![]() You might have mentioned this but it needs to be emphasized. It is one thing that makes the sound of that horn so special. The valve section is not larger as is the case with other basses. There was a lot of talk on the "Duo Gravis" and the only thing I did not hear emphasised enough and what is very special with that horn is that the dimension of the valve section is the same as the dimension of the slide. I think your podcast covered most of the basic aspects of the setups and choices a player needs to do when it comes to decide what horn to get to be most efficient as a player. What is your bass bone set up 1 or 2 triggers, independent vs dependent, tuning configurment and why?Ī lot of controversial opinions from Ben on this one where do you stand? That said, I typically play Gb tuning, though the G slide has/had its moments to shine.Īnd a single bass without E pull needs to be otherwise spectacular before I consider the con of not having E pull. G tuning really opens up the 2nd valve on these horns in fact, so open that I thought the open horn was more resistant. When I discovered the Holton could be tuned to G, I found it helped for an arrangement of "On the Sunny Side of the Street" by John Clayton. I have not had an opportunity to play a dependent bass. College to present.Īll horns had/have standard rotary valves. This bass has two 2nd valve slides and is the only bass I've actually owned. College.īesson 943GS, independent tuning in Bb/F/Gb/D OR Bb/F/G/Eb. Yamaha YB元21, single valve in F with E pull. Holton 181, independent tuning in Bb/F/Gb/D with extension in, or Bb/F/G/Eb with extension out. 9th grade.Ĭonn 71H, single valve in F with E pull. Jupiter 740, independent tuning in Bb/F/Gb/D. ![]() I've played on the following basses in my career, including when: I do have an inline Bb/F/Gb/D, this is a thayer section, so not a great candidate for my monstrosity above, but I have been tempted to make it a dependent. ![]() So, at the end of all of this, I play mostly on a single or a Bb/F/D dependent. One of these days I'll put one together and make a bunch of different tuning slides so both valves can be all of the above. I really want to try Bb/bE/G/D some day, but I need another valve section to make that happen. Sure, you may have a B with a bE tuning, but is it in a place where you can have decent slide technique and ability to move it up and down to fit the chord? Put it in a few inches by tuning to D (or D-ish if you go Bollinger). The main reason you have the second valve at all is C and B and the D tuning makes that better and more solid. BUT, and it is a big BUT, D > Eb for stuff below the staff. That D in the staff is great to have! It really optimizes the length of the slide for things in the staff. I used to care more about that, but the amount of difference isn't enough for anybody that has heard me play to care about. That said, the difference isn't much with decent valves. I've preferred the dependent over the independent every time. Sometimes with physically the same valves. That said, I've played a lot of horns as a single, dependent, and independent. That is, mathematically at least, probably a good thing. plenty of other posts from better players than me there. Exactly where is your handslide and exactly where do you like to tune an F, for example. There are increasingly micro versions of tuning we can discuss.
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