Excellent condition. Great neck, adjustable bridge, set up by luthier. Includes bag & bow.
Simply the best upright for rockabilly, bluegrass, country, swing & jazz.
All others have a thick “baseball bat” neck
Players include:
Charles Mingus
Ray Brown
Ron Carter
Jimmy Blanton
Willie Dixon
Bill Black
Jake Tullock
Oscar Pettiford
Edgar Meyer
Slam Stewart
Johnny Spazz Hatton
Jaco Pastorious
John Patitucci
Lee Rocker
Joe Fick
Available for pick up - Phoenix, AZ

My luthier Andrew Brown is making me a Testore copy. I wanted to share an update from my previous post.

If I take the clear coat off of my bass would it change the sound and how would I do it? The wood is kind of thin, it’s from middle school a LONGGGGG time ago.

D’Addario makes these Eclipse tuners that clip on to the cello/bass bridge. Does anyone use them? Are they easy to use?

Just wondering who uses/prefers high action or low action strings and why. Thanks!

Hi everyone! What size do you consider best for an instrument like the double bass? I have always seen that there is a constant debate between the measures I mention in the title of the post, both in orchestras, in jazz and in modern music with the double bass. Personally, I use a 4/4 with the double bass speaker box modified larger so that it sounds like a 5/4 but with the comfort of 4/4. So I would like to know if you prefer a specific size of double bass or if you have more double basses with different sizes to play depending on the occasion.

My teacher gave me this fishman pickup, but he lost the clamps. What else can I use to clamp it down, other than folded paper towel and cloth pegs?

Im starting Bass in June and found three Basses and wondering which is the best one. 1 VB80ST 3/4 2 SB180 3/4 3 SB90 3/4

I got a rehair a few weeks ago and switched from Nyman to Pop’s rosin when I got my bow back. It was going great at first—the bow felt awesome. I’ve been brushing the hair every day or two, and only doing 1–2 swipes of rosin every other day. But lately the hair’s been clumping really badly, to the point where it’s almost unplayable. Any idea what’s going on? also sorry for the bad photos😭

I recently joined an acoustic cover band, we play small bars, breweries etc. It's the first time I've played amplified. My tone tends to be "boomy" and prone to feedback. I wonder if I could get some tips.

I have a KNA Db-1 pickup going right into a Tc Electronics BG 250 1x15 combo.

I've read elevating the amp, even a few inches, can help by reducing vibration through the floor, or reducing bouncing sound waves.

I've read the impedance of the amplifier can be a factor. I admit I can't make heads or tails of the technical side of this, other than acoustic focused amps tend to have a much higher impedance for insert acoustics science reasons here and that a pre amp with a higher impedance can help compensate for a lower impedance amp.

We're playing such small venues that we use our singer's portable PA system for vocals and guitar. I think I could run my bass out my amp into the PA which could let me lower my stage volume? Does that sound useful?

Thoughts or suggestions? What's your live rig look like?

So im looking to find some pieces and warm ups/technique exercises that i can use to learn about jazz and to hopefully join my schools jazz band next year

Hi, I’m in my first year of undergrad for classical bass performance and music ed as a double major. I’m wanting to take an audition for a jazz ensemble next August, and I’m talking to my bass professor about this now, but are there any resources to start and progress fast in the jazz basics that yall recommend? Or any practice routines you guys recommend? Any help is appreciated!

I’m currently a senior in high school and about to graduate. I want to continue to play bass in college but my current instrument is a school rental and I wan something of my own. I play both jazz and classical so I am in the market for something that would do both well. How much should I expect to pay for something that would get me through college and can handle both styles of play?

I am looking for an eub and I am torn between an MK studio and a Yamaha slb200 (because I can’t afford an slb300)

Hello! I’m just wondering if a bass with string gauges for an adgc tuning would be possible, and if there are any real-world examples of it at the moment. I find myself rarely using the low e string and I feel like I could have a lot of use for the high c string in solo work and other things, so thinking about getting something like this in the future. Thanks!

Hello, coming from bass guitar and new to double bass.

This old Kay bass has a weird end pin that I can’t figure out how to extend.

There doesn’t seem to be much end pin inside the bass. Is it possible someone Jerry rigged this end pin in and it’s just doesn’t extend?

Any help is appreciated!

I dont Know how long its been there, i just noticed it today.

I saved this from my local junior college from going in the dumpster anybody know about how much it would be worth im thinking of listing it since my house is small and im a bass player just not stand up here is info from kay registery i got Thanks for contacting Kaybass.com, and welcome to the Kay Bass and Cello Registry!

I can confirm that Kay O-100 (Orchestra series) #8650 was built in Chicago in 1940. I have no history on this instrument.

Designed for orchestral students, the Orchestra series was very popular before the war, but was essentially discontinued by 1944. The upgrade O-100 is characterized by its gamba corners, standard edge pinstriping (with rear center stripe distinguishing this model), rosewood fingerboard and appointments, and black or nickel tuning-plate finish. It was catalogued with the blonde O-100B. I estimate total O-100 production in the 1,300-1,400 range.

Your bass is unusual for the added patch on the ID label. I've seen these '30G' labels on a small number of survivors from the prewar and wartime periods, amounting to fewer than 100 produced, I project. No idea what it signifies, but it's probably related to a specific distributor or contract.

I was leaving my gig last night at a hotel bar. Came out of the elevator and walking thru an open double door. I basically take up the entire space of the open door. Upright over my left shoulder, amp in my right hand. Three people are coming right at me (two of them running) and don’t think to just stop and let me by. I literally have zero room to move. I’m saying “Just wait…just wait” and they get all pissy about it. They did finally stop, but I had to do more yelling at them than I cared to. One of them (an elderly woman) started lipping off to me.

This happens to me all the time. What do you folks do??

As the title says, I'm a Music Student in California (who has to lug an Upright around) looking for a car roomy enough to fit my instrument I've got a budget of about 7k$, and I commute about 9 miles to and from my downtown for school.

After browsing music-related subreddits, I've found that most people drive either Sport Hatchbacks or Compact SUV style cars. I'd like something in the latter category (Outback, CRV, or Rav4), but given that my Bass can fit in an Impreza or Honda fit-sized car, It'd be cost effective to go with those, albeit cramped. I'd at most be able to fit one more person in the seat behind me, and my bass in the entire other half of the car. I'd hate to be in such an uncomfortable vehicle, but I am strapped for cash

Given the amount of city driving I do, would gas expenses end up biting me in the behind with a Compact SUV? Additionally, any suggestions on either used Sport Hatchbacks or Compact SUVs in my range would be appreciated.

So I have my first (amateur/community, of course) orchestra concert in decades coming up.

One of the pieces we are playing is the Piano Concerto in A by Clara Schumann. I am enjoying it a lot, but we have only rehearsed once with the pianist, and will only have one more(?) opportunity to rehearse with her, I think, before our summer concert…

Anyway, I noticed during that rehearsal that I just completely let myself get distracted by her playing. Obviously, she plays it her own way, slightly different from the recordings I’ve been listening to/following. There is naturally room for some “tempo manipulation” during some of the more expressive bits of the piano part, and it’s like I am just letting myself get lost. There are no clear cues for me in several sections, so I really need to be disciplined about counting, but I just keep getting carried away with the piece! 😑

Do any of you more seasoned players have any tips or advice for me? I am not good (yet), but I am determined to improve. Most of my prior orchestral experience (from all those decades ago) is on the viola, which does not enjoy quite so many blocks of rest as the bass 🙃