Blending two different sound input sources can sometimes cause a phase issue. The preamp lets you jump between the A and B channels to allow for different settings when you play with a bow or pizzicato or mix the two if you use two different input sources. Choose whether to use the XLR or 1/4″-input for the B channel with a switch. The B channel allows you to use a 48V Phantom powered (or passive) dynamic or condenser microphone as the source via an XLR-input. The A channel also provides support for Electret pickups when activating a dedicated switch. With 10 Mohms input impedance for both the A and B channels, it handles any instrument with passive, active, or high impedance piezo pickups. The notch and high pass filters are excellent tools to prevent unwanted feedback and adjust the sound to the characteristics of the room and your instrument. A switch decides the function, while the control knob picks the frequency range. They both also have a secret weapon, a control knob that can be used either as a HIGH PASS or NOTCH filter. The A and B channels both feature an input GAIN control and an EQ strip with BASS, MIDS (pick the frequency range with one knob and cut or boost in that range with another) and TREBLE. The headroom and specific features make it ideal for handling the complex sonic characteristics of an upright bass. The superior signal quality makes it suitable to use as a preamp in combination with any power amp. Since the preamp operates at a signal level equal to professional mixing consoles it provides a huge amount of headroom. It is engineered and designed by EBS together with the legendary bass player and composer Stanley Clarke. This is especially true in recent years where a return to more traditional jazz forms has become popular.EBS Stanley Clarke Signature Acoustic Preamp is a 2-channel preamp, built exclusively with premium components for upright bass. Indeed, the double bass is used very frequently in modern jazz. Unlike in rock, electric bass has not entirely overtaken the genre. They were all responsible for innovations in bass playing. Paul Chambers and Ron Carter, who both worked with the legendary Miles Davis, and Charles Mingus were among jazz’s bass masters. Where earlier bass playing involved a more-or-less simple “walking” beat that accompanied other instruments, melodic solos became more and more frequent in the 40s and 50s. EvolutionĪs the swing era progressed, and even more as bebop and other forms of jazz came into play, further innovations in bass playing emerged. This would cut through the music better than the simple plucking method, and made for clearer rendering of the bass’ sound on early jazz recordings. ![]() As the name implies, the bassist would slap and pull the strings to make a rhythmic sound. Some musicians mastered both wind and string and alternated them depending on their needs.īefore modern amplification, the bass was typically the quietest band instrument so many bassists began using the “slap” style of bass playing. As this music made its way into bars and clubs, the upright, or double bass, began replacing these wind instruments. The Early YearsĮarly New Orleans jazz ensembles of the 1890s were marching bands that used a bass saxophone or sousaphone to play the bass lines of songs. Some players use the more nimble tips of the fingers to play fast-moving solo passages or to pluck lightly for quiet tunes. Some players perform with the sides of one, two, or three fingers, especially for walking basslines and slow tempo ballads, because this is purported to create a stronger and more solid tone. ![]() The pizzicato style varies between different players and genres. In jazz, the double bass is usually played with amplification and it is mostly played with the fingers, pizzicato style, except during some solos, where players may use the bow. Most bassists play one type or another, but a select few, such as Stanley Clarke, are virtuosos on both the double bass and the electric bass. Electric bass began to emerge in the 1950s, and became especially popular during the jazz-rock fusion era of the 1970s. From the 1920s and 1930s swing and big band era, through bebop and hard nop, to the 1960s-era “free jazz” movement, the resonant, woody sound of the double bass anchored everything from small jazz combos to large jazz groups. In jazz, bass is typically used for “comping” or accompanying other instruments, and sometimes for solos. This article will review the basics of jazz bass. ![]() From the upright basses first used in the 1890s to the electric basses favored by many jazz musicians today, the bass has been at the forefront of this great genre. Few instruments have been as important in the development and evolution of jazz as the bass.
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