held the first band practice with our new band leader, a young college student named Faris.  Faris is a senior at San Jose State University, majoring in jazz.  He plays piano and trombone.  But not at the same time, har har.

Faris proved to be an excellent band leader, and we the members got a lot of good out of this first session.  Unlike the former band leader, whom we much loved, Faris pays attention to the rhythm section.  He asked me to turn up my volume!  Omigod, I like this guy.  Then he asked me to play a few lines of the sheet music, and I did (thank goodness I have been learning sight reading of notes).  That went well.

Faris told me to be bold, to hit those notes with vigor, not timidly, as the band, and especially the soloists, need a strong rhythm section to keep them on course during solos.  He also implied that we need not follow the notes perfectly literally, that it is okay to throw in some flourishes that are not in the sheet music.  Jazz is about improvisation, after all.

In other words, "once again, with feeling."

I was into it last night.  My sight reading is the best it has ever been, though it is not as good as I want it to be, yet.  I will renew my practice with increased vigor.

The new practice site is in the band room of a junior high school, and it is crowded with chairs and equipment.  I didn't have time to bring in my stool, so I stood for the whole hour and a half of practice.  To my surprise, I didn't tire, my legs didn't hurt, and my arthritic right shoulder didn't ache. Also, I didn't get lost!  I must be getting in shape, but I think the intense focus also was a factor.  By god, I am going to be a double bass player!

Zen and the Art of Playing Bass; and Introducing "The Abe Train" Jazz Quartet

My Big Band music class starts up again tomorrow.  This morning I began practicing the songs (on my string bass) that I learned in the last session.  I noticed how much easier it is to read notes this time around.  What once was torture is now an achievable task.  You do something many times over and it becomes easier to do.  Funny how that works.  I am not "there" yet, but I am further down the road.

Before I started this class, my two string basses sat in their stands, untouched, gathering dust.  No more.  Now they both get handled a lot, played, tuned, adjusted and repaired.   I am forever tweaking the setup of each one, always seeking the best playability (the "action") and sound possible.  I even ordered a well known book to teach me better how to do that:  Chuck Traeger's book, Setup And Repair of the Double Bass for Optimum Sound: A Manual for Players, Makers, And Repairers.

Mastering an instrument is similar to learning a new language.  It requires immersion, study, practice, contemplation and great patience.  Zen might help too, except that it is difficult to play bass while holding the full lotus position.  

Stick with it long enough and you may come up with something like "The Abe Train" (see video below).  The Abe Train is a jazz quartet of young musicians in their twenties.  They are from the San Francisco Bay Area and damn good.  The bass player really grooves.  Use headphones so you can hear every note of their rendition of "Autumn Leaves."

Spirit Varnish Repairs for a Double Bass

Repair of Spirit Varnish Blemishes; Upon Turning a Simple Scratch Into a Major Disaster

Last week, when  I picked up my carved bass to practice, metal on my belt bit into the upper bout of my bass, leaving a visible scratch.  What I should have done, was use my "Cherry" furniture repair pen to hide the scratch.  Instead, I painted on some red/brown spirit varnish, tried to wipe it off, which marred the surrounding area.  Before I knew it, I had changed a very simple repair into a major disaster.  Now the small scratch had grown to a big ugly blotch.  I had violated an important principle of bass repair:  be patient, be careful.

I slopped on more red/brown spirit varnish, painting with the grain, then against the grain.  After several coats, the blemish was mostly covered satisfactorily, but had developed a very dark border of accumulated varnish.  It didn't look too bad, to a guy riding by on horseback at midnight. Since I don't own a horse, changes would have to be made.

First off, the color was also too red, and I realized that, though Calin Wultur Panormo basses are supposed to be finished with red/brown varnish, the upper bouts had been finished with golden brown varnish.  The golden brown segues into red/brown further down the bass.  It became clear that I needed some golden brown spirit varnish.  I ordered some immediately.

I carefully (for a change) removed my application of red/brown spirit varnish, using an alcohol-dampened rag (spirit varnish dissolves in alcohol).  I got it down to the bare wood, carefully removing the ugly thick borders.  I will wet sand it smooth with fine sandpaper, and when I get my golden brown varnish, I'll try again.

I'm fairly confident that I will be able to repair the varnish satisfactorily.  I will use this as a learning experience.  I am beginning to realize that double bass players almost have to be luthiers in their own right.  These basses are fragile and complicated.  I ordered a copy of  Chuck Traeger's book, Setup And Repair of the Double Bass for Optimum Sound: A Manual for Players, Makers, And Repairers.  I also ordered the "Coda," a smaller followup volume offering additional setup and repair tips.

My Big Band class begins again next week.  Fortunately, I have another double bass I can use until I repair the Calin Wultur Panormo.

UPDATE:  I applied the Golden Brown spirit varnish and greatly improved the appearance of the damaged area.  Does it look as good as it did originally?  No, but it isn't half bad.  I may try and improve it sometime later, with more coats of varnish.

Encouraging Progress on the Double Bass

Last night was the sixth and final session for my "Beginning Big Band" class.  After the class, the band went out together for beer and dinner at the Los Gatos Brewery.  We all enjoyed the beer, snacks and conversation.  Several people complimented me on my bass playing, and that was nice.  The lovely lady band leader gave me a big hug.  The guitar player tried to recruit me for another local big band.  I told him I would gladly consider it.

My biggest challenge in playing upright bass is the arthritis in my right shoulder and shoulder blade.  I must continue exercising with weights to overcome it.  My desire to be a serious bassist is also my greatest incentive to get and stay in shape.

Now that I don't have my weekly class meeting as a practice incentive, I must find new incentives, e.g. a new class, a new band.  I will think on it.

What I take away from this classroom experience:  (1) a much greater ability to read notes (2) an improving knowledge of the bass neck, and better intonation; (3) practical experience in the maintenance and transporting of my large double bass.

Zoltan Dekany: A Great Bass Instructor Online

Zoltan Dekany

In a Google search, I discovered a great bass instructor online.  His name is Zoltan Dekany, and his YouTube Channel is called Zoltan's Bass Lounge.  He lives in the U.K. You can access his site at this link.

Zoltan has instructional videos for both bass guitar and double bass.  Since I am struggling to become a double bass player, I concentrate on those videos.

When I first got my double bass, I was impatient, and ignored videos telling me how to use the "hand shake," the manner in which a bass player uses his left hand.  As a result, I became tired quickly and couldn't practice too much.

It has since become obvious to me that solidly learning the basics is highly important, so I am currently concentrating on intonation (playing clear sounding notes), shifting the left hand to accurately play notes up and down the neck, and strengthening my fingers through bass exercises.  Zoltan explains these things in clear language that the student can understand -- there are many good bass instructors online, but many of them talk over my head.  Zoltan doesn't do that.

I recommend Zoltan if you are looking for a good online instructor.  I have added Zoltan's link to my sidebar.

Cleaning and Organizing My Music Room

Since I began a serious study program for double bass, I have been busy doing odd things.  Like cleaning up my music room.  Yesterday I began cleaning out my desk drawers of old junk:  obsolete computer programs, obsolete cables and computer accessories, old bills, correspondence and bank statements (these are shredded).  I am being ruthless in tossing stuff I no longer need or use.  Today I will continue, clearing out my book shelf and a chest of drawers, a closet clogged with junk, all to make more room for currently useful items.

Having a neat, organized practice space is conducive to good practice habits.

I took my three bass guitars off of their stands and put them into their cases, to protect them and make more room.

My two string basses sit on these big metal bass stands, similar to the smaller stands used for guitars.  The feet of these stands, where the bottom of the bass rests, are covered with foam rubber sleeves to protect the bass from scratches.  However, these foam rubber sleeves quickly wear out, developing holes and exposing the bass to scratches from the metal surfaces.  Yesterday, I removed the worn out rubber sleeves, and replaced them with clear plastic tubing from Ace Hardware.  The tubing protects the bass very well and will not easily wear out.