Oppelt Spiccato Masterclass

[@fowlerbass]

I continue to use this as the de facto demonstration of spiccato on German bow, both for my students and myself! Thanks a ton for the years of support and tutelage, Bob!

[@robertoppelt4678]

Awe thanks, Patrick. Not much production value but I guess a few people have benefited. And by the way, your bowing technique was/is superb. Tubin!

[@GERALDOuncleG]

Great info and technic to help us!

[@DimmuBorgir123456789]

Great Sound.

[@Musicman914]

Fantastic tutorial thank you.

[@spoonyeti]

true knowledge high level skills and sound are rare when it comes to doublebass teaching on youtube. Bob..., ISB.... thaaannk you !

[@rekkaeerikki5410]

Your sound blows me away! This is what I call bass

[@robertoppelt4678]

Thanks!

[@eliseoborrerobass]

Deeply grateful to you for sharing all this info. Great sound and clarity in your playing. Thanks!!!

[@robertoppelt4678]

Glad it was helpful!

[@hildegerdhaugen7864]

Thank you Maestro Oppelt!!

[@DannyMontana-z9l]

most excellent , much appreciated

[@hanssvoboda]

Super tone, wow!

[@glenng725]

Good to see a bassist who sounds like a bass! Great job

[@robertoppelt4678]

Thanks! Maybe I'll do more some day. I'm not very savvy with recording.

[@JenJenLiu]

Thank you so much for this VDO, really helpful and I love your playing and sound🤩❣️

[@robertoppelt4678]

Thank you!

[@TimWolfebass]

Hi Mr. Oppelt, thanks for posting this video!

[@robertoppelt4678]

You're welcome!

[@rudiratlos5088]

Thank you. Pleased make more videos of this kind.

[@robertoppelt4678]

Thanks! Maybe some day. Need to upgrade production techniques.

[@ositoCastro]

Excellent

[@robertoppelt4678]

Thanks!

[@rayleb7676]

Mr. Oppelt. Love the video. It’s very informative even for professionals. I’m very curious what bow you’re playing with here? It sounds really great. Cheers Rayle

[@robertoppelt4678]

Rayle, thanks for the positive words. The bow is attributed to Nurnberger but there is no stamp on it. Weight in the mid-140s. Works great for any orchestra tuning but not solo tuning. I used it as well last year for Per Questa Bella Mano in orchestra tuning.

[@mark-stefaniw]

Thank you so much for this master class Robert. You are a spicatto master. What kind of rosin do you use, and what strings are you using on this bass (I cannot see the tail silks)?

[@robertoppelt4678]

I use Pops but order only from The Bass Rosin Store for freshness. For orchestra strings I like Flexocor (burgundy).

[@cookscatapults]

hahahahaha Awesomenesssssss

[@robertoppelt4678]

Thaaaaanks!

[@назарзнак-с6т]

клас

[@ositoCastro]

Panormo bass?

[@robertoppelt4678]

Since I've owned it (1995), the maker has not been established. The rumor is that it was imported from Italy in the 1950s. There is a Testore label inside but that is not to be trusted. It looks a lot like Ray Brown's "Amati." When I next have the top off, I plan to have some tree ring analysis performed. Thanks for your interest!

[@ositoCastro]

@@robertoppelt4678 oh yes more brescian than milanese school

[@Atomic_pavarotti]

I find it difficult to land the bow from the air sometimes, especially when going from spiccato to something more elongated (non-spiccato). Ideally I could plop the bow down and have it land without it bouncing everywhere, whether it’s frog of the middle or the tip

[@robertoppelt4678]

It's easiest to land the bow in the lower half, as you probably know. The closer to frog, the easier. You can sometimes cheat with two up bows before the land to get you closer to the frog. A little hand action to add horizontal motion may help, along with an application of pressure to help hold the bow into the string. In essence, braking (breaking?) the fall. You can tilt the hairs a little too, taking pressure off.

[@Atomic_pavarotti]

@@robertoppelt4678I was able to work with a buddy who won a job in Germany lately. Really fixed my issue. Now I’m really curious about how you handle the Beethoven trio brush strokes….

[@robertoppelt4678]

I do briefly address Beethoven 5 in the video. I suggest playing it slow but with an energized stroke. Then different rhythmic patterns for instance dotted eighth sixteenth. The musical style will of course be a factor. Do you want to pound it out or be lighter and agile? Our conductor prefers the latter.