Extension -- Effect?
I've had c-ness envy forever, and I have the chance to add an extension to my bass. Anybody care to comment on whether adding an extension has affected the sound or playability of their instrument? Thanks, all.
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hummm
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Basses of mine past and present that I knew before and after include my Bisiach labeled Bass, the Gilkes and the Martini mainly. I only played a few notes on the Hart and Prescott before the restoration as they were in dis-repair so they don't really count in this group. All 3 Basses showed some improved low end but the Gilkes got a new Bassbar and other internal work in the process. The Bisiach got a Bassbar replaced and then the Extension afterwards several months later. The Martini got mainly just the Extension added and after its recent restoration, it was re-fitted after the Neck graft and new Fingerboard. The Martini had some interior work done as well but the Bassbar is the same. Each Bass with an extension added felt more 'whole' to me because I could play all the parts as written. Also, the Low end seems just a bit heavier under my feet which is a good thing. I would venture to say that without additional work done to a Bass, the Ext. will only change the Bass slightly if noticeable at all but for the better in my opinion. |
Thanks, Ken, that's helpful. Any comments about an effect on pizz sound in the jazz realm?
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I have owned 8 Extensions myself over the years of just about every variety. I will not take anything less that a solid quality Ebony Extension, Chromatic or not! On the Jazz thing, when ever I've had an Extension on a Jazz gig, I try to find notes to play on it. Not many though because of its slower response of the Low lows. Last night I played a Bach piece with Orchestra with solo for Oboe and Violin. I had a lot of Low D's as it was in D minor and I was actually playing the cello part. With the Bow I could hit is short and quick. With pizz it's not quite the same. |
Jazz Pizz...
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I have owned 8 Extensions myself over the years of just about every variety. I will not take anything less that a solid quality Ebony Extension, Chromatic or not! On the Jazz thing, when ever I've had an Extension on a Jazz gig, I try to find notes to play on it. Not many though because of its slower response of the Low lows. Last night I played a Bach piece with Orchestra with solo for Oboe and Violin. I had a lot of Low D's as it was in D minor and I was actually playing the cello part. With the Bow I could hit is short and quick. With pizz it's not quite the same. |
Just my input - we just did Strauss Also Sprach at the RCM. We hired in 5 strings for those of us with no scaffolding and Paul Ellison's opinion seemed to be that the 5ers were much better. The extensions though they have their merits require reaching back behind your head (so you need to find a way of doing it without knackering your shoulders and back) where the 5ers just mean another string to deal with, plus there were some serious extraneous noises coming from the extension desks. Also, make sure your extension keys are in tune if you have themm, as some of ours weren't!
Low notes are a really good thing, but if you are going to get it extended (!) then make sure you get a good one fitted, don't cut any corners because the rattling etc is not a good thing and not something that any player wants in their section. 5ers for me have the edge because you can just put your hand across in position and there it is. Plus the B is very nice. Not that I would have one for normal use as they are very hard work. I was talking to someone today and over here in the UK the players with extensions tend to get more work especially in contemporary music things... |
no scaffolding?
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Scaffolding is an informal term we use over here! No offence intended!:p
I should admit that I do really enjoy chromatic extensions as long as they are keyed (the ones where you don't have to reach). It is difficult with the 5 strings to find a string that doesn't sound just like a rumble or a drill or something. Paul was saying that if you get the right string, the long belcanto, the new evah pirazzi or the permanents (? not sure if it was permanents or flexocore) that the C can be really great. It's a matter of finding what suits you and your bass I guess. |
In my opinion a well-made extension gives the truest rendition of the lowest notes. That's because the extended E string has a speaking length of 51-53 inches. It is well established that the double bass is actually too small for its deep register, and it's also well-established that longer strings are better at producing low notes (hence the awesome bass strings on a concert grand piano). I'm speaking about tone and timbre here, not ease of play.
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Keyed..
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I think that no single style Low model method is best, just different. I though have found the Fingered/Chromatic Extension to be the best and easiest to use over all as well as the best speaking sounding low notes. You would have to play one for about a year and try all the various works on it before you can really judge its merits. Reaching back is the easiest part I think. Fighting the sound or hardware or extra strings is more of a drag to me. I have used them all to date and my mind is made up. |
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