Changing basses..'Finalized' (Not!)

[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?

[Ken Smith]

Originally Posted by Eric Swanson

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

Besides the Lipkins of mine that you have played here, I have an earlier (2001) Sartory copy from Peter Eibert in NY, and also a sweet Fetique bow that is just about my favorite now. So, the Eibert gets more play than the others because of its comfort, value and liability I guess and also because I am quite used to it. But, I usually try out a few bows on the bass I'm gonna take out and then pick what's working easiest for the music I have to play as well as how I feel that day.

I also have a Slaviero bow that depending on the bass, the music and how you play, it also comes in at the top of the bow stock. One player recently tried it and preferred the Slaviero over the Fetique of which he owns two of them so he liked the Cremona bow as a contrast and how it played. He gave it quite high marks. He did not like either of the 2 Lipkins bows I have, the Sartory (140 grams) and another Vigneron model at 146gr. but, he said the Eibert is also a nice bow. So, his choices were Slaviero, Fetique, Eibert and then the Lipkins bows. I totally don't see it that way but if you usually play a Fetique which run lighter in weight (in the mid 120s-130s), then the Lipkins bows in the 140s are possibly not your cup of tea. I find this rare from what I have seen with other players but everyone has their own likes and dislike with bows in the orchestra world.

So yes, I do change bows as well for reasons stated.

[Eric Swanson]

Interesting.

I still remember playing your Lipkins/Sartory model, like a brief, very happy dream.

I am moving up "her list" and hope to have a Lipkins bow in not too long.

I have been ogling the other bows you mention. They do look extraordinarily nice...