Double Bass Aluminum Acoustic Double Bass Club

Don, I just wanted to let you know you’ve convinced me to try these on my Alcoa. That they take the metallic edge off is itself worth the investment.
I hope you enjoy them as much as I... And I think you'll find SBW Deluxe "Dirty Guts" a much smaller investment than SilverSlaps.

I enjoyed SilverSlaps, they are bright and percussive with lots of sustain all the way through the E string, really pretty modern sounding. In comparison the thickest Deluxe Dirty Guts are slightly darker with good sustain with the D and G, and really dark with very little sustain with the E and A. The E and A are still punchy with good volume, but the lack of sustain makes them stand out, sort of like a staccato tuba. Good old-school sound. I listened to a good acoustic/mic'ed band with a DB at Disneyland last night, where the DB was wearing Gamut guts, and I found the sound very similar.

The thickness (.170" E, .155" A, .130" D, .105" G) and slightly higher tension of these fattest Deluxe Dirty Guts took me a little time to adjust to, but now I really like it. With action ranging from E 1/4" (6.35mm) to G 3/16" (4.76mm) at the end of the fingerboard, my Alcoa has significant fingerboard relief, and while I can get some buzz with the E string if I over-play it, it is very controllable. These strings also play well under the bow. And looking into the future, they are pretty bullet proof, no windings to worry about breaking ever.

My Alcoa has had other things done to it to reduce metallic tone -- with repairs made to the top through an access panel, there has been acoustic paint applied to the inside back of the DB, and it has been powder-coated (aluminum color), both which tend to reduce the metallic sound effects, and I've also made changes to the sound post. I still found with the SilverSlaps a little more metallic tone than I like, but these fattest Deluxe Dirty Guts have satisfied me.
 
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In advance of hearing back from James, he was on TalkBass yesterday, and in previous recent posts he has said he's alive and still kicking, however his home town Asheville is still having serious problems including with simple essentials like food, water, roads and power, and is only a shadow of its former glory. It sounds like lots of folks are moving out.

My interpretation is that it will be years, if not decades. My best wishes and hopes go to all the folks there.

And James, we look forward to hearing from you, and hope you are doing ok!
 
Deluxe Dirty Guts are slightly darker with good sustain with the D and G, and really dark with very little sustain with the E and A. The E and A are still punchy with good volume, but the lack of sustain makes them stand out, sort of like a staccato tuba.
Well, I’ve had them on for a few days, and I have to say: wow. And whoa.

The wow: You’re absolutely right. The thickest Dirty Guts completely transform the sound of the Alcoa. Instead of sounding like a tambourine caught in a garbage disposal (a tonal quality some steel strings sadly bring out), it sounds warm and massive. Not woody per se, but also not inorganic. At all.

I read somewhere someone describing
Alcoas as saying that when they sound good, they sound like a bass that happens to have its own reverb chamber. These unleash that kind of sound.

The whoa: they are *thick*. And the E string is thumpy to the point of being thuddy. A little less tension than regular guts (that I’ve played), which adds to making them a handful. I’m going to tinker with bridge height, et cetera, to see if I can wake up the E a little more. I think the sound is perfect for my alt-folk/Americana band Frances8, if those thick strings don’t wear me down.

I have a gig on the 23rd—enough time for me to fully break them in, let them settle into tune, and tinker with an optimum Tonedexter amplification setup. I’ll report from the field. But weedwackers these ain’t.

IMG_1619.jpeg
 
Very nice!

I just jammed for about 3 hours with mine, enough to almost open a blister on my right 2nd finger :D .

This jam was among some very good double bass players and all of them remarked that the tone and volume was great, a couple had even played it in the past and said it sounds better than with my previous strings. So I'm pretty happy (despite the blister).

I've been playing these strings for about a month and have gotten past the thickness to a point where I like it.

I've also actually been really enjoying the lack of sustain, especially notable with the E, but to a lesser degree with the A. To me they seem to have similar volume as the D and G, just lots less sustain. Very staccato, which goes well for the roots I play. I'm often muting the D and G anyway, so it's nice not having to mute the E and A.

It might just be subjective hearing, but I may sense a slight ncrease in sustain with the E and A after playing them for so long today.

Definitely keeper strings for me...
 
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It occurs to me: we didn’t get an update on how James Condino fared during the hurricane. You okay, James?
I can’t stop thinking about the Asheville fallout, the temporary nature of all things/places, and the illusion of security/permanence, and how delicately precarious so much we take for granted is. James is a tough m’f’r so I’m not too worried about him specifically, but dang (!) it can’t be easy right now… certainly puts my own (minor) struggles and issues into perspective, for sure.
 
The festival my wife and I attended last weekend was the "South State 48" a 48 hour jamming bluegrass festival at a historical hotel in Carlsbad California... While there were a few performances it was as described, jamming around the clock from Friday through Sunday and even a little on Monday morning. There's another similar hotel-based festival, "The Great 48" in Bakersfield California in January which we won't be able to attend. But these hotel based jamming festivals are great fun.

I've been reviewing in my mind my own DB experience there and also my impressions of other DB players there. And there were lots of double basses there...

First, the good stuff -- of course mine was the only Alcoa there and it always attracts lots of attention. I do spend a fair amount of time explaining what it is to people, and folks want to touch it, look inside through the access panel, knock on it and hear what it sounds like, and hear it played. A fair amount of people like to take pictures of it too.

Since there were lots of double basses there, and since from a practicality standpoint there's only one bass for a jam, opportunities for a DB player to play are somewhat limited. I felt lucky to play DB for the one 3-hour jam over the whole weekend. For me, I also play banjo and mandolin, so I got to jam enough, but only for that one jam with the DB -- but that jam was a very fun jam and I finally had to stop because I was getting a blister, so it worked out fine for me (and the blister is already healed :D ).

All of the jams we attended were outside. I think there were a few jams in a meeting room, and some in individual hotel rooms, but the bulk of the jamming was outside. We could have had small jams in our room but it didn't turn out to be necessary. Weather was beautiful during the days, although at night the temps got pretty low so it limited the folks who could jam. My wife and I turned in before 10pm most nights because of the cold.

So, there was one not-so-good issue, not the fault of the sponsoring bluegrass associations, more the fault of the hotel and the way things worked out... This old hotel is basically a number of multi-room 2-story complexes clumped around a few very pleasant grassy courtyards. There are 146 rooms total and they were all booked up with some people having to book rooms elsewhere and then come into the hotel campus to jam. Access to the 2nd story is only by stairs, there are no elevators. I am mobility challenged so early on in the reservation period we had arranged a downstairs room. But, due to a number of these old rooms being down for repairs, even though we checked from home by phone early in the week of the festival, our downstairs room became an upstairs room. I was pretty furious and we almost left to go back home; finally we decided to stay, and honestly I'm glad we did. But it did change our expectations a lot. We jammed much less. And especially with my double bass, I really only took it downstairs once, after having someone reserve my DB spot in a jam.

Double bass is an interesting instrument for someone who is mobility challenged. I'm lucky enough to be able to walk; with up-hill or uneven ground or stairs, or long walks, I use a cane. For moving the DB around I use a Bass Buggy and it helps tremendously, I can actually lean into the double bass and use it almost as a walker :D . But with the DB stairs are a huge challenge, not so much going down-stairs, but especially going up-stairs. Plus just moving smaller instruments and suit-cases into an upstairs room is difficult. My most difficult DB experience, about 5 years ago, was on a cruise ship, going up-stairs on a circular staircase, something I probably wouldn't try again now. At this festival hotel though, I did work out a good way to have someone assist me taking the DB upstairs, so if necessary I can do that again.

All and all, we did have a really great time and I'd do this festival again -- probably even if our room is upstairs. :D
 
Still kickin'; thx for the concern.

When you are fighting for simple things like drinking water, all of the rest of the daily BS we get caught up in tends to fall away from priorities.

That brushed aluminum look posted above is what lies under every painted ALCOA. The factory build sheets (I have the originals) specify abrasive sanding with 50 grit (!!!) and wire brushing before priming. The reason is because 1920s era paint had adhesion issues with metal, so the roughing up of the raw aluminum was to create a mechanical bond with the paint. If you ever get a chance to see an original painted Pfretzschner, they did not do this step so half the paint has flaked off in big chunks on every one I've seen.

This abrasive issue is what makes polishing an ALCOA such a challenge. They are only .050" thick aluminum, so you need to be delicate. I can polish an un-abraided Pfretzschner in an easy weekend. To get that beautiful mirror finish polish on an ALCOA, you need to start with 100 grit sandpaper and work all the way up to approx 4000 grit BEFORE you can start the polishing process. The large, uneven surface area of an ALCOA means that it takes most people somewhere around 75-100 hours of effort to do well, plus I usually burn up a couple of commercial grinders & buffers and go through about $3-400 in abrasive supplies; approx. $750 commitment, and once you get started, you are in it. I've gone through the entire process on about a dozen basses and no longer offer it for other people. It is too much work and misery, although I occasionally do it on my personal basses. My removable neck #22 ALCOA will be at the Nashville SPGMA bass nerdfest in January showing off it's new pimpin' polish...

One of my former ALCOAs against a building that was destroyed in our former River Arts District:

Condino ALCOA.JPG
 
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