The NXT Generation of NS Design Basses

Players have long asked for an NS Design electric upright bass between the WAV at $895 and the CR Series, which starts at $2500. It is a tribute to Ned Steinberger's vision that his "in between" bass is not $1700 -- it's only $1195! The NXT bass brings the passive internal electronics of their WAV bass together with the European build quality of NS Design's CR Series. In stock in both the black satin and amber burst finishes, the NXT basses look and play wonderfully. They're made from solid rock maple, the standard tone wood of instrument makers for centuries. This allows the full sonic possibilities of Ned?s patented Polar Pickup System to produce a deep, growling pizzicato sound, as well as a rich, singing bowed tone.

Comparing them here in the shop, the difference between the NXT and the WAV was immediately clear. While the WAV sounds great for its price range, the NXT produces a dramatically better tone; woodier, and with better sustain. At the EVS price of $1195, the NXT is accessible to new players, while offering professionals a more affordable way to add variety to their instrument lineup.

The NXT bass includes a tripod stand with adjustments for height and angle. The usual NS Design options will fit - the traditional endpin stand, and the shoulder strap for full mobility.

Daniel Bernard Roumain's workshop at Electric Violin Shop on November 1st was a huge creative success, a hands-on master class in DBR's extended techniques. These new sounds take bowed strings into exciting new territory.

He started with electric guitar-like sounds made by light, consistent bow pressure, creating a range of harmonics and a growling, guitar-like timbre. This technique was combined with wide glissandos to mimic the "vibrato" of electric guitars, instead of classical string vibrato. This sounded great on acoustics, but paired with an amplifier and wah pedal, it easily evoked Jimi Hendrix.

Moving to percussion techniques, DBR taught drum kit sounds. Techniques included hitting the after length of the string with the stick and hair for a kick drum sound, striking the fingerboard with the bow while palm-muting the strings for a snare-like effect, and hitting the wood of the bridge with the stick for a sharp rim shot.

Wrapping (rapping?) up the session, we learned to make hip-hop style turntablist sounds, muting the strings with the left hand and making short, quick, rhythmic bow strokes with heavy right-arm pressure. This turns the tables on the scratchy noises we all made when we first took up the violin, taking them out of the "noise" box and moving them into an appropriate musical context. Then everyone jammed together, using all the extended techniques we'd learned.

Daniel's workshop was a revelation. He expanded our musical toolboxes, supplementing classical technique with exciting new sounds and timbres, revealing new worlds for bowed string players to explore.

Highlights of Exhibiting at 2009 NCMEA

Teacher Highlight - Richard Jordan:
When Richard Jordan came into the EVS booth, I noticed his "new Teacher" badge ribbon. He just started teaching in Jacksonville NC at Hunters Creek Middle School and White Oak High School. I set him up with an NS Design cello and a Digitech RP255 multi-effects pedal. He obviously enjoyed exploring the many sounds of the 40 presets.

After a while, I mentioned that it also had a looper and his eyes lit up. "How does it work?" he asked. With other players in the booth, I couldn't offer much help, so he just figured it out. After a couple of minutes he had some layers down and was soloing over them. I checked back a little later and he was smiling and grooving! Then a light bulb went off - he realized he could use this with his students to teach improvising. Lay down a simple bass line, loop it, and let students have fun playing over it. And to think he'd only been in the classroom for a couple of months! It's exciting to consider how his creativity with technology will inspire his students over the coming decades!

Check out our YouTube video from the show of Richard looping, as well as a group of kids from the show trying out electric violins.

Tips from the educational sessions we helped sponsor.
Scott Laird emphasized that beautiful tone is possible with electric strings only if you adjust all possible gear settings for the sound that is pleasing to your ear. Use the tone control on the instrument (if it has one), be sure your preamp is not being distorted by a signal that is too hot, and be sure to adjust the tone controls on the amp just like you would a stereo system.

Jan Farrar-Royce directs amplified ensembles with lots of players, and uses throw rugs to cover the cable - way easier to break down than duct tape! She also color codes the instrument cables, so each player knows where they are plugged in. EVS has sold cables with different colored ends for just such applications.

We welcome your inspiring story or a favorite quote.

We have included a musical quote in every email newsletter we’ve sent since 1999 - so, let the tradition continue!

The handling and playing of a violin is a process of caress and evocation, of drawing out a sound which awaits the hands of the master. It is enticing and fascinating . . . ready to respond at the slightest touch. A beautiful violin contains that infinite potential - of sound, flexibility, colour, intonation, pitch and volume - which awaits the music and the musician.

Yehudi Menuhin(1916-1999)