Buying Tips

When in the 1950s the electric bass guitar appeared on the market
it did not a take long time until the double bass only played second
violin in pop music. The e-bass simply offered a lot of convincing
advantages: it can be transported more easily, can be amplified
easily and guitar as well as double bass players can learn how to
play it quickly. Nowadays the double bass plays a domineering role
only in certain niches: e.g. in jazz, bluegrass, folk- or Volksmusic or
rockabilly.

With the ‘unplugged’- fashion during recent years acoustic guitars

become more and more popular. The interest in other acoustic
instruments grew as well, so that you can see a double bass in
music shops now and then. Since in the 1970s the piezoceramic
pickups to amplify double basses became more and more popular,
there has been something happening in the field of amplifying.
Meanwhile three dozens of different pickups can be found on the
market and some producers of amplifiers consider the special
wishes of double bass players as well.

A lot of people who are interested in the purchase of a double bass

are already playing an instrument, e.g. the guitar or the electric
bass. In comparison with the prices paid for an electric bass
manufactured in mass production, even a entry-level double bass is
a lot more expensive. Whereas you can already get a quite
sophisticated electric bass for about 500 €, most (new) double
basses of this price range are only instruments for beginners (if at
all). The setup prices and the prices for the additional equipment
are also higher. So a set of good quality steel strings is about 120 €
and more, and you won’t get a set of quality gut strings for less than
250 €.
The materials which are used are of a decisive importance for the
quality of an instrument. Double basses can be divided into two
categories according to the wood which is used to produce a
double bass: carved basses and those made of laminated woods.
With carved basses the arch of the top and back are carved out of
the complete block of wood which applies a lot of work and
material. Suitable wood to make instruments of has been air-dried
for years or even decades until it is used. Strongly wavy-grained
wood is the most sought-after.
So-called laminated double basses are made of veneered wood.
Top and bottom are formed by means of presses. Besides the good
prices it is the robustness which speaks in favor of the laminated
basses. While carved basses is constantly threatened by cracks
caused e.g. by careless transport or effects of the weather, the
laminated wood which consists of several layers of wood glued
together is more insensitive. But although there are laminated
basses which are able to produce a pretty good sound, a certain
ideal sound can only be obtained with a carved bass. Mostly the
sound of a carved bass is richer of overtones whereas laminated
basses sound more muffled. High quality basses are therefore
carved ones. Between these two categories in regard to prices as
well as quality you can find so called “hybrid” basses which actually
have a carved top but whose bottom and ribs are made of veneered
(laminated) wood. If well made, they may be prefereable over a
poorly made fully carved bass.
First choice for fingerboards is ebony, preferably african. Because of
economic reasons you can also find other kinds of wood, such as
rosewood, maple or other hardwood. Sometimes they are stained
black – providing the bass player with black fingers for some time.
As an alternative to the expensive ebony fingerboards made of
graphite materials are offered. But they have not been able to
become popular yet.
Apart from the materials used there can also be differences in
quality which are based on the mode of production. Besides the
traditional production in small lutherie workshops you can also find
an industrial series production of double basses. Whereas the top is
elaborately carved by hand in the workshops, in factories they are
routed by machines. There are also differences in varnishing.
Whereas a traditional varnishing, based on natural resins solved in
oil or spirit, is applied by hand in various layers, in series production
nitrocellulosis or contemporary PU and DD varnishes are used. They
dry more quickly and are more simply to work with.

A lot of bass players prefer an instrument which has been used for
some decades to a new one. Collectors pay fortunes for old
pedigree basses from master luthiers, expecially for 18./19. century
instruments from Italy, France, Britain or Germany.
Most of the double basses need some years in order to develop
their sound and thus sound really “open”. The special sound which
is characteristic for each individual instrument only appears after
some years. Simply speaking, the individual parts of a double bass
have different resonances, which stand partly in each other’s way.
After some time they adapt to each other.
Some people try to imitate and accelerate this proceeding, which an
old instrument has experienced by being used for years, with the
help of mechanical gadgets which apply vibrations to the
instrument. This technique is called vibration dedampening and was
developped by Prof. von Reumont (Germany) in the 1970ies.

If you are offered an older carved double bass, already existing

cracks (in the top, back or rib) should not deter you from buying it.
Almost every old double bass has got cracks and as long as its
number is limited, they do not necessarily reduce its value – if they
are repaired by an expert. As you can only repair a few cracks
through the ƒ-holes, the top or the back has to be removed for the
repair. If there is used hide glue (commonly used with string
instruments), this can be done without greater problems for an
experienced luthier.

If a double bass isn’t well setup or even unplayable the sound

potential can only be judged insufficiently and in the case of a
purchase some more money has to be spent. This is true for old as
well as for new double basses. I the fingerboard is badly planed,
clattering or buzzing of the strings can be heard. The fingerboard
must then be planed down again by an experienced bass luthier. If it
is of a poor quality or already too thin, it must be replaced by a new
one. A new bridge is also necessary, if the old one is already
sagging towards the fingerboard. Such a bridge is in danger to fall
over under the pressure of the strings thus damaging the belly
seriously.

Besides the quality of the material and the production it is certainly

the sound which should play a major part when judging a double
bass. A double bass should sound well-balanced on all strings and
in all positions.
Besides a round, powerful tone also it’s ease of resonance and the
sustain are important. As the tone is extending more towards to the
front than to the top, the perception as player is a different one
compared to the one the audience has being some steps away. That
is why you should always listen to someone playing the double bass
of one’s choice and compare the various impressions. The acoustics
of a room also plays an considerable role. If you play into the corner
of a room, a lot more is reflected to the bassist’s ears compared
with standing in the middle of a room.

You should not hurry when buying a double bass. It’s always worth
while going to a specialist be it only to get a survey of the available
instruments and their prices. Normal music shops mostly have only
single double basses in store if at all. Unfortunately a lot of music
shops also offer the double basses as the have got them from the
wholesaler: badly setup and equipped with cheap strings – what
makes the bass more or less unplayable. After buying such a bass,
you need to find a qualified luthier to do the setup for you.
Especially if you do not have any experience with the double bass
you should not do without trying out various double basses. It is the
only way to find out what is the most important for you and which
size suits you. Very often you will find helpful and competent
advisors in double bass teachers who will help you with looking for
and choosing the right double bass for you.

See my Google map for a luthier in your area (new submissions

appreciated).

Buying tips by Ron Carter:

Don’t buy a bass that’s too big. Many students do. You’ve got
to be able to play the whole bass in tune.
How close is the sound to what you want? Will the instrument
allow you to develop a sound you can be responsible for? You
can’t manipulate sound that’s nor there.
Don’t buy something too expensive. Buy something you can
afford until you develop your ear.
Make sure it has the original scroll and the neck isn’t nailed in.
Don’t be impressed by the name – it may not be the right size
or sound.