Changing basses..'Finalized' (Not!)

[Ken Smith]

Originally Posted by Eric Swanson

I just love looking at the instruments you have gathered and fostered.
Thank you for taking such good care of these lovely basses...

Interesting to hear you talk about the "plushiness" of older instruments. I visited my long-time teacher last week and got a chance to play one of his basses, what appears to be a German instrument (to my untrained eye; external linings, round back, violin corners, light gold/brown varnish), that clearly has some years behind it. He was playing a newer Hungarian instrument which he also owns. The German bass does have that combination of clarity and "plushiness," as you put it, that really is irresistible.

I am lucky to have a bass that is certainly better than I currently deserve, but I must say I can't get that "plushy" feel and sound out of my head...

Eric, we deserve what we treat ourselves to and nothing less. About 40 years ago I bought my first old Italian bass. Played it for the next 15 years on all my jobs and then retired from playing. About 5 years later I put it up for sale to make someone else happy and use the money for a house for my new family with the 2nd child on the way. No regrets here on what I bought, sold and played on.

I still have more basses in restoration that I will play one or more times on a rehearsal or job and even more basses coming in that I have purchased that are not here yet. Once you turn it into a business while you are still playing, anything goes!

I must say that most of the pro orchestra players that have played my Hart, both male and female, get more sound out of that bass by far than what I hear when I play it. That being said, the best bass for YOU is what YOU can play best, and not what someone else sounds good on.

I was at a rehearsal with my Neuner shortly after getting it set-up and from the last stand in the back row the Principal looks at me and says "boy that thing is loud!" I replied, "this is not one of my loud basses!".. So I thought. Whenever I played that old German bass, I got compliments, and as many as when I played an old English or Italian bass in the same groups and sections. One Luthier friend of mine told me to keep that Neuner and when I sold it he said on the phone, "I told you never to sell that bass. Why did you sell it?"

Well, I feel the old Lion I have is as nice if not more and I love the old creature looking down at me as I play it. I have had many great basses come thru my hands but there was always something about it that didn't click 100% with me either in feel or in getting 'my' sound. Playing several styles of music in my path these days as well as in the past, a stone cold Orchestra bass might not fit the other types of gigs I do.

This is just the current chapter in the quest for the best. I have totally changed my set-up as well from my past NY days so I can't predict what I will need or like tomorrow. If and when something changes, I will be glad to share it.

[Ken Smith]

I played last week at the ISB with a Bass Quartet within Chris Brown's recital including piano and a vocalist. As I was getting off stage from the sound check with my bass (the Hart), I noticed the Karr/Koussevutzky bass on the stage and then Stefano Sciascia walking up. He said that the Hart sounded beautiful and liked my Pizz technique as I was playing the continuo part straight thru including the last two notes solo. I saw him a few hours later after the recital, Stefano was coming on stage right behind us as well and complimented the sound again. Another Orchestra player I know at the concert came up to me later and said the Hart cut thru the other basses and sounded beautiful. The Hart was the smallest bass on stage of the 4 of them but had the best sound.

So, I think this is the bass I have to keep but have a back-up or two for those venues where the Hart might be at risk like outdoor venues, Pit jobs or clubs.

Now that I have played it in a good hall with other bigger basses, and all good ones, I have to re-think my keeper-bass based on how others hear me and not just what I think from being on the inside looking out.

[Nick Skelton]

I was in the display room stood at the opposite end, and heard a young freelancer trying out the basses you had at ISB. This confirmed what I heard back at your place during my bass search a few years back. The Hart was definitely the standout in a collection of fine basses. Sorry i missed it on stage.

[Ken Smith]

Originally Posted by Nick Skelton

I was in the display room stood at the opposite end, and heard a young freelancer trying out the basses you had at ISB. This confirmed what I heard back at your place during my bass search a few years back. The Hart was definitely the standout in a collection of fine basses. Sorry i missed it on stage.

I have been back and forth between the Hart and the Old Lion in recent weeks. Last week, I brought the Hart to a rehearsal strung with G,D,A Original Flexocors, a string that I was never crazy about and it had my old favorite E/C, a Stark 92 Flex. I thought the bass suddenly had a new lease on life.

Last night I brought the Old Lion to the same rehearsal space (new music and conductor each week) and my buddy beside me said he can hear me but not feel me like he did with the Hart but also heard me even better with the Hart.

Last week we had a big orchestra, 3 basses and with lots of brass and the Hart cut thru everything. Last night we did some Haydn and Mozart, a smaller orchestra and just 2 basses. So if the Hart is louder with a bigger orchestra than the Old Lion is with a smaller orchestra, then the proof is in the pudding. The Old Lion is a good workhorse instrument but not to be confused with something on the level of the Hart.

One main reason I only used the Hart on only 2 out of 16 concerts last season besides variety was that I am always worried it will get bumped or damaged. If not for that underlying fear, I probably would have used it for everything, rehearsals included. I think I should go back to my old NYC ways and take only my best bass out regardless of the gig being major or minor. My old Italian bass was in my hands for 15 years of NYC area gigs and I only recall it being replaced once for a week while it was being repaired.

I once asked a bassist friend who has played with the Philly Orchestra what should I do to get my playing back like it was when I was younger and playing full time? He replied, "Play ONE bass". At that time, I was between the Gilkes, Martini and the Hart. With the first two now sold, I think I have my answer on a 'silver platter'.

[Gunter Grass]

true that, ken. i recognize having adoptation problems changing from one bass to another, especially if they have big differences in string length. one has 104cm and the other has about 109cm. and not only that makes a difference; even the curve of the fingerboard and also the balance and feel of the shape of the bass. and every bass needs strings which are sounding best. that means that you have to play different strings changing basses, also. but only if you found your perfect bass, you don´t have to cheat on others anymore, right?

[Ken Smith]

Originally Posted by Gunter Grass

true that, ken. i recognize having adoptation problems changing from one bass to another, especially if they have big differences in string length. one has 104cm and the other has about 109cm. and not only that makes a difference; even the curve of the fingerboard and also the balance and feel of the shape of the bass. and every bass needs strings which are sounding best. that means that you have to play different strings changing basses, also. but only if you found your perfect bass, you don´t have to cheat on others anymore, right?

Talking in CMs, my Hart is about 106 and my old Lion is about 107. In minutes, I get used to what is in my hand. I just got in a new (old) Prague bass and it has a fun type sound with both the Bow (for classical) and Pizz (for Jazz). The Prager is currently just about 103cm. So in inches I have basses at about 40.5, 41.75 and 42", give or take depending on the tilt of the bridge or string height.

On the Hart, I currently have a mixed set or Flexocors, Orig's with a Stark 92 E/C. The old Lion has Belcantos and the Prager, Evah weichs. Three different basses, different shapes, sizes, backs and necks as well as completely different strings for each. One thing in common, the player. I practice on the bass I am going to use, get used to it and then pack the car. Sometimes I change the last minute or between rehearsals and concert. No one ever complains about my sound or playing and that is just an example of 3 of the basses. So, you have to be flexible and listen to your fingers and adjust as need be. One thing for sure is that you must be comfortable with the bass or get comfortable enough to play it. A few weeks ago I used the Mougenot on a concert but played the Marconcini the night before and one or two other basses at rehearsals for the program. Night and day with length, size and sound. No complaints! Only your playing counts at that point if the instrument is good. It matters more to the player than the listen in my opinion.

[Eric Swanson]

Ken, do you usually use the same bow, during all this bass changing? Which is your default stick, if you have one?