This is the prototype of my new double bass wall mount. It is made of solid maple wood and varnished with traditional violin varnish. It not only holds the bass securely, but also serves as a bow holder and storage for rosin, metronome, pencil and eraser, or whatever else you need to practice. The bass is fixed by means of elastic band. The endpin can remain extended in the playing position. Available at www.kontrabass-atelier.de
In 1947 Oscar Peterson formed his first trio. On bass at that time was not yet Ray Brown, but Bert Brown, and Frank Gariepy played drums. The trio performed regularly at the Alberta Lounge in Montreal, which was also broadcast by a local radio station. In 1949, Norman Granz discovered him there, and introduced him as a surprise guest at New York’s Carnegie Hall as part of his Jazz-at-the-Philharmonic tour. After that, they toured together for two years through in American concert halls. Finally, in 1952, Peterson formed a new trio with bassist Ray Brown. Initially, Barney Kessel joined on guitar, who was replaced a year later by Herb Ellis – in this line-up the trio became world famous.
In 1949, Evelyn Lambart and Norman McLaren created a remarkable animated film for which the Oscar Peterson Trio (called old-fashioned “Terzett” in the German translation) with Bert Brown and Frank Gariepy contributed the music. Technically interesting, Lambart and McLaren painted and drew directly onto the film stock for this color film, rather than photographing it. The film was produced by the National Film Board of Canada; at the first Berlinale in 1951 it was awarded a silver medal in the Culture Films and Documentaries category.
Hervé Jeanne is not only a diligent string tester and critic, he has also subjected six common clip-on microphones to a comparative test on his YouTube channel.
In a second video, he also tests the BassBall in detail, which I came up with a few years ago.
Marc Myers has published an interesting interview with Chuck Isreals, best know for his collaboration with Bill Evans, at his website JazzWax.
Twin Channel Preamp
2 channels (Channel 1 – 1/4” stereo/mono input; Channel 2 – microphone/phantom power), Optical compressor with level, 6 band EQ plus 30hZ boost, Stereo pan control
Drilling and reaming an endpin hole isn’t as easy as sharpening a pencil. An old CD may help.
features: boost switch for solos, bass and treble EQ, sweepable notch filter for feedback suppression, character control, latency less than 1ms, 1/4″ pickup input/high impedance (1MΩ), XLR DI output, XLR mic input with 48V phantom supply (used for training the Tone Dexter)
ToneDexter is a preamp for acoustic guitar, mandolin, violin as well as upright bass. It is designed to “restores the missing body sound to an instrument’s ordinary piezo pickup”. In order to use the Tone Textet, you first play with both a mic and your pickup plugged in while ToneDexter learns the difference between your pickup sound and the mic sound. Then, put the mic away and just use the pickup … but with the sound of the mike, which is digitally rebuilt by the preamp.
Type: condenser microphone
preamp: – (phantom power needed)
Developed by Swedish bassist Peter Axelsson, this microphone was designed for the double bass, for use in studio as well as on stage through your regular amplifier.
The NewYork Bass Viola Choir was an interesting band led in the late 1960ies by bassist and composer Bill Lee, who by the way is the father of film maker Spike Lee.
Here’s a TV show footage of this band: “Like It Is” (1972) from “One Mile East” folk opera; featuring N.Y. Bass Violin Choir. Bill Lee, director, composer; Ron Carter, Richard Davis, Milt Hinton, Percy Heath, Michael Fleming, Lisle Atkinson – bass; Consuela Lee Moorehead, piano; A. Grace Lee Mims, vocalist, Al Harewood, drums