My upright electric is a Yamaha SLB200LTD. This is the bass I've been playing mostly, the past many years.
Because of travel and transportation issues, I had been looking for a long time for an electric upright. At that time, there just wasn't anything out there that either sounded remotely close to an acoustic, let alone felt like one. Trust me. I tried a w.h.o.l.e lot! At that time, I also had an endorsement deal with Yamaha for my electric basses. They then contacted me and asked if I would collaborate with them on an electric upright to my specifications. Being very familiar with Yamaha's diligence in making quality instruments and their legendary understanding of musicians needs, I didn't have to think twice about it. We then spend years developing the first model (SLB100) followed by the current model (SLB200).
Obviously, this bass is perfect for travel and transportation. After 9-11 it got practically impossible to bring an acoustic bass on a flight. If you succeeded, it was very unlikely it would show up on time, with the same flight. On a sound level, at first I thought this bass would be a occasional substitute for my acoustic. But when I started playing the SLB200, I realised I could do more with this bass that I could with my acoustic. Don't get me wrong, I love my acoustic and nothing would ever be able to substitute fully what my acoustic bass can do. But. The acoustic bass only sounds like an acoustic bass, when it has a microphone in front of it. That microphone can only be used when the sound level around the bass is low enough to contain more bass, than f.ex. drums. That only happens about 20% of the time during a concert. The remaining 80% you have to rely on a pick up, which does not pick up any sound of the acoustics of the bass, but the vibrations in the bass. Some pick ups are very good, but it's stil not a microphone. That means that 20% of a concert you can hear the acoustic bass, but 80% of the time you can't. You hear something else.
Now, with the Silent Bass, the whole instrument is build around getting its sound from it's internal pick up and from the internal resonance cavity. Briefly, this bass sounds extremely close to an acoustic bass on its own. During those 20% of a concert where levels are low enough, you may (or not) hear it's not a real acoustic bass. But during the remaining 80% of the concert, this bass will sound more like an acoustic, than the acoustic does with a pick up. Compare that to the above scenario with an acoustic bass, I think you'll see what I mean.
Furthermore, I also realised that I could do more with the Silent Bass. F.ex. I could play loud and rock out -or- extremely soft, without losing my tone and acoustic sound. Feedback is almost impossible and lastly, it's very strong and travels incredibly well with all the bumps, flights, temperature and humidity changes that any tour brings.
The sound of this bass is incredible, the feel is just like my acoustic and it travels incredibly well and easy. I think you see why I play this bass.
My main electric is a Yamaha BB2024.
When I play electric it's mostly on tunes where I need to really rock out and get down. This bass gives me that to the fullest. It has a tight sound with a controlled low end with an attitude. Besides it own vibe, you can easily get a classic jazz bass or precision bass sound out of this beauty as well. It gives me that organic sound and feel, that I need coming from the upright bass.
I have the original pick ups and mechanics, except for a hip shot that gives me that low D, when needed. After playing on active electric basses for years, I never thought I ever play a passive bass again. But this bass proved me wrong! I love this 4 string, passive beast
My acoustic bass was built by E. Wilfer in Germany in 1980s, and so far it's the only acoustic bass I have. I bought it when I was 21 for the money my parents had saved for me, ever since I was born. Putting money into a savings account from birth, is a fairly common practice in Denmark. Usually kids get access to those savings at either 18 or 21. Normally they're used for a down payment on a home or for studying abroad (education is free in Denmark). However, at that time I was already a self taught working musician with a home i New York, so I figured a nice acoustic bass was not only a sensible use of the money, but something extremely cool. I bought it from the luthier Jørn Holm Larsen (at Jørgen Nielsen Violinbyggeri) in Copenhagen. Jørn still takes care of my bass, when David Gage in New York is not fixing me up.
It's a small ¾ with round back, carved spruce top and veneer sides. Despite having always been travelling with a flightcase, it's been damaged so many times from all the flying. But luckily it's been fixed every time. One time was in VietNam where no luthier was available, but a (supposedly) excellent cabinet maker was. With no time to wasted, I agreed and he actually fixed it up nicely.
I have always loved this bass. It has a fast response, which I like. It always had a slightly dead spot on the D string around the octave, but I've gotten used to compensating for that, as I'm sure my bass has had to compensate a lot me with my home made self taught technique. I play this bass quite a lot, but don't so much with it anymore now that I have my electric upright for touring. However, there are musical settings where there's no substitute for the real thing, and in those cases, I'm all smiles.