What makes a Double bass good for Jazz or Classical?

[Sercan Say]

I dont have dimensions but I'll try to get them.

I understand sound issue, I think final setup and strings are effective in this issue.

This bass has one problem too, when we hit F# on the E string with pizz. suddenly volume decrease and then increase.We cant solve this problem.I will put some pictures and maybe some sound sample If I can

Recently we built 2 other bass too they have nice sounds pizz. and bow as you say.

[Arnold Schnitzer]

When you talk about a good jazz sound, what do you mean? Old style thump, whining growl, fat and punchy? Different preferences would dictate the maker's approach. For example, if a client told me he/she wanted a strong upper register and moderate bottom, I would increase the arch height and keep the top a bit thicker. The opposite for a bottomy, thumpy sound...

[Pongsak Sooksawak]

Originally Posted by Arnold Schnitzer

For example, if a client told me he/she wanted a strong upper register and moderate bottom, I would increase the arch height and keep the top a bit thicker. The opposite for a bottomy, thumpy sound...

That why my bass has a very strong upper and moderate bottom. Also, My baby is so heavy.

PS. I don't know the original of my bass.

[Ken Smith]

Originally Posted by Pongsak Sooksawak

That why my bass has a very strong upper and moderate bottom. Also, My baby is so heavy.

PS. I don't know the original of my bass.

Attachment 191

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I would like to see the rear and sides of the pegbox/scroll and the sides vies/profile of the Ribs as well. It looks like a 1920s - 1930s French Bass to me. This style has seen labels like Bisch, Collin-Mezin, Quenoil and a few others.

[Pongsak Sooksawak]

Originally Posted by Ken Smith

I would like to see the rear and sides of the pegbox/scroll and the sides vies/profile of the Ribs as well. It looks like a 1920s - 1930s French Bass to me. This style has seen labels like Bisch, Collin-Mezin, Quenoil and a few others.

Here, I took those pics since I got this baby.
And, my bass has some kind of nail made from ebony wood in the corners (near f hole), like all basses imported to this regian (south east asia). For example, my friend's Hawks has the same thing.

Ps. It located in Bangkok, Thailand.

[Ken Smith]

Originally Posted by Pongsak Sooksawak

Here, I took those pics since I got this baby.
And, my bass has some kind of nail made from ebony wood in the corners (near f hole), like all basses imported to this regian (south east asia). For example, my friend's Hawks has the same thing.

Ps. It located in Bangkok, Thailand.

Ebony nail near the F holes? Can you show me a picture of that? This sounds confusing!

[Pongsak Sooksawak]

Originally Posted by Ken Smith

Ebony nail near the F holes? Can you show me a picture of that? This sounds confusing!

Ken
That is very difficult to capture the pic. But, that's not the nail. The position is not near the F holes.

Here, that's the same thing happened with the Hawkes and Son Concert Double Bass labelled and dated 1910 - #2644 from the contrabass shoppe, UK.

"The instrument has what we call “pins” - in the corners and at both top and bottom blocks. These were fitted to instruments - that were destined for use in tropical countries. In glue-softening high humidity's - the pins would help maintain the position of the table and back onto the blocks."

Sorry for my english to make you confuse.

[Arnold Schnitzer]

[quote=Pongsak Sooksawak;4073]That why my bass has a very strong upper and moderate bottom. Also, My baby is so heavy.

Plus, the shape of your bass prevents it from being deep-sounding. Generally, basses with small, sloping shoulders (regardless of the lower bout size) have a penetrating sound, but little in the way of bottom.

[Ken Smith]

For some, the modern Jazz sound is one with brightness and sustain on the lower notes but some level of mellowness in the sound so it isn't too harsh. This same set-up for Classical is not so good being that the Bow brings out all the edginess of the treble frequencies and not the Bass spread type sound that is wanted in an Orchestra.

For Orchestra/Bowing/Classical the deeper type/older sounding Basses are preferred especially when they sound darker rather than brighter. Some of the Basses in use that are of French or English origin may seem clear sounding under the ear but usually blend well. Some other Basses are very Organ like in tone on the bottom and sound great for an Orchestra but would be a bit too deep sounding for Jazz. Also, these better Basses are most often out of the reach financially of the average Jazz player so it is something they would seldom encounter.

There are a few jazz players that do prefer the darker orchestral tone for Jazz and do have a Bass that would work in either venue. Size wise, smaller 3/4 Basses with sloped shoulders is the average Bass in Jazz and 7/8ths or larger 3/4 Basses with broader shoulder/upper bouts is more commonly seen in the Orchestra.

Go to about 20 jazz gigs and note the 20 Basses in use. Then go to a few Orchestral concerts and note the Basses in use with the Symphonic player. Maybe try and play some of these Basses so you can experience the difference first hand. As always, experience is still the best teacher.