Quote:
Originally Posted by Phil Maneri
I agree with the one bass for everything, it's an approach I've been taking since buying my #1 bass. Even taking it places I "shouldn't" like outside. I find that I really just want to play that bass for everything regardless of the circumstances. It's the dancing partner and I learn more about her as we become really acquainted.
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For some reason, I keep going back to the Martini. Ever since the last restoration with a slight modification done to the Back as well, the Bass has been sounding better and better.
A few days ago someone was playing the Basses for me and me for him, testing them for an Orchestra client. The Gilkes(Jilkes) sounded huge as usual, the Big Gamba was a bit bigger sounding and deeper but the Martini was within 90% of the other two in power (closer than usual) and the tone was the best overall. The G and D were the biggest sounding on the Martini over the other two. The Gilkes is fairly even and the Gamba very bottom-like but the Martin now re-strung with a slightly used set of BelCantos (switched the Flex 92s with the Bel's on the Hart), the Bass sounds bigger and better than ever.
Last night I played them both again, the Martini and the Gamba. This is a tough choice. For big bottom orchestra or fat jazz pizz, the Gamba wins. For solo and sweet tone but still with more volume than the average bass, the Martini wins.
I noticed something a bit strange but good at the ISB. Someone was playing the Gamba and it was huge, shaking the floor and walls. Then while that was going on, someone else took the Martini off the stand and started playing it. These were all good orchestra players here, no beginners. The sound of the Martini cut right thru the middle and top of the Gamba like a hot knife thru a pound of butter. I was very surprised but in a happy way. The Martini being just about the most comfortable bass to play within the group I have now.
All this will change in a year or so when the Storioni is out of restoration. That Bass has the power, depth, sweetness and playability of all the basses combined. Some say the Gamba sounds like the Storioni on steroids but they haven't heard the Storioni restored yet, nor has anyone.
For now, I will keep my practice on the Martini since I am more used to it. The Gamba will go out when I think it fits the job. For upper solo work within the Orchestra rep, I'm not ready for it on the Gamba. The reach over the shoulders are a bit more than I'm used to and intonation is not an option!
One other thing I noticed is how different the basses sound sometimes when various people play them. This is the puzzling factor. How do I sound between all the basses? Which Bass do I play the best and with enough volume as well? Listening to the Martini in comparison to the Gilkes, Hart and Gamba is almost unfair as these are not your average sounding basses at all. They have always made me think less of the Martini when comparing. That is over now. The Martini can hold it's own as I've heard it cut thru the Gamba. That's enough proof for me right there.
So, Big Ben will have its time when the setting is just right. I would love to use it in a rhythm section. It just kills with the Evah's on there now. Next string change might be Evah Weichs which I had on it before but didn't have an Extension E/C. I heard they are available now so it's on the menu, some day..
