FOH drums & bass (in fifths) mix

Last month I had a small tour with Des mots sur mesure VI. Érick, the sound guy, is someone I’ve worked with a fair amount, both before and after my switch to fifths, and I trust his ears – I’ve always had good sound with him. At the end of the tour we spoke about how mixing a double bass tuned in fifths is different.

In most styles of music, the bass (electric or upright) and the kick drum are playing roughly the same thing, and usually they’re mixed so that the bass provides the attack and the pitch, and the kick drum provides the resonance (jazz is different, because the two instruments play different roles). What this means is that the bass is usually EQ’d in a way that the low and low-mid frequencies are rolled off a bit.

Well, Érick found that with my bass in fifths, there was more than enough pitch and resonance, so he switched the roles. He EQ’d the kick drum to provide more attack (rolling off the low and low mids), while my bass was flat except for rolling off the 60dB range a little bit. He was a big fan of my new sound!

Tuning in Fifths

Wow, I’m really not good at keeping up this blog. As a recap for the new fingerboard, it’s settled in nicely, and it feels and sounds great.

But I want to talk about what I’m into at the moment: tuning in fifths.

I changed to fifths almost two months ago, now. My last gig in 2016 was December 14, and I changed my strings on the 15th. I didn’t have any gigs on upright until early February, so I had almost 6 weeks to practise and get the new tuning under my fingers. It’s been quite a process!

Here are a few of my impressions so far:

The bass resonates WAY better! It also rings out more, which causes the bass to cut through when I’m playing with a band. The notes I play are clearer and more focused, and I can hear myself better when I’m playing with a band, so it’s easier to play in tune.

Learning repertoire has been a lot easier than expected (which is quite a relief, since I have a lot of gigs in February). Obviously, the larger range opens up a lot of new possibilities, which leads to minor re-arranging of my bass parts, but that’s no big deal.

Generally, what used to be difficult on the bass is now easier, but what used to be easy is now more difficult. This is not just for intervals, but also for lines and licks.

The most difficult part about the new tuning is improvising. I’m still thinking about way too many things to be able to just let go and play the changes. But at the same time, I’m getting a glimpse of a whole world of new vocabulary that wasn’t possible on a bass tuned in fourths, which is exciting!

I’ll be giving a short presentation on my journey in fifths at the Montreal Upright Bass Day, which is coming up soon. I can’t wait!



This really deserves it’s own blog post, but I’ll just stick it here: I recently got a new endpin system, designed by Mario Lamarre. It’s amazing. I’m still figuring it out, but it’s made a huge difference in my comfort level while standing and playing.


new fingerboard day 2

It’s amazing how much my bass has changed in just one day. It was apparent as soon as I started to play today: the sound is much more open, and even throughout the registers. I also fiddled with the action, since it had risen overnight, so the bass is feeling pretty good now.

My bass is definitely brighter, though, maybe a bit too bright. We’ll see if it mellows out over time, I might have to change strings again if it doesn’t. But everything is really full and clear sounding, and the bass is louder than before, which is cool.

This is a pretty interesting process!

new fingerboard!

It’s been ten months since my last post, and, well, a lot has happened. But I want to tell you about something really exciting: I got a new fingerboard on my bass!

The Background

I’ve had tendonitis in my wrists since January 2008 due to a workplace injury, and of course it affected my playing. To complicate matters, my fingerboard became warped due to the extreme fluctuations in humidity and temperature in Montreal. Also, I’ve been getting busier and busier playing music, which has a few important implications when it comes to my tendonitis: I don’t get time to practise anymore, which leads to weaker muscles, which in turn leads to the creation of bad habits while playing; and my tendons don’t get enough time to heal in between the gigs and rehearsals. And of course, everything spirals into a Catch-22 scenario: I can’t stop working because I need to make money to pay rent, but working makes the tendonitis worse.

A new fingerboard for a bass is expensive ($1500), and raising that kind of money on a musician’s income while also paying off debt is difficult. But I finally managed it. Mario Lamarre does all the work on my bass. He’s not cheap, but his work is amazing, and he’s a great human being.

The Test Drive

While at the luthier I played the bass a little bit and it sounded good, but it’s always hard to tell how an instrument sounds until you get it into a familiar space. So when I got home I played it a bit more, and was surprised at how big and full the sound was – but I still wasn’t able to really spend any time with it. So this evening I practised (I actually practised!), and really tried to pay attention to the difference in the sound. The results were interesting! Here’s what I noticed:

The notes really ring. It’s not resonance I’m talking about, though. It’s been over a month since my bass had been played last, and I definitely noticed that the instrument wasn’t resonating the way it does when it’s played regularly, but that didn’t bother me. A couple days of long tones and it will be sounding great again. But this ringing, I don’t really know how to describe it. I guess it’s partly sustain, partly brightness due to the new fingerboard?

However, there’s a tightness to the sound, and not in a good way. Again, I don’t think it’s the resonance of the instrument (or lack thereof) that I’m hearing. Various registers sound different – I mostly noticed this tightness on the A and E strings, as well as in the high register (previously, my bass had sounded quite even in all registers). I’d say this was most apparent when playing with the bow, although the high register tightness was obvious while plucking as well.

My left hand feels great! The action is now way lower, so it’s easier to play, and less tiring. This is exactly what I needed. Because the new fingerboard is quite a bit thicker than my old one, the whole neck feels bigger, but it’s not uncomfortable at all.

My right hand will need time to adjust. The action at the bottom of the fingerboard (where I pluck the strings) is way higher than before, so my right hand needs to work a little harder. I’ll just need to practise some technique, and I should be fine soon enough.


The new fingerboard sounds great overall, but I can’t wait till the bass opens up again to hear the full potential. Also, because the bass feels and sounds like a new instrument, I’m excited to play it and become (re)acquainted with it!

Montreal OFF Jazz Festival!

It’s been a long time since I posted on my blog! I admit, I had a bad case of social media burnout after my Indiegogo campaign. But I’m back, although this first post is mostly self-promotion.

A lot has happened since May. I finished my album and launched it with a small tour, I graduated from the MLIS program at McGill, I toured on the west coast for a couple weeks and then had a vacation – and, I had a kid!

I promise I will talk more about being a dad in the future. But in the meantime I’ll just say that I feel lucky to live in a place where paternity leave is available for a freelance musician, it makes an amazing difference. I just wish I could have more time!

But now after a spending an amazing month at home with baby Suki, it’s back to work – and I’m diving right in to a crazy first week (I hope my chops can handle it). Here’s this week’s schedule:

Wednesday: Jason Rosenblatt​ Quartet at the OFF Festival

Thursday: Joel Kerr Quartet + 1 at the OFF Festival 

Friday: Vertige en 4 temps

Sunday: Warhol Dervish + Out Of Sight Of Land 


Indiegogo Success!!

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We made it!!! We managed to raise $5,130, which is approximately 103% of my goal.

Thank you, all you wonderful people who contributed to my campaign! This means a lot to me, I’ll be forever grateful.

The album is almost finished being mixed, and it will be mastered at the end of the month. The artwork and design is underway, and it looks great, I’m really excited about the direction it’s headed! The physical album will be pressed at the beginning of May, to be released mid-May, just in time for an album launch mini-tour, hopefully in a city near you. I’ll be in contact soon regarding delivery of the CDs and perks.

Here are the tour dates:

May 15: Burdock Music Hall, Toronto

May 16: Silence, Guelph

May 29: Café Resonance, Montreal

May 30: Raw Sugar, Ottawa.



Katie Moore

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There are only 10 days left in my Indiegogo campaign! Please visit my campaign page, please contribute, please share!

Katie Moore is one of the sweetest people ever, and a great singer. I’ve actually never performed with her, but I’ve heard her many times, either with her own band or with Socalled. And she’s a big fan of the Key-Lites, so she’s heard me play a bunch (both Simon and Dave play in her band).

Katie agreed immediately to make me an endorsement video, but she actually sent me four! I’m not including all of them, but I loved the one above. And the last one was a crazy video by her drummer, Woody, and I couldn’t help but include it as well. Check it out:

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