Articles and Tips
Articles and Tips
Curious that Destroy the Work of Experts
Be careful, don’t let amateurs deceive you and attempt to alter your instrument.
As a luthier working exclusively with double basses since 1980, I’ve seen many absurdities committed against this beautiful instrument.
Almost always, these poorly executed “jobs” are carried out by complete amateurs, people who have never had any serious understanding of lutherie.
In addition to that, I see people emerging who, after a crash course of just a few weeks with some luthier, already consider themselves luthiers as well, and even go so far as to try to form luthier associations, even though they’re still learning by experimenting on other people’s instruments.
Now, if someone wants to buy some materials and try building something of minimal quality, I see no problem with that.
If they can find someone willing to buy such an instrument, good for them.
The problem begins when someone without solid training sells instruments assembled from pre-made kits as if they were fully handmade. That’s deceit.
I myself have lost bids to build instruments for orchestras to these kinds of “assemblers,” who sell their products at prices far below that of a properly built, high-quality instrument made with real technique.
This happened at the start of my career, and fortunately, due to my solid reputation and steady commissions, I never again participated in that kind of “competition”, almost all of which were rigged from the start, especially when considering that during the first decades of my work, our country was under some of the most corrupt governments in human history.
But what I’ve just described isn’t the biggest issue, after all, the buyer must be responsible for knowing what they’re purchasing. If someone offers a product far below its market value, it’s wise to be suspicious. (Read the article: “How Not to Be Fooled When Buying an Instrument.”)
What frightens me more is seeing this kind of “tinkerers” (a term frequently used by my master, Bertelli) destroying instruments (as shown in other articles on this site—especially in “The Tale of Varnish”), while passing themselves off as experts, deceiving those who lack the training or knowledge to recognize these harmful practices.
I know I’ll still see many more absurd things, and what I document is only a small fraction of what passes through here. But the reason for this article is something that affects me in a personal way—as a **builder** of instruments: people who have no respect for lutherie or for the work of real luthiers and who attempt to **alter the proportions** of instruments built by true craftsmen.
When an instrument is made by a luthier, it is a **work of art**—a part of the artisan lives in that piece, and it should remain that way for the future.
No painter or restorer would ever think of taking a Michelangelo and altering the proportions of part of the painting—or changing the bluish tones of a Picasso from his Blue Period just so it would match better with a green living room!
So why would someone who calls themselves a luthier commit such absurdities on a double bass?
Why change the dimensions of an instrument that was built to last for centuries, just because a particular owner finds it hard to adapt to it?
Take a look at this photo below, and you’ll see the absurdity being committed on a double bass that, at the very least, had some beautiful wood.
This is the back of a double bass built in two pieces, and it’s being cut down in an attempt to make the instrument smaller than it was originally designed.
Any restorer knows that the ideal approach is to always preserve the originality of the piece as much as possible, and never try to impose their own interpretation of what someone else’s work should have been.
In the past, some individuals, musicians who considered themselves luthiers simply because they spent their lives playing an instrument, used to recommend this sort of thing to their students. And, unfortunately, it seems this type of disrespectful person still exists.
What would such a musician think if, as a composer, they heard one of their pieces performed by an orchestra with an entire movement missing, replaced by something completely foreign to the composition, but still performed under their name, with only the composer knowing it had been mutilated?
Even more shocking is the lack of integrity and shame shown by those who do this, and even publicize it: this photo was taken from a website where this absurdity is being presented as if it were praiseworthy.
This reveals a complete lack of guidance on the part of this so-called “professional,” and a lack of solid training, training where one would learn the most basic principles of respect for the profession and for the work of others, the importance of maintaining the originality of restored pieces, and other fundamentals that only true mentorship under a real master can provide.
Of course, a similar absurdity was carried out on the top of the instrument as well. In this particular case, the two upper ribs were either replaced or trimmed, further reducing the originality of the piece (a competent professional would have reused the same wood, as they would have the necessary skill, but truthfully, such a professional would never have done this kind of “work” in the first place).
When a luthier builds a bass, he calculates the exact proportions of the instrument, the position of the octave, the F-holes, the base note, and much more.
It’s obvious that someone performing this kind of “patchwork” has never heard of the calculations for F-hole placement, and probably never even played a single passage on a double bass.
To give you an idea of what I’m talking about, this is the same “expert” who drove a nail into the fingerboard of an instrument belonging to a French musician living here. Not only did he get the angle wrong, but left the nail exposed and clumsily filed down in a ridiculous manner.
Even if the motivation behind the modification wasn’t pure financial gain, and even if it was specifically requested by the owner, it is the duty of a serious luthier to advise the client to instead acquire a smaller instrument, and sell the original to someone physically suited to play it.
Many clients have asked me to strip the old varnish from their instruments or to carry out “jobs” like the one described here, and I have refused. And by doing so, I’ve earned even more respect from these people. They now fully trust my judgment.
Given the amount of wood being removed from the instrument, one can only imagine where the octave ended up on this bass.
But for those who never learned to respect the work of others, that doesn’t matter. It’s like someone who writes their name or sticks a label inside an instrument they’re “restoring.” What matters is short-term gain and profit.
An instrument is a part of its maker. Try to respect that. Don’t let amateurs disrespect serious work and true works of art.
If someone unqualified (someone who isn’t a luthier, who never had a master, who suddenly decided he’s a luthier) offers to modify the size of your instrument, or anything equally outlandish, take your bass to a real luthier, just to get proper advice on whether the procedure is necessary at all, and what the correct options might be.
It is the luthier’s duty to guide and tell the truth to their clients, or to anyone who seeks them out for technical, professional, and responsible guidance.
In your city, look for the best luthiers. Learn where they studied and for how long. Learn who uses their instruments, who their clients are. Visit their workshops, talk with them, and trust those who are truly qualified to help you.
If there’s no competent luthier in your city, take your instrument elsewhere to a true specialist, but don’t fall into the hands of amateurs.
Warm regards, and stay alert.
Paulo Gomes
The Bass Bar Scam
Be careful—don’t let anyone replace your instrument’s bass bar unless it’s truly necessary.
One time, two instruments arrived at my workshop that had both passed through the same inexperienced hands, lacking any knowledge of lutherie.
In the first one, I saw that a “job” of terrible quality had been done. The entire area of contact between the top plate and the ribs was completely damaged, clearly showing it had been opened by someone incompetent.
Looking at the ridiculously thin bridges, the poor fit, and the pencil scribbles on the top plate, I realized these poor double basses had fallen into the hands of amateurs.
Upon opening the bass, I noticed that whoever committed this crime didn’t even bother to remove the old glue, instead adding a large amount of new glue on top of the old one.
The entire edge of the top plate was damaged and even cut from one side to the other by a visible spatula mark, done by someone who clearly didn’t know how to responsibly open an instrument.
There were also marks on the varnish caused by poorly placed or overtightened clamps, permanently compromising that area.
But the worst was yet to come.
In a reasonably old instrument, a bright white bass bar had been “installed”, made from still-green, damp, poor-quality wood with completely irregular grain, placed at the wrong angle.
Looking more closely at this absurdity, I noticed huge gaps between the bar and the top plate, where there should have been a perfect fit.
It was obvious that some “tinkerer” had replaced the original bass bar of the double bass and committed this atrocity.
But that wasn’t all. ALL of the back braces had been replaced with pieces of equally poor quality as the new bass bar.
This unfortunate individual also cracked the back near the upper bend when changing the brace (a split of around 20 cm). To cover the hole from the break, they glued a strip of a different type of wood in a crude and clumsy way, and then “retouched” the varnish with a horrible finish.
Even the “noceta” was destroyed by this incompetent person.
As soon as I saw all this, I called the owners of the instruments and showed them the consequences of the poor workmanship.
One of them, a young man, told me he had been deceived, since I showed him there was absolutely no reason to replace that bass bar, let alone the back braces.
He told me the so-called “repairman” had convinced him that the instrument’s sound would improve significantly if he replaced ALL the internal braces. This is ridiculous.
I already knew this bass and knew it didn’t need new bars. That “work” was a scam. Not only because it involved unnecessary procedures only to make money, but mainly because it severely damaged the instrument through this sham.
On a flat back, there’s a tendency for a belly to form inward. That’s why, when braces are installed, they should be slightly arched outward to compensate for the natural inward bending over time.
After years, if the back is severely sunken inward, the braces can be replaced, but only after the back is returned to its original position.
In this particular case, less than a month after the braces were replaced, the back was already completely warped inward. The wood used for these new braces was of much lower quality and much younger than the original material.
Later, I developed a system that prevents this kind of problem and ensures the braces never need to be replaced or reglued.
The case of the top plate was even worse, if that’s even possible.
The bass bar is a very important piece in the double bass. It’s responsible for distributing the low frequencies across the top plate and reinforces the area to withstand the string pressure.
Normally, when a bass bar is well made, it takes a while for the instrument to regain its previous tonal characteristics and flexibility.
The instrument needs to be played for a while so that the new bar can “break in,” so to speak.
When the top starts to sink inward on the right side, it usually means the bar is “tired.” This happens over time. But in this case, the top plate was in perfect condition and still had many years of life left, it was in its best phase.
Right when the bass bar was doing its best work for the sound of the double bass, along comes a greedy person who, for easy money, removed it and replaced it with a poorly made one using low-grade wood, which left the instrument sounding far worse than before.
The most unbelievable part was that this miserable destroyer of instruments even signed his name inside the bass with a pen.
My master, Enzo Bertelli, used to say: “Anyone who writes inside an instrument is like someone who writes on a bathroom wall, and they usually do the same thing to the instrument as the other does in the toilet.”
I won’t name him here, because I have no interest in giving publicity to dishonest and opportunistic people, and unfortunately, there’s already another “specialist” doing the same thing (replacing the bass bar unnecessarily) and attaching a huge plastic label inside the instruments he abuses.
When taking your instrument to a luthier for restoration, don’t forget to ask if they like scribbling or sticking things inside the double bass, and don’t let anyone do that.
I feel obligated to warn double bass players. Unfortunately, in Brazil, unlike more developed countries, there is no regulation of this profession, no unions, no laws etc.
Here, all someone needs is a hammer and to say they’re a luthier, and just like that, they start ruining their friends’ instruments, and those of others referred to them, often with the best of intentions.
If you’ve received a recommendation for someone you suspect does this kind of “work,” give me a call and I’ll personally let you know if they’re a danger to our beloved instruments.
The bass bar is a very important part and should never be replaced lightly, just like the varnish.
If someone who is not a qualified luthier (someone without a master, who one day just decided they were a luthier) offers to replace it, take your instrument to a real luthier first so they can guide you on whether it’s actually necessary.
It is the duty of the luthier to guide and speak truthfully to their clients or anyone seeking technical, professional, and responsible advice.
Look for the best luthiers in your city, find out who trained them, who plays their instruments, who their clients are. Visit the workshops of real professionals, talk to them, and trust those who are truly qualified to help you.
If there is no competent person in your area, take your instrument to a specialist elsewhere—but don’t fall into the hands of amateurs.
Best regards, and stay sharp.
Paulo Gomes
How Not to Be Fooled When Buying an Instrument
A Well-Known Scam Among Luthiers.
A person visits a luthier, leaves a violin for restoration, and says he’ll return in a week.
The next day, another “client” shows up at the workshop, showing great interest in that same violin. So much interest, in fact, that he offers to buy it for US$5,000 and says he’ll come back later to negotiate.
The luthier, not very honest in this case, quickly thinks, “US$5,000 for something worth US$1,000? That’s an excellent deal!”
When the owner returns, the luthier shows little interest but casually offers to buy the instrument for US$1,000, should the owner be open to selling.
The owner hesitates, reflecting on the sentimental value, the sound, even the “otherworldly” qualities of the violin, but eventually says he would sell it for US$3,000.
The luthier realizes that a US$2,000 profit is less than the US$4,000 he originally imagined, but it’s still a solid profit for a simple resale.
He pays the US$3,000 and waits for the buyer who promised to pay US$5,000.
But that “buyer” never comes back, and the greedy luthier is left with a violin he paid US$3,000 for, but can only sell for US$1,000.
The two “clients” were working together and likely split the easy profit.
This story shows how even a luthier can be fooled by an old scam (especially if he’s greedy, inexperienced, or dishonest) and also serves as a warning.
But what’s truly relevant for musicians, especially double bassists in our case, is how to avoid being deceived when buying or restoring an instrument.
There are some subtle traps that can be avoided.
One old and widely used trick in Europe and major cultural centers went like this:
A musician (or luthier, collector, or simply the owner of an instrument), during a press interview, casually mentions owning a rare instrument that would be worth X, with X being a very high number.
The fact that this appears in a magazine or newspaper gives the statement a false air of credibility, even though no specialist has ever evaluated the instrument. Printed words carry weight, simply because they’re published. This is true in much of our “pre-paid media.”
Months later, that same instrument is listed for sale, at a price even slightly below X, showing the seller’s “goodwill.”
Unfortunately, this old tactic seems to be making a comeback.
A few years ago, a national magazine published an article in which a musician claimed to own a double bass that was “about 200 years old and which we believe (he and his ‘luthier’) to be French or Italian.”
That statement would be just silly or laughable if it didn’t also carry, beneath its lack of ethics, a real danger of financial loss for the next buyer, and perhaps even premeditation on the part of the one making the claim.
It’s ridiculous because anyone with a bit of intelligence knows it’s impossible for a so-called “specialist” who can’t even distinguish between a French or Italian origin to claim an instrument is 200 years old.
How does this person know the difference between a 200-year-old instrument and one that’s 100, 300, or even 50 years old, without having any real basis for the claim? Does “200 years” just sound good?
But what does someone gain by making this kind of statement, besides demonstrating total ignorance?
Credibility. And that’s where the danger lies.
When someone is a music teacher, and holds strong influence over students, it becomes very easy to convince them of anything and make them believe in legends.
It’s very possible that soon, just like so many times before, some student will show up here with a newly purchased bass (now with even more than 200 years), supposedly “FrenchorItalian” (a noble-enough origin that explains everything), believing they own the treasure from the legend, and I (or some other responsible luthier) will be the one to tell him the truth.
It may turn out to be a Czech instrument, 30 or 40 years old. Or maybe German. Or maybe excellent. It could be anything, because it’s just a legend. Just a sales pitch.
Some people have even stopped coming to my workshop because I don’t play along with these games. I tell the truth when someone is about to overpay for a highly inflated instrument. But I cannot lie just to please someone’s personal interests.
I live off of trust. Without the trust of my clients, I wouldn’t have restored over 2,500 instruments in my workshop (as of 2025), or be sought out by the leading bassists in Brazil and around the world.
I once had someone bring me a bass for evaluation, asking me to write a grossly overvalued appraisal. I instead pointed out all its issues and gave a fair market value.
Weeks later, a young man showed up with the same bass, saying the previous owner told him I had “already seen it and said it was fine.”
What he didn’t mention was that I had seen it and said it wasn’t worth that much, and that it had serious problems.
He used my name to convince the buyer, who then struggled for months to undo the deal.
Of course, after selling something for a ridiculous price, the seller didn’t want to take the bass back and return the money.
Many musicians manage to undo the sale in time, or at least get the price reduced to a fair value, but you must be alert. When the asking price is fair or close to it, it’s easy to walk away from a deal without harm.
That’s why I’ve always offered a free service here at my workshop.
Besides reselling used instruments, any double bass that a client finds for sale anywhere can be brought to me for a free evaluation before purchase.
That way, the buyer knows exactly what they’re getting: its value, future resale potential, costs for optimal performance etc.
If the seller refuses to allow an evaluation, it’s a red flag, walk away and don’t buy anything from that person.
Everyone who’s followed this advice over the last more than 40 years is happy with his instrument and confident in what he owns. Musicians who seek out a qualified luthier before buying live in reality, not in legends.
Here on this website, you’ll find plenty of tips for bassists, on buying, inspecting, transporting, maintaining, and storing instruments.
The number of newly purchased instruments arriving at my workshop, along with frustrated owners, that require immediate restoration and adjustments just to be usable… or the many basses that were “restored” days earlier but still show major issues… all of that prompted me to write this warning.
Whether you’re new or experienced, don’t fall for these schemes.
When buying an instrument that will stay with you for years, it is crucial that it be evaluated by someone who knows the craft, and that means a LUTHIER.
But not just anyone who claims to be a luthier, like so many today. I’m talking about a trained luthier, with a mentor, with a proper background, a respected name, someone who studies and devotes their life to this art.
Find the best luthiers in your city. Ask where they trained. Who plays their instruments? Who are their clients? Visit their workshops, talk with them, and trust those who are truly qualified to help you.
If your city lacks a competent luthier, take your instrument somewhere else, but don’t fall into the hands of amateurs.
Your music teacher is NOT qualified to evaluate, restore, or sign off on an instrument, just as the driving instructor doesn’t evaluate the car you want to buy.
When buying a car, you show it to a mechanic, not your driving instructor. That’s logic.
Even the instructor himself would take the car to a mechanic, and responsible musicians do the same, by seeking a luthier. Just as ethical teachers do, bringing instruments to be resold at trusted and reputable workshops.
Of course, the teacher is essential in shaping a musician’s path, and their role in preserving art is invaluable. They can sell their own instrument, to whomever they like, but a great deal of ethics is required when doing so.
There are also teachers and musicians who “moonlight” as luthiers, working on their students’ instruments without any qualifications, “learning” on other people’s instruments, taking advantage of the lack of ethics and cultural refinement in Brazil’s classical music scene. But that’s a whole other topic for another day.
What matters is this:
Stay alert. Don’t fall for the “legends” that circulate in this field. Don’t get deceived when buying or restoring your bass.
Everyone who owns a musical instrument loves it. Even if they know it’s not the best, deep down, they feel it’s special, and that is beautiful.
That feeling deserves respect.
Warm regards, and stay sharp,
Paulo Gomes
The Sound Post of the Otherworld
Attention! Do not allow anyone to replace parts or experiment with your instrument.
Once, I received an instrument in my workshop for restoration.
It wasn’t a high-quality instrument, just a factory-made double bass, quite common these days.
Right away, I noticed that the top was slightly deformed in the soundpost area. As soon as I loosened the strings, the soundpost fell, and the top returned to its normal shape. This is a very clear sign that the soundpost was too short for the instrument.
When I removed the soundpost to replace it, I came across this “otherworldly soundpost” that you can see in the photos.
It’s hard to know if this was done intentionally, perhaps to fix a mistake during the shaping of the post, or if it was simply an experiment by a “curious amateur.”
According to the instrument’s owner, that soundpost had been installed just a few days earlier.
In addition to trying to “learn” by damaging someone else’s instrument, inventing things without any prior tests or experiments that wouldn’t harm anyone, this so-called “curious inventor” left the post too short, which compromised the structure of the top plate.
The only thing one must never do is allow the top to warp just to sell a new soundpost.
The area where the soundpost touched the top was soaked in glue, which sealed the wood’s pores. Even worse, a piece of wood was inserted inside the center of the post.
Since this was only on one end of the post, we can conclude that this small piece of ebony served no acoustic purpose and only disrupted the delicate and complex vibrations between the top and the back of the instrument.
Worst of all: the musician paid to have his instrument’s soundpost ruined, and even believed in the effectiveness of this “otherworldly” piece.
I believe that experimentation is valid and important, that’s how we reach new ideas, but it’s absolutely absurd to test new ideas using someone else’s instrument as a guinea pig.
The soundpost is a crucial part of the instrument and should never be replaced without reason, just like the varnish or the bass bar.
If someone unqualified (someone who is not a trained luthier, who never had a master, who just decided one day to be a luthier) offers to replace it, take your instrument to a real luthier first, just so they can assess whether the replacement is even necessary.
It is a luthier’s duty to guide and be honest with their clients, or with anyone seeking professional and responsible technical advice.
Look for the best luthiers in your city. Find out where they studied, who uses their instruments, who their clients are. Visit their workshops, talk to them, and trust those who are truly qualified to help you.
If there is no competent luthier in your city, take your instrument to a specialist elsewhere, but do not fall into the hands of amateurs.
Warm regards, and stay sharp,
Paulo Gomes
The Old Chinese Trick
Be Careful When Buying a New Instrument.
Someone called me, saying their father had ordered the construction of a double bass and that the instrument was now ready.
They wanted me to inspect the bass, give my opinion, and apply the varnish, as it hadn’t been varnished yet, and the strings were a bit too high.
I asked why the luthier who built the instrument hadn’t varnished it, and they answered that the “builder” of the bass DIDN’T KNOW HOW TO VARNISH!
When the instrument arrived at my workshop, I had some unfortunate news to share.
It turned out to be a Chinese bass that had been sanded with an electric sander and still had many marks from the original varnish.
The instrument was completely covered with deep grooves made by the sander, and in some parts, you could even see the lower layer of the plywood on the back and ribs.
The photos on this page show the absurdity of this real scam.
Aside from being dishonest — as the deal with the so-called “luthier” was for a handmade instrument — there was a clear intention to deceive the buyer. An instrument that was being sold in São Paulo stores for around R$ 1,500 (with varnish) was being passed off for R$ 3,500 at the time (without varnish and badly damaged by a sander).
In this case, the “luthier” — who doesn’t even deserve to be called that — simply lied and tried to trick the customer, pulling off a scam.
Upon hearing the truth — that he was the victim of fraud — the young man went back to the dishonest seller, returned the instrument, and, with great difficulty, managed to get his money back.
Ordering a custom instrument should only be done with trustworthy, recommended luthiers
If someone unqualified (someone who is not a luthier, has never had a master, and suddenly decided they were a luthier) offers to sell you an instrument they “built”, you need to prepare for the worst.
I had to tell the truth to the person who came to me.
It is the duty of a true luthier to guide and speak the truth to their clients or to anyone seeking technical, professional, and responsible advice.
Seek out the best luthiers in your city — find out who they studied with and for how long, learn who uses their instruments, who their clients are. Visit their workshops, talk to them, and trust those who are truly qualified to help you.
If there is no competent professional in your city, take your instrument to a specialist elsewhere — but don’t fall into the hands of amateurs.
Best regards, and stay sharp.
Paulo Gomes
The Tale of Varnish
Be careful — don’t let “curious amateurs” fool you or try to replace the varnish on your instrument.
Have you seen Evaldo Guedes’ double bass?
If you have, you’ll likely be very upset to learn what happened to it. And if you haven’t, this story will show you the kind of scam that’s still happening today in Brazil and may help you avoid the same fate with your instrument.
This bass was one of the most beautiful instruments ever to pass through my workshop (and I’ve seen over 2,000 different instruments).
It was a luthier-made double bass, most likely Italian, based on its shape, purfling, and varnish (the original one, of course).
It’s very difficult to pinpoint the exact origin of the instrument, as it doesn’t have a label (almost certainly removed by some incompetent person), and it has already lost several important original features.
Only a detailed analysis with X-rays, infrared, and other equipment, and comparison aided by reference books, done by a valuation expert, could determine its origin. This kind of work is very expensive, typically costing a good percentage of the instrument’s value.
In the photos below, you can see that the upper shoulder is arched, as in violins, violas, and cellos.
This is a distinguishing feature of old Italian double basses, but the double bass has never been standardized like the other bowed string instruments. That’s why French luthiers sometimes used Italian models, Viennese luthiers used French models, and there’s always been a blend of styles and techniques across European countries, which was beneficial for the instrument’s development.
Today, the double bass is played in a much broader way than in the past, demanding far more comfort, and so this model is no longer in use. But as an instrument, it was a masterpiece, clearly the work of a great craftsman.
Besides being built with beautiful woods by an extremely skilled luthier, the most striking feature was its magnificent oil varnish, a pale yellow color that highlighted the wood, especially the flamed maple, and created a stunning sense of depth. You rarely see anything like it today.
Unfortunately, the worst thing that can happen to an instrument happened to this bass: it fell into the hands of an incompetent amateur who, in addition to replacing the bass bar (unnecessarily, only to make easy money), scraped off the original varnish and replaced it with something that can’t even be called varnish.
The issues with the bass bar and other damage are similar to what you’ll find in the articles “The Bass Bar Scam” and “How Not to Be Fooled When Buying an Instrument” on this site, same type of damage, though done by various “authors” of these misdeeds.
After scraping off the original varnish (which completely devalued the instrument and made it far harder to sell in Europe or any major cultural center), this poorly informed “tinkerer” stained the wood with a petroleum-based oily product. The wood absorbed it, clogging the pores and completely destroying the traditional flamed maple visual effect (known as marezzatura).
When done correctly, varnish not only enhances the marezzatura, it gives the wood a beautiful depth effect.
As you move the instrument or change the viewing angle, the light and dark flames shift — a striking, three-dimensional visual effect.
When someone stains the wood with a generic product, the pores get clogged. Due to the natural undulation of the wood grain, more stain settles where the grain is vertical and less where it’s horizontal. The result: no shifting effect. The flames remain static like painted stripes (like a zebra), losing all depth and character, the very qualities that have enchanted musicians and luthiers for centuries.
If this person had even read a single book or a basic article about lutherie, he’d know that what he did was essentially a crime against the instrument.
If this curious amateur had trained with a master luthier, he would never have committed such harm to an instrument of such historical and artistic value, even if the instrument’s owner had requested the varnish be replaced (musicians aren’t expected to know these things).
I myself have refused to do such damage to various instruments, explaining to their owners how absurd it would be to replace an original varnish, already beautifully oxidized by time and crafted by the original maker. And once I explain the real purpose of varnish, I always receive a positive response.
Evaldo Guedes himself once came to me asking to remove the varnish, and I refused.
Now, the result is a bass completely scraped with sandpaper, with visible scraping marks, totally clogged pores (which greatly impaired the sound), the depth effect lost forever, and a coat of pure shellac on top of this disaster, giving it the shiny look of the worst factory instruments.
The petroleum-based product soaked several millimeters into the wood. Nothing can be done to recover it.
It’s a tragedy, a centuries-old piece of high artistic value reduced to a poorly finished piece of furniture.
What most likely happened is that during the gluing of some cracks, the two sides weren’t properly aligned, and to avoid a visible “step,” they sanded the higher side, a ridiculous act that ruined the varnish and exposed the poor repair work.
Instruments that are black or very dark are often finished that way to cover up poor restoration.
Look at the photos and try to imagine this instrument with its original oil varnish, pale yellow and oxidized over a hundred years, made by the original maker, and without all those dark stains. As it stands now, you can’t even see the beautiful wood grain anymore.
Now look at this photo of Glen Moore (from the group Oregon) with his instrument — a 1715 Klotz.
You can see that the varnish is quite worn and oxidized by time.
It’s an instrument made when Johann Sebastian Bach (1685–1750) was 30 years old and composing his masterpieces.
Fortunately, this double bass (which has a dragon’s head carved into the scroll) never fell into inexperienced, greedy hands and still retains its original varnish.
It has been restored by Paul Toenniges and also by Paul Schuback, and since they were true luthiers, its original varnish has been preserved.
Now try to imagine that beautiful bass full of sanding marks, with a layer of dark brown (almost black) “paint,” full of stains, and a shellac shine like the worst factory instruments.
It’s hard to imagine anyone trying to deceive a musician like Glen Moore, but if his instrument ever falls into the hands of these incompetent types, who “learn” lutherie by ruining others’ instruments, it’s not hard to imagine them scraping off that varnish and replacing it with something they consider “better” (and charging for it, of course).
Someone with no sense of lutherie might think a new, shiny varnish looks better, but anyone with a bit of knowledge knows the damage done to the sound and value of the instrument is irreversible.
To make matters worse, just look at how the instrument was closed after being opened to replace the bass bar (which wasn’t necessary to begin with), and the new bass bar is already starting to fail just a few months later. (See the article “The Bass Bar Scam” on this site.)
The green arrow shows the proper edge thickness of the instrument (around 3.5 mm), which should be consistent throughout, and which is still intact on the back plate (luckily left untouched). The yellow arrow shows what happened to some parts of the top after being closed by someone incompetent. Notice the 18 mm gap between the edge and the ribs. If some areas stick out this much, in others, the edge is missing, exposing the ribs beyond the instrument’s outline.
Naturally, this “destroyer” of instruments didn’t miss the opportunity to glue a label inside the bass with his name and address, claiming to specialize in violins, violas, cellos, basses, bows, etc.
Varnish is an extremely important part of the instrument and should not be replaced lightly, just like the bass bar.
If someone unqualified (not a trained luthier, with no master, who just decided to be a luthier) offers to replace it, take your instrument to a real luthier first, just to get professional advice on whether the service is necessary.
A luthier has to speak honestly to their clients or anyone seeking technical, professional, and responsible guidance.
Search for the best luthiers in your city. Find out who they studied with, for how long, who uses their instruments, and who their clients are. Visit their workshops, talk to them, and trust those who are truly qualified to help.
If no one competent exists in your city, take your instrument to a specialist elsewhere, but don’t fall into the hands of amateurs.
Warm regards, and stay sharp
Paulo Gomes
Endorsement and Other Unfair Practices
Don’t be fooled by the practices described here.
When I began in lutherie in 1980, there was still a practice dating back to the 18th century, which consisted of a “partnership” between the luthier and the music teacher for selling new or used instruments and offering repair services.
This subject has generated many publications and debates, with a wide range of opinions about the seriousness and honesty of certain practices.
Some teachers earned more than the luthiers themselves, and more than they did from teaching music, just by reselling the luthier’s work.
Since beginners know very little, it was (and still is) common that when a teacher sells their instrument to a student, it is, without a doubt, “excellent,” since it was the “teacher’s instrument.” Convinced, the student’s parent pays for it, believing they’ve purchased the best possible option. The reality is almost always different.
If the instrument is truly exceptional, and if the teacher is truly good (and therefore should be able to recognize such a high-quality instrument), then why sell it?
And why sell another one a few weeks later — and then another, and another? Why not let the buyer take the instrument to a specialized luthier BEFORE the purchase?
Some people have made money off this kind of practice, and from the very beginning, my position has always been to tell the truth to clients and never imply that someone’s instrument should be purchased unless I genuinely believed it was worth it.
It wasn’t uncommon for me to receive offers to “push” a double bass on a client and then split the profit with the teacher afterward.
Sometimes, students of this type of unscrupulous person would show up at my workshop convinced they had the greatest instrument in the world, thinking it just needed a few adjustments. What I’d find instead was a poorly made instrument and/or one in terrible condition.
Naturally, my stance in such cases caused discomfort among this little “mafia,” and to this day, there are teachers who avoid me and constantly try to discredit my reputation or downplay my work, often because a deal fell through after I told the truth to a prospective buyer.
In recent years, from time to time, a so-called “expert” pops up, endorsed by this crowd: a musician who “also repairs instruments,” a retired guy from the countryside, a cunning fellow with no real training, always trying to revive the teacher-luthier duo.
Time has shown I was right. With more than 40 years in the profession, all I see is the horizon expanding before me — achievements both in Brazil and abroad, built with hard work and integrity. Meanwhile, these people lose out on the best jobs, jobs they only got thanks to “connections,” but which, like lies, don’t stand the test of time.
I intend to continue with the same attitude I’ve upheld throughout my entire professional life:
I evaluate any instrument brought to my workshop, free of charge, BEFORE it’s purchased.
This way, a reliable and qualified opinion will guide the future owner of an instrument, not the sales pitch of a self-serving “teacher-salesman.”
Stay sharp and don’t be deceived.
Another practice I’ve never adopted is “endorsement“. Endorsement is when a company pays a musician to say they use a certain product and appear in magazines and other media.
Often, this form of deception doesn’t come in the shape of an ad but appears instead within an article in some specialized publication. That’s the most misleading form of all.
I’ve never paid or offered any discount for someone to promote my work.
Every opinion by musicians on this site and elsewhere is spontaneous, from satisfied musicians, and every owner of one of my instruments paid a fair price for it.
Contrary to what was published in an electric bass magazine, I have no endorsement deal with virtuoso Marcos Machado. He commissioned and paid for his instrument just like every other musician who has ever ordered a custom instrument from me.
If you read a bass magazine, you’ll notice that John Patitucci “uses” almost every pickup brand on the market. He appears in every pickup ad. It’s ridiculous! Whoever pays more gets the big names to endorse their products.
An acquaintance of mine used to beg me to give him a bass for free, claiming he had many students and would help sell a lot of instruments. I never agreed to that sort of thing, and today I see he finally found a factory willing to give him all the free basses he wanted in exchange for the promotion he now provides.
For this same reason, you won’t see me featured in or writing columns for Brazilian double bass magazines, because I would be required to advertise with them, and if I held a contrary opinion in an article, I’d be forced not to criticize any advertiser, sponsor, or commercial interest. It’s all just business, profit, and money.
This is very easy to understand: money buys visibility and media exposure, but integrity, focus, and real work give strength to a name that’s been in the market for over four decades.
Be smart.
Just because an ad shows a musician you admire next to a product doesn’t mean they actually recorded their albums with it, or even use it at all. It just means that the musician got paid to put their image there.
All the best, and stay alert
Paulo Gomes
Nonsense of Curious Who "Burst"
Be careful, don’t let amateurs deceive you and charge you to damage your instrument.
Have you ever seen something like this?
I hope it wasn’t on your instrument.
To begin with, let’s talk a bit about this type of device, its function, when it’s truly necessary, and how it should be designed to avoid the absurdities shown here.
This is a method used to slightly reduce the pressure that the strings exert on the top plate of the instrument. But it seems that some amateurs are trying to convince musicians that it relieves the tension in the strings themselves, making the instrument “softer” to play, and earning easy money by damaging the instruments of unsuspecting players.
The change in bridge angle is minimal, and the string tension remains completely unchanged since the length of the string and the pitch it vibrates at do not change.
Let me give you a practical example using an acoustic bass guitar I modified for demonstration.
The original angle.
The new angle.
In the photos above, you can see the angle of the strings before and after I modified the instrument.
Let’s analyze why I decided to make this change.
Like every acoustic bass guitar with a classical-style bridge, this one was warping due to the tension on the bridge. The lower part of the top was bulging out, and the bridge was beginning to separate from the top plate.
This happens because the ball end of the string pulls the top upward, while the saddle (the small ridge where the string rests) pushes it downward. There’s a distance of about 3 cm between these two points, as shown below.
The forces at work before the modification.
This is the only acceptable reason to modify the angle of the strings at the bridge.
The string tension and the feel when playing were not affected.
The only thing that improved was the unnecessary pressure on the top, which was eliminated.
The string length remained the same, the tuning was the same, and so the string tension in kilograms remained the same. Unless there’s a psychological effect at play, you won’t notice any difference in how the instrument plays.
Now that we understand the function of a piece like this, let’s look at this “marvel of engineering” that showed up at my workshop.
It’s a poor attempt to copy an elevated lower saddle, but the way it was poorly designed and executed only serves to permanently damage the instrument’s top plate.
At first glance, you can already see that, in addition to denting the top from the tension of all the strings, there’s a screw driven through the lower ribs and the bottom block, holding everything in place.
I don’t even need to explain how absurd it is to put screws in a musical instrument like a double bass.
In other words:
You pay for this, your top plate gets crushed and permanently damaged by a useless device, and on top of that, a giant screw is drilled through your instrument. Genius.
The top plate (the most refined and sensitive part of the instrument) had already sunk about 4 mm in an area with only 7 mm of total thickness.
This is a delicate area and is already on its way to developing lateral cracks due to the unnecessary pressure on the wood.
Even a trained luthier who’s still inexperienced would never fail to notice that something like this would damage the instrument, and would try to design a better solution.
Take a look:
The “marvel” with its “delicate little” screw.
In the background, you can see the crushed top plate and the saddle already coming off due to poorly applied force.
The ribs also buckled. The saddle came off. But the “highlight” is the nice little hole drilled in the instrument.
What is this?
This doesn’t come anywhere close to the work of a true luthier.
The endpin couldn’t withstand the stress caused by the poor design.
To top off this brilliant “work” of damaging the top, the lower ribs, the bottom block, the endpin, and the lower saddle of a musician’s double bass, the “amateur” also worked his magic on the upper saddle like this:
What do you think is going to happen to the E string, the thickest of all, with a curve like that at the nut?
If all of these negative factors are present, then why does this type of device even exist? And why have I myself installed a few (very few) over more than 40 years of work?
These devices came into use when old instruments originally built for three strings were converted to four or even five strings — creating the need to relieve pressure ON THE TOP of the bass.
Of course, no real luthier would ever create something as dreadful as what you see here.
We’re talking about properly built devices, installed only when absolutely necessary, designed to preserve the instrument’s structural integrity — such as when adding a string results in significantly more pressure on the top.
Extremely old instruments — over 200 years old — with wood that has become fragile, dried out, and shrunken, can also benefit from a solution like this.
If it were true that this kind of device changes the tension felt by the musician when playing, then my acoustic bass guitar would have almost no tension at all, the strings would be buzzing from the lack of pressure, since, as you can see, they’re barely angled at the bridge.
But that, of course, did not happen.
The playability of the instrument remained the same.
What did visibly improve was the warping in the top, which had already begun — and is now gone.
On a properly built instrument, the string angle at the bridge is about 148°. With an elevated saddle, it becomes about 152°.
This 4° difference does not change the felt tension when playing.
As I’ve said, what is very slightly reduced is the downward pressure the bridge exerts on the top plate.
By modifying this pressure, the tone is also slightly affected. Not always for the better.
I’ve removed many of these devices because they were harming the instrument’s sound with excellent sonic results just by returning to the original setup.
I’ve also installed a few on basses that genuinely needed top relief, always with well-designed components that can be removed in seconds, returning the instrument to its original condition, no holes, screws, or wood damage.
Of course, there’s always a psychological factor, which makes it hard to correctly assess what we’re hearing now versus what we hear after an hour or more of playing. That’s natural and must be considered.
Installing a device like this is already misleading the musician and should never be done.
Charging to damage someone’s instrument is something only a bad actor, who knows how to deceive people, is capable of.
Don’t let yourself be exploited by amateurs looking for quick money who don’t even bother to learn the craft or assess the consequences of their “work.”
An instrument is part of its owner. No matter how simple it is, it deserves respect. Try to honor that and don’t let amateurs ruin what you love.
If someone who is unqualified (not a trained luthier, never had a mentor, just decided one day they were a luthier) offers to install a device like this or perform some flashy “modification”, take your instrument to a real luthier so they can advise you whether such a procedure is necessary, and what the correct options are.
It is a luthier’s duty to guide and speak the truth to their clients, or anyone who seeks professional, technical, and responsible advice.
Look for the best luthiers in your city. Find out who they studied with and for how long. Learn who uses their instruments, who their clients are. Visit their workshops, talk with them, and trust those who are truly qualified to help you.
If no one competent exists in your town, take your instrument elsewhere, but don’t fall into the hands of amateurs.
All the best, and stay alert
Paulo Gomes
Some Equipment Damages the Instrument
Attention — be careful not to damage your instrument.
The top plate of an excellent instrument, dented in its most sensitive area.
There are pickups that, due to their design, damage the instrument and should be avoided.
The damage shown here, which I often come across, was caused by the Realist pickup.
This pickup has two cylindrical elements sandwiched between two thin plates which, under the pressure of the bridge, crush the top plate exactly in the area that most needs to be preserved.
Most pickups are very similar; what differs is the way they are installed on the instrument, and this particular system is very poor and the most harmful to the double bass.
Of course, the choice of pickups, like the choice of strings, depends entirely on the musician’s personal preference. It’s not my place to declare which string is the “right” one or which pickup has the best sound.
But I can offer an analysis from the perspective of both a musician and a luthier.
Because the pickup is always under pressure, the signal is weak (try overtightening an Underwood pickup or something similar and observe the feedback), so you end up having to turn the amp volume up higher, which is not always desirable.
The sound becomes somewhat muffled and lacks clarity. That’s why many players actually like this pickup for bowed playing, since the volume is naturally lower, more blurred, and less bright.
As I said, my unfavorable opinion of its sound is personal, but what I’m reporting about the permanent damage caused to the top plate comes from a luthier with some experience, and can be seen here by anyone.
If we consider that this bass was built almost 80 years ago, in Germany, we can imagine the many adventures and stories it’s been through before arriving in Brazil.
Seventy years from Germany to Brazil, who knows how many owners, only to have the top plate damaged in a single day by a pickup that leaves much to be desired. That doesn’t seem right to me.
This is the piece that sits under the bridge foot.
The piece is pressed between the bridge and the top, damaging it.
Most pickups can be repositioned, allowing different tonal colors until the player finds one he prefers.
But in the case of this model, there’s nothing that can be done; it remains fixed in place, under extreme pressure.
The choice, of course, is yours, but I don’t believe it’s necessary to damage the most refined and important part of a double bass only to amplify it.
The large number of instruments I’ve seen at my workshop damaged by this type of pickup led me to create this page, simply as a warning.
Remember: after you, the bass will continue to exist, and it will have other owners who deserve to inherit an instrument in good condition.
Of course, the manufacturer pays well-known musicians to pose in magazines, using the not-so-honest practice of endorsement. In doing so, they end up selling a lot to a public easily swayed by this type of “recommendation.”
See the article on this site about endorsement.
That’s it.
All the best to everyone.
Is Jazz Elite Music?
By Kiko Continentino
Last year, I had the pleasure of performing with my instrumental group (ContinenTrio, formed with my two brothers and a drummer) at a prestigious music festival in Brazil: the Tim Valadares Jazz Festival, in the state of Minas Gerais.
Its organizer, journalist Tim Filho, pointed out an interesting detail to me: some people in the city (Governador Valadares) turned up their noses, claiming that jazz is elitist music, disconnected from the needs and desires of the common people.
Curiously, much of the festival’s audience came from the city’s poorer neighborhoods, while many of those who criticized such an important cultural initiative belonged to the wealthier classes.
At Tim’s request, I began drafting an essay on the topic, which I now share below:
Is Jazz Elitist Music?
To me, this is a provocative and controversial question. Since I enjoy exploring themes like this, I’ll try to delve a bit deeper into the issue by reflecting on the meaning of the words that form the basis of this discussion.
In my opinion, jazz is not merely a musical genre. More than that, it represents a musical/artistic concept. We can say that jazz is not just what you play, but how you play it. One important element is the musician’s attitude toward risk, toward the unknown.
There are no limits, no fixed formats — maybe only suggestions. And the artist has the right (and even the duty) to propose new solutions and new directions. To play jazz well, you need a very high level of technical skill, similar to what is required in classical music, and in very few other musical contexts. But jazz also demands that the musician exercise their full creative power. What sets the great jazz players apart is not their technique or form — it’s the content of their ideas. It’s the way they stamp their identity on the sound — sometimes with elegance and subtlety, other times with strength and impact. In short, the jazz concept allows the artist to create and express their personality through the music they’re crafting.
And this music doesn’t have to be jazz in the strict sense. On the contrary, I increasingly see jazz as a vehicle for other musical languages — a passport to any direction. Those who’ve been through the “school” of jazz are equipped to explore other styles — provided, of course, they do so with the humility and respect required by any serious research.
Continuing in the crazy task of trying to decipher the undecipherable, let’s now look at the idea of elite art.
Historically, we know that knowledge — the repository of ideas of any kind (science, technology, behavior, and the arts, for example) — has always been held by the dominant classes in society. Whether political, military, economic, or religious (often a combination of all these powers), this elite controlled the arts and interfered in their development, leaving the less privileged classes outside this process, naturally. Knowledge, learning, and culture were in the hands of the powerful, the elite.
The common people were left to fight for survival. It’s interesting to note that little has changed in this regard — except, perhaps, for one detail we’ll get to shortly.
The 20th century brought a whirlwind of changes to humanity. Advances in all directions, everything happening at an astonishing speed, in a vertiginous rhythm of constant expansion. Jazz emerged during the first half of the century as American popular music, and this popularity spread across the world. People sang and danced to the sound of jazz big bands. It was the music heard on the radio, in TV programs, and in Hollywood films. It was the soundtrack of a time, of a generation.
Starting in the 1940s, with the end of the swing era, jazz musicians evolved in a decisive way — an evolution some purists objected to. But it’s important to understand that the bebop movement, led by Parker, Gillespie, Monk, Powell, Mingus, and others, unquestionably represented a qualitative leap — a major achievement in the three fundamental pillars of musical language: melody, harmony, and rhythm.
Coincidentally (or perhaps not), jazz lost its status as popular music and moved from the grand ballrooms, where bands played vibrant dance music, to the smoky, cramped nightclubs. Other movements followed: the cool jazz of Miles Davis and Gil Evans, free jazz with Coltrane, and then fusion (again with Miles as a leading figure), where jazz in its essential form reached a kind of limit and then continued evolving by incorporating elements of other styles like rock, blues, soul, and so on. Even bossa nova influenced this process. Still, jazz increasingly became associated with a more culturally elite audience. Needless to say, this represents a small fraction of the population — people who deepen their knowledge in schools, universities, theaters, museums, and the like.
And here lies our main point. We are talking about a cultural elite, not an economic one. Even though one can influence the other (money does buy better access to education), I’ve noticed a subtle but significant reversal in this trend.
Let’s now shift the focus to our own country.
Brazil’s musical culture — one of the richest and most diverse in the modern world — peaked in the 1960s, alongside movements in cinema, poetry, literature, and visual arts. Many believe that up until the military coup of 1964, Brazilian culture was going through one of its most fertile periods. Today, in an era of cultural trivialization, we often witness a reversal of values.
Art now serves the market, rather than the other way around, as it should be. These days, the “successful” artist is usually the one who keeps one (or both) eyes strategically fixed on the capital flow of their environment. Always in tune with market trends, the artist becomes a prisoner of their commercial talent, shaping their creativity to fit current consumer tendencies. This advertising-savvy talent is often supported by the media, a crucial pillar of this system. And this is no surprise, since everything today revolves around consumption.
Meanwhile, the artist who remains outside the big machinery of the show business world becomes a kind of cultural outlaw. Refusing to surrender to the formulas dictated by financial logic, all they have left is the tireless, stubborn practice of their craft — something akin to a cultural guerrilla campaign.
Returning to our initial question, “Is jazz elitist music?”, it’s ironic that, nowadays, the economically privileged classes have surrendered to low-quality music, often labeled as “people’s music.” A label that reflects the poor state of education and neglected culture made available to the people in a country with so much potential. The genre doesn’t matter: romantic kitsch, pop-sertanejo, pagode, axé — sometimes all mixed. There’s a clear formula: weak melodies, pathetic harmonies, dreadful lyrics (anything that might sound intelligent is carefully avoided), and super-catchy choruses designed to stick in people’s minds. Add a calculated dose of personal charisma (which has nothing to do with artistic quality), and success is guaranteed.
However, I’ve also noticed the emergence of a consistent alternative audience in search of new information, new ideas, and new values. A public that understands that art can be more than just a product — that it can also be a force for reflection and emotion, something that makes people think and grow, not just have fun. Over time, more and more people will realize that music is not like shampoo, cars, or laundry detergent. Music can truly be more than a product, even though the industry keeps insisting otherwise.
As for this audience — this elite, if you will — I’ve noticed a significant shift in its profile. These are often middle- or lower-class people, which, to me, represents real progress in building a new kind of audience that’s open to more daring artistic propositions.
I conclude with the hope that one day there will be more democratic space, not just for jazz, but for any kind of quality musical language, both in Brazil and in the world. And we know that, for this to happen, we must work twice as hard, tirelessly.
So let’s get to work.
Kiko Continentino, June 2002
Kiko is a pianist, arranger, composer, and music producer.
Know your Job
Practical Advice on How to Become a Better Professional Bassist
By John Adams.
Well, it happened again today. While I was out, a bandleader left a message on my answering machine inviting me to a gig that I won’t be available for. Since I already have a booking, I could just delete the message and assume he’ll move on to the next name on his list. Instead, I’ll make every effort to contact him first thing in the morning to say that, unfortunately, I won’t be able to take the gig, and I’ll offer to recommend another bassist. Over the many years I’ve worked as a professional bassist, I’ve learned that being a responsible professional musician requires more from me than just playing my instrument well. Every time I communicate with my colleagues, phone, email, letter, or in person, send important signals about my level of professionalism and dedication, signals that can start or end a working relationship. So it’s worth taking the time to think about how I represent myself in these situations. If you’re wondering “why?”, keep reading.
Pay Attention to Details
There’s a fine line between being obsessive and handling details well. You’ll learn where that line is by crossing it a few times—just don’t go so far that you lose track! Remember, a one-night event can often be like your first day on a new job. Don’t make assumptions—be willing to ask the person hiring you questions. You might come off a bit nitpicky, but that’s okay—write down whatever is necessary.
Maintain a Good Appearance
I’m not saying you should show up looking like a TV show host, but a simple, positive attitude, optimistic behavior, and a good sense of humor go a long way in making people around you feel at ease. Frankly, some people have to work harder than others to show these positive traits. Each of us has strengths and weaknesses, but part of growing is learning how to manage and even overcome those weaknesses.
Your personality shows in many ways—from your phone style (including your answering machine greeting and how you leave messages), to your handshake, how you make eye contact, how you speak about others, the topics you raise, and the jokes you tell. You also communicate your attitude through body language when you play—even unintentionally. So it’s worth reflecting on all of these things and making sure the message you’re sending is the one you intend.
One specific example: when I was in college and for a while afterward, I sometimes thought it was funny to record strange or silly greetings on my answering machine. Once, a musician friend was kind enough to tell me he had recommended me for a gig, but the person calling back asked, “Is John okay? He sounded sick on his voicemail.” I’m sure I had a great time recording that message, but its tone ended up embarrassing the friend who recommended me.
Keep Good Records
Using a calendar, a notebook, a PDA, or any scheduling software is essential to manage the many details involved in professional work. Also, start maintaining a database of phone numbers, emails, and addresses. I use multiple tools to manage my schedule and notes. In my planner, next to each gig (or on the facing page), I write all the useful details: contact name, start and end time, dress code, required gear, etc. It may take a minute or two to input this information, but in the long run, it saves me time and energy by keeping everything in one place.
One of the most common mistakes musicians make is double-booking themselves. But you can avoid that sinking feeling (when you realize you’re expected in two places at once—or worse, you miss a gig entirely) by using a planner and staying organized.
Expect the Unexpected
One recent weekend, I left for a gig that normally takes 15–20 minutes to reach. I left with plenty of time, but once I got on a major avenue, I realized I was in trouble. There had been an accident, and part of the street was blocked. I tried the side roads, but they were also jammed. I even ended up in the middle of a Greek food festival! About 10 minutes before I was supposed to be on stage, I called the venue and asked them to let the bandleader know where I was and when I’d arrive. I got there just in time to start, but thanks to my call, no one was worried about me.
Until you’ve worked professionally for a while, you won’t know all the things that can go wrong—getting lost, stuck in traffic, car trouble, forgetting essential gear or clothing, and the list goes on. Always have the venue’s phone number and/or your contact’s cell number with you. If you’re running late or almost there, the folks already on-site will appreciate the update.
You can never have too many phone numbers. One night, on my way to a gig where I was the leader, a musician I’d hired called to say his afternoon gig was running late and asked what to do. I grabbed my planner, made a few calls, and had a sub on the way. We started on time.
Depending on how complex your gear setup is, you might need a checklist prepared in advance and might even load your car the night before. My car has basically become a mobile gear shop with crates full of cables, stand lights, mics, and all kinds of adapters! That stash has saved more than one gig, providing gear for others when needed.
Say What You Really Mean
I read a great quote in a book once: “Let your yes be yes and your no be no.” If you can’t do something, say so. If you need help, say it. If you need time to check your availability, say that. And if you promised to get back to someone the next day, call them the next day (even if you don’t have a definitive answer yet). This direct approach builds credibility and avoids many misunderstandings.
Allow Extra Time
I’ll never forget one of my teachers saying, “Young musicians eventually learn that bandleaders and venue owners can always find someone who plays well enough, shows up on time, and is dressed appropriately.” That’s a blunt statement, but it’s true. I’ve noticed some musicians always show up at the last minute and always need extra time. They seem unaware of either where the gig is or where they live! But if you’ve built a reputation for being reliable and punctual, then if something truly does delay you, people will know something unusual must have happened.
Have the Right Tools for the Gig
Bassists are among the most versatile musicians in the world, with a wide variety of gear and style options. Even classical bassists need to be flexible, both in style and how their instrument is set up—whether it’s a full orchestra, chamber group, pop concert, string section gig, or solo recital. Electric bassists might have the trickiest setups. An extreme example is a Nashville session player whose road case (handled by a cartage company) holds about 25 electric basses! Don’t worry about trends—just work on gradually collecting quality instruments over time and learn how to maintain them properly.
Play What’s Right for the Gig
A world-renowned bassist known for his dazzling technique was on his first tour with jazz legend Stan Getz. On the first two Fridays of the tour, Stan paid the other band members, but not the bassist. On Saturday, the bassist finally got the courage to ask, “Why am I not being paid with the rest of the band?” The answer: “When you start playing with the band, you’ll get paid with the band.”
I’m stating the obvious here, but many young musicians treat every performance like a practice session for whatever style or technique they’re working on. But a savvy pro adapts to each situation. A mature player gradually shifts their focus from “How did I play?” to “How did we sound? Did we play well together?” An experienced musician accepts criticism and learns from others.
It amazes me that some young players think they’ll sound good in a genre they’ve never rehearsed, heard, or studied. And many jazz students assume that since most pop music is simpler than jazz, they can wing it. Believe me—you won’t sound good in *any* style until you’ve worked at it. Another important way to prepare for different types of gigs is to attend performances in various genres—even if they’re not your favorite.
Dress Appropriately for the Gig
Most professional gigs have some kind of dress code, spoken or unspoken. If you want to be hired again, wear what’s required and appropriate. The same goes for your personal grooming and hygiene. It’s not worth wearing a pristine suit if your hair looks like you’ve stuck your finger in a socket! If you can’t manage your attire and appearance, don’t accept the gig.
Generally, men should have a tuxedo (with black tie and dress shirt), at least one good dark suit, a few ties and dress shirts, and black dress shoes (brown shoes as an option). Women need a variety of outfits, including something formal, all-black, and floor-length. Women have a wider range of styles to choose from but should typically err on the conservative side rather than flashy, short, or sheer. Many venues frown on sleeveless tops for women, and many orchestras have recently formalized bans on perfume, as it interferes with breathing for woodwind and brass players.
Be Physically and Mentally Prepared
One night, I was playing a ballad with a group and got really sleepy. I “woke up” to realize I was staring at the floor, holding one note, and the whole band was staring at me! While being in demand is a good sign, if you’re too busy, your performance quality can drop, and mistakes may increase. You have to balance life and work. Learn how to take short naps. Plan ahead and study the music in advance whenever possible. Do your best to be rested and prepared for every gig.
I’ve been a professional bassist for 26 years, and I’ve learned that if you keep an open mind and pay attention, you can learn a lot. The truth is, we all learn through a combination of good advice, observation, and making mistakes. But a smart person learns more from others than from trial and error—and fools hardly learn anything at all.
I hope this advice becomes part of your internal motivation and your approach to becoming a professional bassist. As they say, integrity means doing the right thing even when no one is watching.
John Adams is a bassist, teacher, and bandleader based in Dallas, Texas.
He has an extensive background in classical, jazz, and pop music and has taught at colleges and universities for 14 years.
Despite the mistakes described in this article (and others), he made along the way, he still plays professionally every day.
The Old Chinese Trick
Be Careful When Buying a New Instrument.
Someone called me, saying their father had ordered the construction of a double bass and that the instrument was now ready.
They wanted me to inspect the bass, give my opinion, and apply the varnish, as it hadn’t been varnished yet, and the strings were a bit too high.
I asked why the luthier who built the instrument hadn’t varnished it, and they answered that the “builder” of the bass DIDN’T KNOW HOW TO VARNISH!
When the instrument arrived at my workshop, I had some unfortunate news to share.
It turned out to be a Chinese bass that had been sanded with an electric sander and still had many marks from the original varnish.
The instrument was completely covered with deep grooves made by the sander, and in some parts, you could even see the lower layer of the plywood on the back and ribs.
The photos on this page show the absurdity of this real scam.
Aside from being dishonest — as the deal with the so-called “luthier” was for a handmade instrument — there was a clear intention to deceive the buyer. An instrument that was being sold in São Paulo stores for around R$ 1,500 (with varnish) was being passed off for R$ 3,500 at the time (without varnish and badly damaged by a sander).
In this case, the “luthier” — who doesn’t even deserve to be called that — simply lied and tried to trick the customer, pulling off a scam.
Upon hearing the truth — that he was the victim of fraud — the young man went back to the dishonest seller, returned the instrument, and, with great difficulty, managed to get his money back.
Ordering a custom instrument should only be done with trustworthy, recommended luthiers
If someone unqualified (someone who is not a luthier, has never had a master, and suddenly decided they were a luthier) offers to sell you an instrument they “built”, you need to prepare for the worst.
I had to tell the truth to the person who came to me.
It is the duty of a true luthier to guide and speak the truth to their clients or to anyone seeking technical, professional, and responsible advice.
Seek out the best luthiers in your city — find out who they studied with and for how long, learn who uses their instruments, who their clients are. Visit their workshops, talk to them, and trust those who are truly qualified to help you.
If there is no competent professional in your city, take your instrument to a specialist elsewhere — but don’t fall into the hands of amateurs.
Best regards, and stay sharp.
Paulo Gomes
Curious People that Destroy the Work of Experts
Be careful, don’t let amateurs deceive you and attempt to alter your instrument.
As a luthier working exclusively with double basses since 1980, I’ve seen many absurdities committed against this beautiful instrument.
Almost always, these poorly executed “jobs” are carried out by complete amateurs, people who have never had any serious understanding of lutherie.
In addition to that, I see people emerging who, after a crash course of just a few weeks with some luthier, already consider themselves luthiers as well, and even go so far as to try to form luthier associations, even though they’re still learning by experimenting on other people’s instruments.
Now, if someone wants to buy some materials and try building something of minimal quality, I see no problem with that.
If they can find someone willing to buy such an instrument, good for them.
The problem begins when someone without solid training sells instruments assembled from pre-made kits as if they were fully handmade. That’s deceit.
I myself have lost bids to build instruments for orchestras to these kinds of “assemblers,” who sell their products at prices far below that of a properly built, high-quality instrument made with real technique.
This happened at the start of my career, and fortunately, due to my solid reputation and steady commissions, I never again participated in that kind of “competition”, almost all of which were rigged from the start, especially when considering that during the first decades of my work, our country was under some of the most corrupt governments in human history.
But what I’ve just described isn’t the biggest issue, after all, the buyer must be responsible for knowing what they’re purchasing. If someone offers a product far below its market value, it’s wise to be suspicious. (Read the article: “How Not to Be Fooled When Buying an Instrument.”)
What frightens me more is seeing this kind of “tinkerers” (a term frequently used by my master, Bertelli) destroying instruments (as shown in other articles on this site—especially in “The Tale of Varnish”), while passing themselves off as experts, deceiving those who lack the training or knowledge to recognize these harmful practices.
I know I’ll still see many more absurd things, and what I document is only a small fraction of what passes through here. But the reason for this article is something that affects me in a personal way—as a **builder** of instruments: people who have no respect for lutherie or for the work of real luthiers and who attempt to **alter the proportions** of instruments built by true craftsmen.
When an instrument is made by a luthier, it is a **work of art**—a part of the artisan lives in that piece, and it should remain that way for the future.
No painter or restorer would ever think of taking a Michelangelo and altering the proportions of part of the painting—or changing the bluish tones of a Picasso from his Blue Period just so it would match better with a green living room!
So why would someone who calls themselves a luthier commit such absurdities on a double bass?
Why change the dimensions of an instrument that was built to last for centuries, just because a particular owner finds it hard to adapt to it?
Take a look at this photo below, and you’ll see the absurdity being committed on a double bass that, at the very least, had some beautiful wood.
This is the back of a double bass built in two pieces, and it’s being cut down in an attempt to make the instrument smaller than it was originally designed.
Any restorer knows that the ideal approach is to always preserve the originality of the piece as much as possible, and never try to impose their own interpretation of what someone else’s work should have been.
In the past, some individuals, musicians who considered themselves luthiers simply because they spent their lives playing an instrument, used to recommend this sort of thing to their students. And, unfortunately, it seems this type of disrespectful person still exists.
What would such a musician think if, as a composer, they heard one of their pieces performed by an orchestra with an entire movement missing, replaced by something completely foreign to the composition, but still performed under their name, with only the composer knowing it had been mutilated?
Even more shocking is the lack of integrity and shame shown by those who do this, and even publicize it: this photo was taken from a website where this absurdity is being presented as if it were praiseworthy.
This reveals a complete lack of guidance on the part of this so-called “professional,” and a lack of solid training, training where one would learn the most basic principles of respect for the profession and for the work of others, the importance of maintaining the originality of restored pieces, and other fundamentals that only true mentorship under a real master can provide.
Of course, a similar absurdity was carried out on the top of the instrument as well. In this particular case, the two upper ribs were either replaced or trimmed, further reducing the originality of the piece (a competent professional would have reused the same wood, as they would have the necessary skill, but truthfully, such a professional would never have done this kind of “work” in the first place).
When a luthier builds a bass, he calculates the exact proportions of the instrument, the position of the octave, the F-holes, the base note, and much more.
It’s obvious that someone performing this kind of “patchwork” has never heard of the calculations for F-hole placement, and probably never even played a single passage on a double bass.
To give you an idea of what I’m talking about, this is the same “expert” who drove a nail into the fingerboard of an instrument belonging to a French musician living here. Not only did he get the angle wrong, but left the nail exposed and clumsily filed down in a ridiculous manner.
Even if the motivation behind the modification wasn’t pure financial gain, and even if it was specifically requested by the owner, it is the duty of a serious luthier to advise the client to instead acquire a smaller instrument, and sell the original to someone physically suited to play it.
Many clients have asked me to strip the old varnish from their instruments or to carry out “jobs” like the one described here, and I have refused. And by doing so, I’ve earned even more respect from these people. They now fully trust my judgment.
Given the amount of wood being removed from the instrument, one can only imagine where the octave ended up on this bass.
But for those who never learned to respect the work of others, that doesn’t matter. It’s like someone who writes their name or sticks a label inside an instrument they’re “restoring.” What matters is short-term gain and profit.
An instrument is a part of its maker. Try to respect that. Don’t let amateurs disrespect serious work and true works of art.
If someone unqualified (someone who isn’t a luthier, who never had a master, who suddenly decided he’s a luthier) offers to modify the size of your instrument, or anything equally outlandish, take your bass to a real luthier, just to get proper advice on whether the procedure is necessary at all, and what the correct options might be.
It is the luthier’s duty to guide and tell the truth to their clients, or to anyone who seeks them out for technical, professional, and responsible guidance.
In your city, look for the best luthiers. Learn where they studied and for how long. Learn who uses their instruments, who their clients are. Visit their workshops, talk with them, and trust those who are truly qualified to help you.
If there’s no competent luthier in your city, take your instrument elsewhere to a true specialist, but don’t fall into the hands of amateurs.
Warm regards, and stay alert.
Paulo Gomes
How Not to Be Fooled When Buying an Instrument
A Well-Known Scam Among Luthiers.
A person visits a luthier, leaves a violin for restoration, and says he’ll return in a week.
The next day, another “client” shows up at the workshop, showing great interest in that same violin. So much interest, in fact, that he offers to buy it for US$5,000 and says he’ll come back later to negotiate.
The luthier, not very honest in this case, quickly thinks, “US$5,000 for something worth US$1,000? That’s an excellent deal!”
When the owner returns, the luthier shows little interest but casually offers to buy the instrument for US$1,000, should the owner be open to selling.
The owner hesitates, reflecting on the sentimental value, the sound, even the “otherworldly” qualities of the violin, but eventually says he would sell it for US$3,000.
The luthier realizes that a US$2,000 profit is less than the US$4,000 he originally imagined, but it’s still a solid profit for a simple resale.
He pays the US$3,000 and waits for the buyer who promised to pay US$5,000.
But that “buyer” never comes back, and the greedy luthier is left with a violin he paid US$3,000 for, but can only sell for US$1,000.
The two “clients” were working together and likely split the easy profit.
This story shows how even a luthier can be fooled by an old scam (especially if he’s greedy, inexperienced, or dishonest) and also serves as a warning.
But what’s truly relevant for musicians, especially double bassists in our case, is how to avoid being deceived when buying or restoring an instrument.
There are some subtle traps that can be avoided.
One old and widely used trick in Europe and major cultural centers went like this:
A musician (or luthier, collector, or simply the owner of an instrument), during a press interview, casually mentions owning a rare instrument that would be worth X, with X being a very high number.
The fact that this appears in a magazine or newspaper gives the statement a false air of credibility, even though no specialist has ever evaluated the instrument. Printed words carry weight, simply because they’re published. This is true in much of our “pre-paid media.”
Months later, that same instrument is listed for sale, at a price even slightly below X, showing the seller’s “goodwill.”
Unfortunately, this old tactic seems to be making a comeback.
A few years ago, a national magazine published an article in which a musician claimed to own a double bass that was “about 200 years old and which we believe (he and his ‘luthier’) to be French or Italian.”
That statement would be just silly or laughable if it didn’t also carry, beneath its lack of ethics, a real danger of financial loss for the next buyer, and perhaps even premeditation on the part of the one making the claim.
It’s ridiculous because anyone with a bit of intelligence knows it’s impossible for a so-called “specialist” who can’t even distinguish between a French or Italian origin to claim an instrument is 200 years old.
How does this person know the difference between a 200-year-old instrument and one that’s 100, 300, or even 50 years old, without having any real basis for the claim? Does “200 years” just sound good?
But what does someone gain by making this kind of statement, besides demonstrating total ignorance?
Credibility. And that’s where the danger lies.
When someone is a music teacher, and holds strong influence over students, it becomes very easy to convince them of anything and make them believe in legends.
It’s very possible that soon, just like so many times before, some student will show up here with a newly purchased bass (now with even more than 200 years), supposedly “FrenchorItalian” (a noble-enough origin that explains everything), believing they own the treasure from the legend, and I (or some other responsible luthier) will be the one to tell him the truth.
It may turn out to be a Czech instrument, 30 or 40 years old. Or maybe German. Or maybe excellent. It could be anything, because it’s just a legend. Just a sales pitch.
Some people have even stopped coming to my workshop because I don’t play along with these games. I tell the truth when someone is about to overpay for a highly inflated instrument. But I cannot lie just to please someone’s personal interests.
I live off of trust. Without the trust of my clients, I wouldn’t have restored over 2,500 instruments in my workshop (as of 2025), or be sought out by the leading bassists in Brazil and around the world.
I once had someone bring me a bass for evaluation, asking me to write a grossly overvalued appraisal. I instead pointed out all its issues and gave a fair market value.
Weeks later, a young man showed up with the same bass, saying the previous owner told him I had “already seen it and said it was fine.”
What he didn’t mention was that I had seen it and said it wasn’t worth that much, and that it had serious problems.
He used my name to convince the buyer, who then struggled for months to undo the deal.
Of course, after selling something for a ridiculous price, the seller didn’t want to take the bass back and return the money.
Many musicians manage to undo the sale in time, or at least get the price reduced to a fair value, but you must be alert. When the asking price is fair or close to it, it’s easy to walk away from a deal without harm.
That’s why I’ve always offered a free service here at my workshop.
Besides reselling used instruments, any double bass that a client finds for sale anywhere can be brought to me for a free evaluation before purchase.
That way, the buyer knows exactly what they’re getting: its value, future resale potential, costs for optimal performance etc.
If the seller refuses to allow an evaluation, it’s a red flag, walk away and don’t buy anything from that person.
Everyone who’s followed this advice over the last more than 40 years is happy with his instrument and confident in what he owns. Musicians who seek out a qualified luthier before buying live in reality, not in legends.
Here on this website, you’ll find plenty of tips for bassists, on buying, inspecting, transporting, maintaining, and storing instruments.
The number of newly purchased instruments arriving at my workshop, along with frustrated owners, that require immediate restoration and adjustments just to be usable… or the many basses that were “restored” days earlier but still show major issues… all of that prompted me to write this warning.
Whether you’re new or experienced, don’t fall for these schemes.
When buying an instrument that will stay with you for years, it is crucial that it be evaluated by someone who knows the craft, and that means a LUTHIER.
But not just anyone who claims to be a luthier, like so many today. I’m talking about a trained luthier, with a mentor, with a proper background, a respected name, someone who studies and devotes their life to this art.
Find the best luthiers in your city. Ask where they trained. Who plays their instruments? Who are their clients? Visit their workshops, talk with them, and trust those who are truly qualified to help you.
If your city lacks a competent luthier, take your instrument somewhere else, but don’t fall into the hands of amateurs.
Your music teacher is NOT qualified to evaluate, restore, or sign off on an instrument, just as the driving instructor doesn’t evaluate the car you want to buy.
When buying a car, you show it to a mechanic, not your driving instructor. That’s logic.
Even the instructor himself would take the car to a mechanic, and responsible musicians do the same, by seeking a luthier. Just as ethical teachers do, bringing instruments to be resold at trusted and reputable workshops.
Of course, the teacher is essential in shaping a musician’s path, and their role in preserving art is invaluable. They can sell their own instrument, to whomever they like, but a great deal of ethics is required when doing so.
There are also teachers and musicians who “moonlight” as luthiers, working on their students’ instruments without any qualifications, “learning” on other people’s instruments, taking advantage of the lack of ethics and cultural refinement in Brazil’s classical music scene. But that’s a whole other topic for another day.
What matters is this:
Stay alert. Don’t fall for the “legends” that circulate in this field. Don’t get deceived when buying or restoring your bass.
Everyone who owns a musical instrument loves it. Even if they know it’s not the best, deep down, they feel it’s special, and that is beautiful.
That feeling deserves respect.
Warm regards, and stay sharp,
Paulo Gomes
The Sound Post of the Otherworld
Attention! Do not allow anyone to replace parts or experiment with your instrument.
Once, I received an instrument in my workshop for restoration.
It wasn’t a high-quality instrument, just a factory-made double bass, quite common these days.
Right away, I noticed that the top was slightly deformed in the soundpost area. As soon as I loosened the strings, the soundpost fell, and the top returned to its normal shape. This is a very clear sign that the soundpost was too short for the instrument.
When I removed the soundpost to replace it, I came across this “otherworldly soundpost” that you can see in the photos.
It’s hard to know if this was done intentionally, perhaps to fix a mistake during the shaping of the post, or if it was simply an experiment by a “curious amateur.”
According to the instrument’s owner, that soundpost had been installed just a few days earlier.
In addition to trying to “learn” by damaging someone else’s instrument, inventing things without any prior tests or experiments that wouldn’t harm anyone, this so-called “curious inventor” left the post too short, which compromised the structure of the top plate.
The only thing one must never do is allow the top to warp just to sell a new soundpost.
The area where the soundpost touched the top was soaked in glue, which sealed the wood’s pores. Even worse, a piece of wood was inserted inside the center of the post.
Since this was only on one end of the post, we can conclude that this small piece of ebony served no acoustic purpose and only disrupted the delicate and complex vibrations between the top and the back of the instrument.
Worst of all: the musician paid to have his instrument’s soundpost ruined, and even believed in the effectiveness of this “otherworldly” piece.
I believe that experimentation is valid and important, that’s how we reach new ideas, but it’s absolutely absurd to test new ideas using someone else’s instrument as a guinea pig.
The soundpost is a crucial part of the instrument and should never be replaced without reason, just like the varnish or the bass bar.
If someone unqualified (someone who is not a trained luthier, who never had a master, who just decided one day to be a luthier) offers to replace it, take your instrument to a real luthier first, just so they can assess whether the replacement is even necessary.
It is a luthier’s duty to guide and be honest with their clients, or with anyone seeking professional and responsible technical advice.
Look for the best luthiers in your city. Find out where they studied, who uses their instruments, who their clients are. Visit their workshops, talk to them, and trust those who are truly qualified to help you.
If there is no competent luthier in your city, take your instrument to a specialist elsewhere, but do not fall into the hands of amateurs.
Warm regards, and stay sharp,
Paulo Gomes
The Bass Bar Scam
Be careful—don’t let anyone replace your instrument’s bass bar unless it’s truly necessary.
One time, two instruments arrived at my workshop that had both passed through the same inexperienced hands, lacking any knowledge of lutherie.
In the first one, I saw that a “job” of terrible quality had been done. The entire area of contact between the top plate and the ribs was completely damaged, clearly showing it had been opened by someone incompetent.
Looking at the ridiculously thin bridges, the poor fit, and the pencil scribbles on the top plate, I realized these poor double basses had fallen into the hands of amateurs.
Upon opening the bass, I noticed that whoever committed this crime didn’t even bother to remove the old glue, instead adding a large amount of new glue on top of the old one.
The entire edge of the top plate was damaged and even cut from one side to the other by a visible spatula mark, done by someone who clearly didn’t know how to responsibly open an instrument.
There were also marks on the varnish caused by poorly placed or overtightened clamps, permanently compromising that area.
But the worst was yet to come.
In a reasonably old instrument, a bright white bass bar had been “installed”, made from still-green, damp, poor-quality wood with completely irregular grain, placed at the wrong angle.
Looking more closely at this absurdity, I noticed huge gaps between the bar and the top plate, where there should have been a perfect fit.
It was obvious that some “tinkerer” had replaced the original bass bar of the double bass and committed this atrocity.
But that wasn’t all. ALL of the back braces had been replaced with pieces of equally poor quality as the new bass bar.
This unfortunate individual also cracked the back near the upper bend when changing the brace (a split of around 20 cm). To cover the hole from the break, they glued a strip of a different type of wood in a crude and clumsy way, and then “retouched” the varnish with a horrible finish.
Even the “noceta” was destroyed by this incompetent person.
As soon as I saw all this, I called the owners of the instruments and showed them the consequences of the poor workmanship.
One of them, a young man, told me he had been deceived, since I showed him there was absolutely no reason to replace that bass bar, let alone the back braces.
He told me the so-called “repairman” had convinced him that the instrument’s sound would improve significantly if he replaced ALL the internal braces. This is ridiculous.
I already knew this bass and knew it didn’t need new bars. That “work” was a scam. Not only because it involved unnecessary procedures only to make money, but mainly because it severely damaged the instrument through this sham.
On a flat back, there’s a tendency for a belly to form inward. That’s why, when braces are installed, they should be slightly arched outward to compensate for the natural inward bending over time.
After years, if the back is severely sunken inward, the braces can be replaced, but only after the back is returned to its original position.
In this particular case, less than a month after the braces were replaced, the back was already completely warped inward. The wood used for these new braces was of much lower quality and much younger than the original material.
Later, I developed a system that prevents this kind of problem and ensures the braces never need to be replaced or reglued.
The case of the top plate was even worse, if that’s even possible.
The bass bar is a very important piece in the double bass. It’s responsible for distributing the low frequencies across the top plate and reinforces the area to withstand the string pressure.
Normally, when a bass bar is well made, it takes a while for the instrument to regain its previous tonal characteristics and flexibility.
The instrument needs to be played for a while so that the new bar can “break in,” so to speak.
When the top starts to sink inward on the right side, it usually means the bar is “tired.” This happens over time. But in this case, the top plate was in perfect condition and still had many years of life left, it was in its best phase.
Right when the bass bar was doing its best work for the sound of the double bass, along comes a greedy person who, for easy money, removed it and replaced it with a poorly made one using low-grade wood, which left the instrument sounding far worse than before.
The most unbelievable part was that this miserable destroyer of instruments even signed his name inside the bass with a pen.
My master, Enzo Bertelli, used to say: “Anyone who writes inside an instrument is like someone who writes on a bathroom wall, and they usually do the same thing to the instrument as the other does in the toilet.”
I won’t name him here, because I have no interest in giving publicity to dishonest and opportunistic people, and unfortunately, there’s already another “specialist” doing the same thing (replacing the bass bar unnecessarily) and attaching a huge plastic label inside the instruments he abuses.
When taking your instrument to a luthier for restoration, don’t forget to ask if they like scribbling or sticking things inside the double bass, and don’t let anyone do that.
I feel obligated to warn double bass players. Unfortunately, in Brazil, unlike more developed countries, there is no regulation of this profession, no unions, no laws etc.
Here, all someone needs is a hammer and to say they’re a luthier, and just like that, they start ruining their friends’ instruments, and those of others referred to them, often with the best of intentions.
If you’ve received a recommendation for someone you suspect does this kind of “work,” give me a call and I’ll personally let you know if they’re a danger to our beloved instruments.
The bass bar is a very important part and should never be replaced lightly, just like the varnish.
If someone who is not a qualified luthier (someone without a master, who one day just decided they were a luthier) offers to replace it, take your instrument to a real luthier first so they can guide you on whether it’s actually necessary.
It is the duty of the luthier to guide and speak truthfully to their clients or anyone seeking technical, professional, and responsible advice.
Look for the best luthiers in your city, find out who trained them, who plays their instruments, who their clients are. Visit the workshops of real professionals, talk to them, and trust those who are truly qualified to help you.
If there is no competent person in your area, take your instrument to a specialist elsewhere—but don’t fall into the hands of amateurs.
Best regards, and stay sharp.
Paulo Gomes
The Tale of Varnish
Be careful — don’t let “curious amateurs” fool you or try to replace the varnish on your instrument.
Have you seen Evaldo Guedes’ double bass?
If you have, you’ll likely be very upset to learn what happened to it. And if you haven’t, this story will show you the kind of scam that’s still happening today in Brazil and may help you avoid the same fate with your instrument.
This bass was one of the most beautiful instruments ever to pass through my workshop (and I’ve seen over 2,000 different instruments).
It was a luthier-made double bass, most likely Italian, based on its shape, purfling, and varnish (the original one, of course).
It’s very difficult to pinpoint the exact origin of the instrument, as it doesn’t have a label (almost certainly removed by some incompetent person), and it has already lost several important original features.
Only a detailed analysis with X-rays, infrared, and other equipment, and comparison aided by reference books, done by a valuation expert, could determine its origin. This kind of work is very expensive, typically costing a good percentage of the instrument’s value.
In the photos below, you can see that the upper shoulder is arched, as in violins, violas, and cellos.
This is a distinguishing feature of old Italian double basses, but the double bass has never been standardized like the other bowed string instruments. That’s why French luthiers sometimes used Italian models, Viennese luthiers used French models, and there’s always been a blend of styles and techniques across European countries, which was beneficial for the instrument’s development.
Today, the double bass is played in a much broader way than in the past, demanding far more comfort, and so this model is no longer in use. But as an instrument, it was a masterpiece, clearly the work of a great craftsman.
Besides being built with beautiful woods by an extremely skilled luthier, the most striking feature was its magnificent oil varnish, a pale yellow color that highlighted the wood, especially the flamed maple, and created a stunning sense of depth. You rarely see anything like it today.
Unfortunately, the worst thing that can happen to an instrument happened to this bass: it fell into the hands of an incompetent amateur who, in addition to replacing the bass bar (unnecessarily, only to make easy money), scraped off the original varnish and replaced it with something that can’t even be called varnish.
The issues with the bass bar and other damage are similar to what you’ll find in the articles “The Bass Bar Scam” and “How Not to Be Fooled When Buying an Instrument” on this site, same type of damage, though done by various “authors” of these misdeeds.
After scraping off the original varnish (which completely devalued the instrument and made it far harder to sell in Europe or any major cultural center), this poorly informed “tinkerer” stained the wood with a petroleum-based oily product. The wood absorbed it, clogging the pores and completely destroying the traditional flamed maple visual effect (known as marezzatura).
When done correctly, varnish not only enhances the marezzatura, it gives the wood a beautiful depth effect.
As you move the instrument or change the viewing angle, the light and dark flames shift — a striking, three-dimensional visual effect.
When someone stains the wood with a generic product, the pores get clogged. Due to the natural undulation of the wood grain, more stain settles where the grain is vertical and less where it’s horizontal. The result: no shifting effect. The flames remain static like painted stripes (like a zebra), losing all depth and character, the very qualities that have enchanted musicians and luthiers for centuries.
If this person had even read a single book or a basic article about lutherie, he’d know that what he did was essentially a crime against the instrument.
If this curious amateur had trained with a master luthier, he would never have committed such harm to an instrument of such historical and artistic value, even if the instrument’s owner had requested the varnish be replaced (musicians aren’t expected to know these things).
I myself have refused to do such damage to various instruments, explaining to their owners how absurd it would be to replace an original varnish, already beautifully oxidized by time and crafted by the original maker. And once I explain the real purpose of varnish, I always receive a positive response.
Evaldo Guedes himself once came to me asking to remove the varnish, and I refused.
Now, the result is a bass completely scraped with sandpaper, with visible scraping marks, totally clogged pores (which greatly impaired the sound), the depth effect lost forever, and a coat of pure shellac on top of this disaster, giving it the shiny look of the worst factory instruments.
The petroleum-based product soaked several millimeters into the wood. Nothing can be done to recover it.
It’s a tragedy, a centuries-old piece of high artistic value reduced to a poorly finished piece of furniture.
What most likely happened is that during the gluing of some cracks, the two sides weren’t properly aligned, and to avoid a visible “step,” they sanded the higher side, a ridiculous act that ruined the varnish and exposed the poor repair work.
Instruments that are black or very dark are often finished that way to cover up poor restoration.
Look at the photos and try to imagine this instrument with its original oil varnish, pale yellow and oxidized over a hundred years, made by the original maker, and without all those dark stains. As it stands now, you can’t even see the beautiful wood grain anymore.
Now look at this photo of Glen Moore (from the group Oregon) with his instrument — a 1715 Klotz.
You can see that the varnish is quite worn and oxidized by time.
It’s an instrument made when Johann Sebastian Bach (1685–1750) was 30 years old and composing his masterpieces.
Fortunately, this double bass (which has a dragon’s head carved into the scroll) never fell into inexperienced, greedy hands and still retains its original varnish.
It has been restored by Paul Toenniges and also by Paul Schuback, and since they were true luthiers, its original varnish has been preserved.
Now try to imagine that beautiful bass full of sanding marks, with a layer of dark brown (almost black) “paint,” full of stains, and a shellac shine like the worst factory instruments.
It’s hard to imagine anyone trying to deceive a musician like Glen Moore, but if his instrument ever falls into the hands of these incompetent types, who “learn” lutherie by ruining others’ instruments, it’s not hard to imagine them scraping off that varnish and replacing it with something they consider “better” (and charging for it, of course).
Someone with no sense of lutherie might think a new, shiny varnish looks better, but anyone with a bit of knowledge knows the damage done to the sound and value of the instrument is irreversible.
To make matters worse, just look at how the instrument was closed after being opened to replace the bass bar (which wasn’t necessary to begin with), and the new bass bar is already starting to fail just a few months later. (See the article “The Bass Bar Scam” on this site.)
The green arrow shows the proper edge thickness of the instrument (around 3.5 mm), which should be consistent throughout, and which is still intact on the back plate (luckily left untouched). The yellow arrow shows what happened to some parts of the top after being closed by someone incompetent. Notice the 18 mm gap between the edge and the ribs. If some areas stick out this much, in others, the edge is missing, exposing the ribs beyond the instrument’s outline.
Naturally, this “destroyer” of instruments didn’t miss the opportunity to glue a label inside the bass with his name and address, claiming to specialize in violins, violas, cellos, basses, bows, etc.
Varnish is an extremely important part of the instrument and should not be replaced lightly, just like the bass bar.
If someone unqualified (not a trained luthier, with no master, who just decided to be a luthier) offers to replace it, take your instrument to a real luthier first, just to get professional advice on whether the service is necessary.
A luthier has to speak honestly to their clients or anyone seeking technical, professional, and responsible guidance.
Search for the best luthiers in your city. Find out who they studied with, for how long, who uses their instruments, and who their clients are. Visit their workshops, talk to them, and trust those who are truly qualified to help.
If no one competent exists in your city, take your instrument to a specialist elsewhere, but don’t fall into the hands of amateurs.
Warm regards, and stay sharp
Paulo Gomes
Endorsement and Other Unfair Practices
Don’t be fooled by the practices described here.
When I began in lutherie in 1980, there was still a practice dating back to the 18th century, which consisted of a “partnership” between the luthier and the music teacher for selling new or used instruments and offering repair services.
This subject has generated many publications and debates, with a wide range of opinions about the seriousness and honesty of certain practices.
Some teachers earned more than the luthiers themselves, and more than they did from teaching music, just by reselling the luthier’s work.
Since beginners know very little, it was (and still is) common that when a teacher sells their instrument to a student, it is, without a doubt, “excellent,” since it was the “teacher’s instrument.” Convinced, the student’s parent pays for it, believing they’ve purchased the best possible option. The reality is almost always different.
If the instrument is truly exceptional, and if the teacher is truly good (and therefore should be able to recognize such a high-quality instrument), then why sell it?
And why sell another one a few weeks later — and then another, and another? Why not let the buyer take the instrument to a specialized luthier BEFORE the purchase?
Some people have made money off this kind of practice, and from the very beginning, my position has always been to tell the truth to clients and never imply that someone’s instrument should be purchased unless I genuinely believed it was worth it.
It wasn’t uncommon for me to receive offers to “push” a double bass on a client and then split the profit with the teacher afterward.
Sometimes, students of this type of unscrupulous person would show up at my workshop convinced they had the greatest instrument in the world, thinking it just needed a few adjustments. What I’d find instead was a poorly made instrument and/or one in terrible condition.
Naturally, my stance in such cases caused discomfort among this little “mafia,” and to this day, there are teachers who avoid me and constantly try to discredit my reputation or downplay my work, often because a deal fell through after I told the truth to a prospective buyer.
In recent years, from time to time, a so-called “expert” pops up, endorsed by this crowd: a musician who “also repairs instruments,” a retired guy from the countryside, a cunning fellow with no real training, always trying to revive the teacher-luthier duo.
Time has shown I was right. With more than 40 years in the profession, all I see is the horizon expanding before me — achievements both in Brazil and abroad, built with hard work and integrity. Meanwhile, these people lose out on the best jobs, jobs they only got thanks to “connections,” but which, like lies, don’t stand the test of time.
I intend to continue with the same attitude I’ve upheld throughout my entire professional life:
I evaluate any instrument brought to my workshop, free of charge, BEFORE it’s purchased.
This way, a reliable and qualified opinion will guide the future owner of an instrument, not the sales pitch of a self-serving “teacher-salesman.”
Stay sharp and don’t be deceived.
Another practice I’ve never adopted is “endorsement“. Endorsement is when a company pays a musician to say they use a certain product and appear in magazines and other media.
Often, this form of deception doesn’t come in the shape of an ad but appears instead within an article in some specialized publication. That’s the most misleading form of all.
I’ve never paid or offered any discount for someone to promote my work.
Every opinion by musicians on this site and elsewhere is spontaneous, from satisfied musicians, and every owner of one of my instruments paid a fair price for it.
Contrary to what was published in an electric bass magazine, I have no endorsement deal with virtuoso Marcos Machado. He commissioned and paid for his instrument just like every other musician who has ever ordered a custom instrument from me.
If you read a bass magazine, you’ll notice that John Patitucci “uses” almost every pickup brand on the market. He appears in every pickup ad. It’s ridiculous! Whoever pays more gets the big names to endorse their products.
An acquaintance of mine used to beg me to give him a bass for free, claiming he had many students and would help sell a lot of instruments. I never agreed to that sort of thing, and today I see he finally found a factory willing to give him all the free basses he wanted in exchange for the promotion he now provides.
For this same reason, you won’t see me featured in or writing columns for Brazilian double bass magazines, because I would be required to advertise with them, and if I held a contrary opinion in an article, I’d be forced not to criticize any advertiser, sponsor, or commercial interest. It’s all just business, profit, and money.
This is very easy to understand: money buys visibility and media exposure, but integrity, focus, and real work give strength to a name that’s been in the market for over four decades.
Be smart.
Just because an ad shows a musician you admire next to a product doesn’t mean they actually recorded their albums with it, or even use it at all. It just means that the musician got paid to put their image there.
All the best, and stay alert
Paulo Gomes
Nonsense of Curious Who "Burst"
Be careful, don’t let amateurs deceive you and charge you to damage your instrument.
Have you ever seen something like this?
I hope it wasn’t on your instrument.
To begin with, let’s talk a bit about this type of device, its function, when it’s truly necessary, and how it should be designed to avoid the absurdities shown here.
This is a method used to slightly reduce the pressure that the strings exert on the top plate of the instrument. But it seems that some amateurs are trying to convince musicians that it relieves the tension in the strings themselves, making the instrument “softer” to play, and earning easy money by damaging the instruments of unsuspecting players.
The change in bridge angle is minimal, and the string tension remains completely unchanged since the length of the string and the pitch it vibrates at do not change.
Let me give you a practical example using an acoustic bass guitar I modified for demonstration.
The original angle.
The new angle.
In the photos above, you can see the angle of the strings before and after I modified the instrument.
Let’s analyze why I decided to make this change.
Like every acoustic bass guitar with a classical-style bridge, this one was warping due to the tension on the bridge. The lower part of the top was bulging out, and the bridge was beginning to separate from the top plate.
This happens because the ball end of the string pulls the top upward, while the saddle (the small ridge where the string rests) pushes it downward. There’s a distance of about 3 cm between these two points, as shown below.
The forces at work before the modification.
This is the only acceptable reason to modify the angle of the strings at the bridge.
The string tension and the feel when playing were not affected.
The only thing that improved was the unnecessary pressure on the top, which was eliminated.
The string length remained the same, the tuning was the same, and so the string tension in kilograms remained the same. Unless there’s a psychological effect at play, you won’t notice any difference in how the instrument plays.
Now that we understand the function of a piece like this, let’s look at this “marvel of engineering” that showed up at my workshop.
It’s a poor attempt to copy an elevated lower saddle, but the way it was poorly designed and executed only serves to permanently damage the instrument’s top plate.
At first glance, you can already see that, in addition to denting the top from the tension of all the strings, there’s a screw driven through the lower ribs and the bottom block, holding everything in place.
I don’t even need to explain how absurd it is to put screws in a musical instrument like a double bass.
In other words:
You pay for this, your top plate gets crushed and permanently damaged by a useless device, and on top of that, a giant screw is drilled through your instrument. Genius.
The top plate (the most refined and sensitive part of the instrument) had already sunk about 4 mm in an area with only 7 mm of total thickness.
This is a delicate area and is already on its way to developing lateral cracks due to the unnecessary pressure on the wood.
Even a trained luthier who’s still inexperienced would never fail to notice that something like this would damage the instrument, and would try to design a better solution.
Take a look:
The “marvel” with its “delicate little” screw.
In the background, you can see the crushed top plate and the saddle already coming off due to poorly applied force.
The ribs also buckled. The saddle came off. But the “highlight” is the nice little hole drilled in the instrument.
What is this?
This doesn’t come anywhere close to the work of a true luthier.
The endpin couldn’t withstand the stress caused by the poor design.
To top off this brilliant “work” of damaging the top, the lower ribs, the bottom block, the endpin, and the lower saddle of a musician’s double bass, the “amateur” also worked his magic on the upper saddle like this:
What do you think is going to happen to the E string, the thickest of all, with a curve like that at the nut?
If all of these negative factors are present, then why does this type of device even exist? And why have I myself installed a few (very few) over more than 40 years of work?
These devices came into use when old instruments originally built for three strings were converted to four or even five strings — creating the need to relieve pressure ON THE TOP of the bass.
Of course, no real luthier would ever create something as dreadful as what you see here.
We’re talking about properly built devices, installed only when absolutely necessary, designed to preserve the instrument’s structural integrity — such as when adding a string results in significantly more pressure on the top.
Extremely old instruments — over 200 years old — with wood that has become fragile, dried out, and shrunken, can also benefit from a solution like this.
If it were true that this kind of device changes the tension felt by the musician when playing, then my acoustic bass guitar would have almost no tension at all, the strings would be buzzing from the lack of pressure, since, as you can see, they’re barely angled at the bridge.
But that, of course, did not happen.
The playability of the instrument remained the same.
What did visibly improve was the warping in the top, which had already begun — and is now gone.
On a properly built instrument, the string angle at the bridge is about 148°. With an elevated saddle, it becomes about 152°.
This 4° difference does not change the felt tension when playing.
As I’ve said, what is very slightly reduced is the downward pressure the bridge exerts on the top plate.
By modifying this pressure, the tone is also slightly affected. Not always for the better.
I’ve removed many of these devices because they were harming the instrument’s sound with excellent sonic results just by returning to the original setup.
I’ve also installed a few on basses that genuinely needed top relief, always with well-designed components that can be removed in seconds, returning the instrument to its original condition, no holes, screws, or wood damage.
Of course, there’s always a psychological factor, which makes it hard to correctly assess what we’re hearing now versus what we hear after an hour or more of playing. That’s natural and must be considered.
Installing a device like this is already misleading the musician and should never be done.
Charging to damage someone’s instrument is something only a bad actor, who knows how to deceive people, is capable of.
Don’t let yourself be exploited by amateurs looking for quick money who don’t even bother to learn the craft or assess the consequences of their “work.”
An instrument is part of its owner. No matter how simple it is, it deserves respect. Try to honor that and don’t let amateurs ruin what you love.
If someone who is unqualified (not a trained luthier, never had a mentor, just decided one day they were a luthier) offers to install a device like this or perform some flashy “modification”, take your instrument to a real luthier so they can advise you whether such a procedure is necessary, and what the correct options are.
It is a luthier’s duty to guide and speak the truth to their clients, or anyone who seeks professional, technical, and responsible advice.
Look for the best luthiers in your city. Find out who they studied with and for how long. Learn who uses their instruments, who their clients are. Visit their workshops, talk with them, and trust those who are truly qualified to help you.
If no one competent exists in your town, take your instrument elsewhere, but don’t fall into the hands of amateurs.
All the best, and stay alert
Paulo Gomes
Some Equipment Damages the Instrument
Attention — be careful not to damage your instrument.
The top plate of an excellent instrument, dented in its most sensitive area.
There are pickups that, due to their design, damage the instrument and should be avoided.
The damage shown here, which I often come across, was caused by the Realist pickup.
This pickup has two cylindrical elements sandwiched between two thin plates which, under the pressure of the bridge, crush the top plate exactly in the area that most needs to be preserved.
Most pickups are very similar; what differs is the way they are installed on the instrument, and this particular system is very poor and the most harmful to the double bass.
Of course, the choice of pickups, like the choice of strings, depends entirely on the musician’s personal preference. It’s not my place to declare which string is the “right” one or which pickup has the best sound.
But I can offer an analysis from the perspective of both a musician and a luthier.
Because the pickup is always under pressure, the signal is weak (try overtightening an Underwood pickup or something similar and observe the feedback), so you end up having to turn the amp volume up higher, which is not always desirable.
The sound becomes somewhat muffled and lacks clarity. That’s why many players actually like this pickup for bowed playing, since the volume is naturally lower, more blurred, and less bright.
As I said, my unfavorable opinion of its sound is personal, but what I’m reporting about the permanent damage caused to the top plate comes from a luthier with some experience, and can be seen here by anyone.
If we consider that this bass was built almost 80 years ago, in Germany, we can imagine the many adventures and stories it’s been through before arriving in Brazil.
Seventy years from Germany to Brazil, who knows how many owners, only to have the top plate damaged in a single day by a pickup that leaves much to be desired. That doesn’t seem right to me.
This is the piece that sits under the bridge foot.
The piece is pressed between the bridge and the top, damaging it.
Most pickups can be repositioned, allowing different tonal colors until the player finds one he prefers.
But in the case of this model, there’s nothing that can be done; it remains fixed in place, under extreme pressure.
The choice, of course, is yours, but I don’t believe it’s necessary to damage the most refined and important part of a double bass only to amplify it.
The large number of instruments I’ve seen at my workshop damaged by this type of pickup led me to create this page, simply as a warning.
Remember: after you, the bass will continue to exist, and it will have other owners who deserve to inherit an instrument in good condition.
Of course, the manufacturer pays well-known musicians to pose in magazines, using the not-so-honest practice of endorsement. In doing so, they end up selling a lot to a public easily swayed by this type of “recommendation.”
See the article on this site about endorsement.
That’s it.
All the best to everyone.
Is Jazz Elite Music?
By Kiko Continentino
Last year, I had the pleasure of performing with my instrumental group (ContinenTrio, formed with my two brothers and a drummer) at a prestigious music festival in Brazil: the Tim Valadares Jazz Festival, in the state of Minas Gerais.
Its organizer, journalist Tim Filho, pointed out an interesting detail to me: some people in the city (Governador Valadares) turned up their noses, claiming that jazz is elitist music, disconnected from the needs and desires of the common people.
Curiously, much of the festival’s audience came from the city’s poorer neighborhoods, while many of those who criticized such an important cultural initiative belonged to the wealthier classes.
At Tim’s request, I began drafting an essay on the topic, which I now share below:
Is Jazz Elitist Music?
To me, this is a provocative and controversial question. Since I enjoy exploring themes like this, I’ll try to delve a bit deeper into the issue by reflecting on the meaning of the words that form the basis of this discussion.
In my opinion, jazz is not merely a musical genre. More than that, it represents a musical/artistic concept. We can say that jazz is not just what you play, but how you play it. One important element is the musician’s attitude toward risk, toward the unknown.
There are no limits, no fixed formats — maybe only suggestions. And the artist has the right (and even the duty) to propose new solutions and new directions. To play jazz well, you need a very high level of technical skill, similar to what is required in classical music, and in very few other musical contexts. But jazz also demands that the musician exercise their full creative power. What sets the great jazz players apart is not their technique or form — it’s the content of their ideas. It’s the way they stamp their identity on the sound — sometimes with elegance and subtlety, other times with strength and impact. In short, the jazz concept allows the artist to create and express their personality through the music they’re crafting.
And this music doesn’t have to be jazz in the strict sense. On the contrary, I increasingly see jazz as a vehicle for other musical languages — a passport to any direction. Those who’ve been through the “school” of jazz are equipped to explore other styles — provided, of course, they do so with the humility and respect required by any serious research.
Continuing in the crazy task of trying to decipher the undecipherable, let’s now look at the idea of elite art.
Historically, we know that knowledge — the repository of ideas of any kind (science, technology, behavior, and the arts, for example) — has always been held by the dominant classes in society. Whether political, military, economic, or religious (often a combination of all these powers), this elite controlled the arts and interfered in their development, leaving the less privileged classes outside this process, naturally. Knowledge, learning, and culture were in the hands of the powerful, the elite.
The common people were left to fight for survival. It’s interesting to note that little has changed in this regard — except, perhaps, for one detail we’ll get to shortly.
The 20th century brought a whirlwind of changes to humanity. Advances in all directions, everything happening at an astonishing speed, in a vertiginous rhythm of constant expansion. Jazz emerged during the first half of the century as American popular music, and this popularity spread across the world. People sang and danced to the sound of jazz big bands. It was the music heard on the radio, in TV programs, and in Hollywood films. It was the soundtrack of a time, of a generation.
Starting in the 1940s, with the end of the swing era, jazz musicians evolved in a decisive way — an evolution some purists objected to. But it’s important to understand that the bebop movement, led by Parker, Gillespie, Monk, Powell, Mingus, and others, unquestionably represented a qualitative leap — a major achievement in the three fundamental pillars of musical language: melody, harmony, and rhythm.
Coincidentally (or perhaps not), jazz lost its status as popular music and moved from the grand ballrooms, where bands played vibrant dance music, to the smoky, cramped nightclubs. Other movements followed: the cool jazz of Miles Davis and Gil Evans, free jazz with Coltrane, and then fusion (again with Miles as a leading figure), where jazz in its essential form reached a kind of limit and then continued evolving by incorporating elements of other styles like rock, blues, soul, and so on. Even bossa nova influenced this process. Still, jazz increasingly became associated with a more culturally elite audience. Needless to say, this represents a small fraction of the population — people who deepen their knowledge in schools, universities, theaters, museums, and the like.
And here lies our main point. We are talking about a cultural elite, not an economic one. Even though one can influence the other (money does buy better access to education), I’ve noticed a subtle but significant reversal in this trend.
Let’s now shift the focus to our own country.
Brazil’s musical culture — one of the richest and most diverse in the modern world — peaked in the 1960s, alongside movements in cinema, poetry, literature, and visual arts. Many believe that up until the military coup of 1964, Brazilian culture was going through one of its most fertile periods. Today, in an era of cultural trivialization, we often witness a reversal of values.
Art now serves the market, rather than the other way around, as it should be. These days, the “successful” artist is usually the one who keeps one (or both) eyes strategically fixed on the capital flow of their environment. Always in tune with market trends, the artist becomes a prisoner of their commercial talent, shaping their creativity to fit current consumer tendencies. This advertising-savvy talent is often supported by the media, a crucial pillar of this system. And this is no surprise, since everything today revolves around consumption.
Meanwhile, the artist who remains outside the big machinery of the show business world becomes a kind of cultural outlaw. Refusing to surrender to the formulas dictated by financial logic, all they have left is the tireless, stubborn practice of their craft — something akin to a cultural guerrilla campaign.
Returning to our initial question, “Is jazz elitist music?”, it’s ironic that, nowadays, the economically privileged classes have surrendered to low-quality music, often labeled as “people’s music.” A label that reflects the poor state of education and neglected culture made available to the people in a country with so much potential. The genre doesn’t matter: romantic kitsch, pop-sertanejo, pagode, axé — sometimes all mixed. There’s a clear formula: weak melodies, pathetic harmonies, dreadful lyrics (anything that might sound intelligent is carefully avoided), and super-catchy choruses designed to stick in people’s minds. Add a calculated dose of personal charisma (which has nothing to do with artistic quality), and success is guaranteed.
However, I’ve also noticed the emergence of a consistent alternative audience in search of new information, new ideas, and new values. A public that understands that art can be more than just a product — that it can also be a force for reflection and emotion, something that makes people think and grow, not just have fun. Over time, more and more people will realize that music is not like shampoo, cars, or laundry detergent. Music can truly be more than a product, even though the industry keeps insisting otherwise.
As for this audience — this elite, if you will — I’ve noticed a significant shift in its profile. These are often middle- or lower-class people, which, to me, represents real progress in building a new kind of audience that’s open to more daring artistic propositions.
I conclude with the hope that one day there will be more democratic space, not just for jazz, but for any kind of quality musical language, both in Brazil and in the world. And we know that, for this to happen, we must work twice as hard, tirelessly.
So let’s get to work.
Kiko Continentino, June 2002
Kiko is a pianist, arranger, composer, and music producer.
Know your Job
Practical Advice on How to Become a Better Professional Bassist
By John Adams.
Well, it happened again today. While I was out, a bandleader left a message on my answering machine inviting me to a gig that I won’t be available for. Since I already have a booking, I could just delete the message and assume he’ll move on to the next name on his list. Instead, I’ll make every effort to contact him first thing in the morning to say that, unfortunately, I won’t be able to take the gig, and I’ll offer to recommend another bassist. Over the many years I’ve worked as a professional bassist, I’ve learned that being a responsible professional musician requires more from me than just playing my instrument well. Every time I communicate with my colleagues, phone, email, letter, or in person, send important signals about my level of professionalism and dedication, signals that can start or end a working relationship. So it’s worth taking the time to think about how I represent myself in these situations. If you’re wondering “why?”, keep reading.
Pay Attention to Details
There’s a fine line between being obsessive and handling details well. You’ll learn where that line is by crossing it a few times—just don’t go so far that you lose track! Remember, a one-night event can often be like your first day on a new job. Don’t make assumptions—be willing to ask the person hiring you questions. You might come off a bit nitpicky, but that’s okay—write down whatever is necessary.
Maintain a Good Appearance
I’m not saying you should show up looking like a TV show host, but a simple, positive attitude, optimistic behavior, and a good sense of humor go a long way in making people around you feel at ease. Frankly, some people have to work harder than others to show these positive traits. Each of us has strengths and weaknesses, but part of growing is learning how to manage and even overcome those weaknesses.
Your personality shows in many ways—from your phone style (including your answering machine greeting and how you leave messages), to your handshake, how you make eye contact, how you speak about others, the topics you raise, and the jokes you tell. You also communicate your attitude through body language when you play—even unintentionally. So it’s worth reflecting on all of these things and making sure the message you’re sending is the one you intend.
One specific example: when I was in college and for a while afterward, I sometimes thought it was funny to record strange or silly greetings on my answering machine. Once, a musician friend was kind enough to tell me he had recommended me for a gig, but the person calling back asked, “Is John okay? He sounded sick on his voicemail.” I’m sure I had a great time recording that message, but its tone ended up embarrassing the friend who recommended me.
Keep Good Records
Using a calendar, a notebook, a PDA, or any scheduling software is essential to manage the many details involved in professional work. Also, start maintaining a database of phone numbers, emails, and addresses. I use multiple tools to manage my schedule and notes. In my planner, next to each gig (or on the facing page), I write all the useful details: contact name, start and end time, dress code, required gear, etc. It may take a minute or two to input this information, but in the long run, it saves me time and energy by keeping everything in one place.
One of the most common mistakes musicians make is double-booking themselves. But you can avoid that sinking feeling (when you realize you’re expected in two places at once—or worse, you miss a gig entirely) by using a planner and staying organized.
Expect the Unexpected
One recent weekend, I left for a gig that normally takes 15–20 minutes to reach. I left with plenty of time, but once I got on a major avenue, I realized I was in trouble. There had been an accident, and part of the street was blocked. I tried the side roads, but they were also jammed. I even ended up in the middle of a Greek food festival! About 10 minutes before I was supposed to be on stage, I called the venue and asked them to let the bandleader know where I was and when I’d arrive. I got there just in time to start, but thanks to my call, no one was worried about me.
Until you’ve worked professionally for a while, you won’t know all the things that can go wrong—getting lost, stuck in traffic, car trouble, forgetting essential gear or clothing, and the list goes on. Always have the venue’s phone number and/or your contact’s cell number with you. If you’re running late or almost there, the folks already on-site will appreciate the update.
You can never have too many phone numbers. One night, on my way to a gig where I was the leader, a musician I’d hired called to say his afternoon gig was running late and asked what to do. I grabbed my planner, made a few calls, and had a sub on the way. We started on time.
Depending on how complex your gear setup is, you might need a checklist prepared in advance and might even load your car the night before. My car has basically become a mobile gear shop with crates full of cables, stand lights, mics, and all kinds of adapters! That stash has saved more than one gig, providing gear for others when needed.
Say What You Really Mean
I read a great quote in a book once: “Let your yes be yes and your no be no.” If you can’t do something, say so. If you need help, say it. If you need time to check your availability, say that. And if you promised to get back to someone the next day, call them the next day (even if you don’t have a definitive answer yet). This direct approach builds credibility and avoids many misunderstandings.
Allow Extra Time
I’ll never forget one of my teachers saying, “Young musicians eventually learn that bandleaders and venue owners can always find someone who plays well enough, shows up on time, and is dressed appropriately.” That’s a blunt statement, but it’s true. I’ve noticed some musicians always show up at the last minute and always need extra time. They seem unaware of either where the gig is or where they live! But if you’ve built a reputation for being reliable and punctual, then if something truly does delay you, people will know something unusual must have happened.
Have the Right Tools for the Gig
Bassists are among the most versatile musicians in the world, with a wide variety of gear and style options. Even classical bassists need to be flexible, both in style and how their instrument is set up—whether it’s a full orchestra, chamber group, pop concert, string section gig, or solo recital. Electric bassists might have the trickiest setups. An extreme example is a Nashville session player whose road case (handled by a cartage company) holds about 25 electric basses! Don’t worry about trends—just work on gradually collecting quality instruments over time and learn how to maintain them properly.
Play What’s Right for the Gig
A world-renowned bassist known for his dazzling technique was on his first tour with jazz legend Stan Getz. On the first two Fridays of the tour, Stan paid the other band members, but not the bassist. On Saturday, the bassist finally got the courage to ask, “Why am I not being paid with the rest of the band?” The answer: “When you start playing with the band, you’ll get paid with the band.”
I’m stating the obvious here, but many young musicians treat every performance like a practice session for whatever style or technique they’re working on. But a savvy pro adapts to each situation. A mature player gradually shifts their focus from “How did I play?” to “How did we sound? Did we play well together?” An experienced musician accepts criticism and learns from others.
It amazes me that some young players think they’ll sound good in a genre they’ve never rehearsed, heard, or studied. And many jazz students assume that since most pop music is simpler than jazz, they can wing it. Believe me—you won’t sound good in *any* style until you’ve worked at it. Another important way to prepare for different types of gigs is to attend performances in various genres—even if they’re not your favorite.
Dress Appropriately for the Gig
Most professional gigs have some kind of dress code, spoken or unspoken. If you want to be hired again, wear what’s required and appropriate. The same goes for your personal grooming and hygiene. It’s not worth wearing a pristine suit if your hair looks like you’ve stuck your finger in a socket! If you can’t manage your attire and appearance, don’t accept the gig.
Generally, men should have a tuxedo (with black tie and dress shirt), at least one good dark suit, a few ties and dress shirts, and black dress shoes (brown shoes as an option). Women need a variety of outfits, including something formal, all-black, and floor-length. Women have a wider range of styles to choose from but should typically err on the conservative side rather than flashy, short, or sheer. Many venues frown on sleeveless tops for women, and many orchestras have recently formalized bans on perfume, as it interferes with breathing for woodwind and brass players.
Be Physically and Mentally Prepared
One night, I was playing a ballad with a group and got really sleepy. I “woke up” to realize I was staring at the floor, holding one note, and the whole band was staring at me! While being in demand is a good sign, if you’re too busy, your performance quality can drop, and mistakes may increase. You have to balance life and work. Learn how to take short naps. Plan ahead and study the music in advance whenever possible. Do your best to be rested and prepared for every gig.
I’ve been a professional bassist for 26 years, and I’ve learned that if you keep an open mind and pay attention, you can learn a lot. The truth is, we all learn through a combination of good advice, observation, and making mistakes. But a smart person learns more from others than from trial and error—and fools hardly learn anything at all.
I hope this advice becomes part of your internal motivation and your approach to becoming a professional bassist. As they say, integrity means doing the right thing even when no one is watching.
John Adams is a bassist, teacher, and bandleader based in Dallas, Texas.
He has an extensive background in classical, jazz, and pop music and has taught at colleges and universities for 14 years.
Despite the mistakes described in this article (and others), he made along the way, he still plays professionally every day.
Making – Restoration
Maintenance – Rent
Evaluation – Buy and sell
Specialized in Double Basses since 1980
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Making – Restoration
Maintenance – Rent
Evaluation – Buying and Selling
Specialized in Double Basses since 1980
Rua Marselhesa 387 – Vila Mariana – SP
Monday to Friday from 10 am to 5 pm
By appointment only
We send only ONE email each month with instruments for sale and new products.
Subscribe below to be added to the list.
© Copyright – 2021 – Paulo Gomes – All rights reserved
