Now, now boys...Are we going to have to have a time out to think about what you've just said? Mmm...Be careful...I might have to give you a yellow-card warning. ;-)
I'm a bass owner again.
- Thread starter Merlin
- Start date
Now, now boys...Are we going to have to have a time out to think about what you've just said? Mmm...Be careful...I might have to give you a yellow-card warning. ;-)
Well, I have played bass on a number of occasions, and even came this close to owning one, and I'm nuts, so I figure that it was universal.
As for yellow cards, I do not acknowledge the effete penalties of the association football world. Fie on your cards and your vaguely timed sport!
As for yellow cards, I do not acknowledge the effete penalties of the association football world. Fie on your cards and your vaguely timed sport!
My bass has neither a fie key or a bis key. It has been known to inspire a whis key.
Actually, the schlep factor has never seemed extreme to me, having come from a tuba/bass background. At 15 pounds plus case (which is usually a gigbag now) it does not rival either instrument for the "moving crew" title. In years past, I would sometimes show up with a string bass, bass guitar, amplifier and tuba. To me, that did seem a bit crazy at times. I have found the bass sax to be a great Dixieland bass instrument, although I have never done a five hour strolling gig with it, as Randy once did.
Actually, the schlep factor has never seemed extreme to me, having come from a tuba/bass background. At 15 pounds plus case (which is usually a gigbag now) it does not rival either instrument for the "moving crew" title. In years past, I would sometimes show up with a string bass, bass guitar, amplifier and tuba. To me, that did seem a bit crazy at times. I have found the bass sax to be a great Dixieland bass instrument, although I have never done a five hour strolling gig with it, as Randy once did.
Sorry I missed your question so long ago.
I used a barisax plasticover, it's too ferocious though. I prefer the legere Contra bass clarinet reed
Well, I finally picked up the bass yesterday. Pics below.
My emphasis to the techs was on function, not on appearances, so they left minor dings, and didn't try and go for restoration quality.
Kevin Rohm did the work, with the assistance of Terry Fitzgerald. They work at Cosmo Music in Richmond Hill, ON.
My emphasis to the techs was on function, not on appearances, so they left minor dings, and didn't try and go for restoration quality.
Kevin Rohm did the work, with the assistance of Terry Fitzgerald. They work at Cosmo Music in Richmond Hill, ON.
First reactions on playing this horn:
Wow!
It is way easier to tune than the old Conn I used last season.
D2 and Ab2 actually speak well on this horn with standard fingerings.
The alternate low Eb isn't large enough to be useful.
C2 and C3 are a bit muffled in tone quality, and flexible in pitch.
This bass probably has the most bark to it of any I've ever played, but it's still easy to start a low B at double piano (necessary in WSS!)
The neck, which seemed to cause a major discussion on the correct length for bass necks, is in fact exactly correct.
The sound of this bass is quite simply enormous. I'm having a great time working on the WSS parts. Now I just have to work on the 2 bar switches from Bass sax to piccolo.
Wow!
It is way easier to tune than the old Conn I used last season.
D2 and Ab2 actually speak well on this horn with standard fingerings.
The alternate low Eb isn't large enough to be useful.
C2 and C3 are a bit muffled in tone quality, and flexible in pitch.
This bass probably has the most bark to it of any I've ever played, but it's still easy to start a low B at double piano (necessary in WSS!)
The neck, which seemed to cause a major discussion on the correct length for bass necks, is in fact exactly correct.
The sound of this bass is quite simply enormous. I'm having a great time working on the WSS parts. Now I just have to work on the 2 bar switches from Bass sax to piccolo.
Looks good to me. The problematic C naturals are normal. The larger the chamber of the mouthpiece, the more they improve.
Buescher's forked Eb wasn't as good as Conn's, but the palm keys are a whole lot more in tune. It's a fair trade.
You really saved this horn. Congratulations!
Buescher's forked Eb wasn't as good as Conn's, but the palm keys are a whole lot more in tune. It's a fair trade.
You really saved this horn. Congratulations!
try either keeping the Picc on your lap, or if you have access to one. In a lip underneath a music stand.
http://www.wwbw.com/Hamilton-Stands-KB1-FS-Double-Shelf-Stand-450349-i1142018.wwbw
Mine is similar to that with the double lip. I put a small hand down on the lip to keep it from sliding and leave the picc there. Makes the change possible. Only way I was able to make that switch when I did WSS
http://www.wwbw.com/Hamilton-Stands-KB1-FS-Double-Shelf-Stand-450349-i1142018.wwbw
Mine is similar to that with the double lip. I put a small hand down on the lip to keep it from sliding and leave the picc there. Makes the change possible. Only way I was able to make that switch when I did WSS
Or...
...you could do like they did in one college production of the show that I played back in the 1980's. We were in a split orchestra pit with a thrust down the middle, so I never really saw half of the orchestra. However, I got there early one rehearsal evening to set up all of my junk (baritone, bass clarinet, clarinet and tenor, all having to be carried down a spiral staircase), and heard what I though was the bass sax part in the opening rumble scene.
It was the bass sax part being played by a frail young thing on a Bb soprano clarinet. As she had no bass sax (indeed, I saw no sax of any kind anywhere near her), she did the fifth or sixth next best thing and played the notes as written on a soprano clarinet. The resultant sound gave a whole new meaning to "ominous"...
...you could do like they did in one college production of the show that I played back in the 1980's. We were in a split orchestra pit with a thrust down the middle, so I never really saw half of the orchestra. However, I got there early one rehearsal evening to set up all of my junk (baritone, bass clarinet, clarinet and tenor, all having to be carried down a spiral staircase), and heard what I though was the bass sax part in the opening rumble scene.
It was the bass sax part being played by a frail young thing on a Bb soprano clarinet. As she had no bass sax (indeed, I saw no sax of any kind anywhere near her), she did the fifth or sixth next best thing and played the notes as written on a soprano clarinet. The resultant sound gave a whole new meaning to "ominous"...
Congrats on getting your new baby back into playing condition Merlin, and becoming a member of the bass saxophone players' guild again. We'll be hitting you up for your membership dues now. ;-)
Your bass does look beautiful now. The before/after pictures are astounding! The few dings/dents are part of the horn's character. After all, this baby is nearly a century old. I've always been a big believer in playability over beauty. From what you've described, the functionality is there, and that's after all why you got it.
Good to hear the neck is correct as well. So it's all good.
What kind of case came with it? Or what are you going to use for it?
Your bass does look beautiful now. The before/after pictures are astounding! The few dings/dents are part of the horn's character. After all, this baby is nearly a century old. I've always been a big believer in playability over beauty. From what you've described, the functionality is there, and that's after all why you got it.
Good to hear the neck is correct as well. So it's all good.
What kind of case came with it? Or what are you going to use for it?
I have no case at the moment. I'm using a Levy keyboard gig bag that I used to carry around my old Conn in before I got the Chronkite bag.
Since it'll be living at the theatre, a stand is higher up my list of priorities at the moment.