fretmeister

I like EB Group flats on my shortie - they are long scale but work with large tuners. I kind of like La Bella DTF but only for specific use really - and always with the tone control down at least 50%. Above that and they lose all their deepness. Bit odd when the old Fender style tone control is just really a LPF. I love Dunlop flats, but the price has doubled over the last year. The do not tolerate even large posts very well, so it has to be the specific short scale set.

I'm going out on a limb here - but maybe he wants to because he likes it? Wild shot in the dark and all that!

Definitely. Certainly gauges, but in some cases I change brand as well. Sometimes I even mix and match brands. For my 32 scale 5 string I use a 4 string DR Hi Beams set with a Newtone Platinum roundcore tapered stainless steel for the B.

In my experience long scale strings are fine if the tuning post is a traditional large one. If the post is a mini sized then the coil is much tighter and the string can break there much more easily - especially with flatwounds. As much as the OP's janky engineering approach is quite cool I could not be dealing with that faffing about.

Sunn amps are back. However... 100W SS that weighs 26lb? $799 https://www.sunnamps.com/amplification/betabass/ 65W all tube, weighs 32lb and costs $3199 https://www.sunnamps.com/amplification/200s/ I can't help thinking they'll struggle to sell these. The 65W guitar amp will be fine for volume but it's also $3199

Ola explaining an IR in very simple terms... And a bit more detail

I'd love to go back to a 5. Unfortunately almost all of them are too heavy for me. I did have a Sandberg Superlight 5 which was under 7lb but the neck was too chunky for me. In an ideal world I'd have a Stingray 5 that was only 7lb! I love that 44.5mm nut and the 17.5mm string spacing. As that will never happen outside of getting something custom built like it for silly money I am stuck with 4 strings.

Alex's vid is very informative. I don't blame him for also using it to confirm that he is an expert. Because he is. Unlike the rest of us he had the balls to put his money where his mouth was.

Not necessarily. An Impulse Response of a cab does include time so it does change over time. That time is very short - in milliseconds, but within that time there are very significant changes. That is something that a static EQ cannot do. Have a look at some YT vids about making your own IRs and you'll see the process. The concept of amp capturing takes it another step to include the amp at the settings being used. The rest of the signal chain makes a big impact too. For example, heavy use of compression will minimise the EQ change over time.

Partly. A speaker is effectively a really complex EQ curve. But a speaker is not a static EQ curve - it changes depending on what is feeding it. So an EQ with enough bands / parametric can get you close it will never be exactly the same. The image below is one that bass nerd Jon Willis made showing his best shot at duplicating an Ampeg 810 (old one and modern) using an EQ. He did it in the Helix to get the freqs right. I use it quite a bit with my Helix. Jon is really god at this sort of thing - he even helped Billy Sheehan set up his current Helix based rig.

Reason for Divorce: johnDeereJack! FWIW I really like the Sandberg bridge. The user guide could be better though.

When I mentioned a similar issue Bill told me that tweeters don't hiss, amps hiss. @Bill Fitzmaurice

I really want one of these! I'd have to special order it as a Superlight though and as I've only recently got a special order I think my wife would take issue with it!

I seem to be revisiting my youth and listening to a lot of AC/DC at the moment. I caught a clip of the Live at Donington Monsters of Rock show on youtube - I was at that gig and it's caused me to reminisce a bit so I've been shuffle playing their catalogue.

18V operation is the main reason for increased headroom Quite a few basses with that now. The new Stingray Specials are 18V with 2 batteries for example.

Any sound clips?

This is what I'd have. There is a Thumpinator underneath as well, but as that is really there for speaker protection I'm not counting it in the 4. And anyway - it's not a pedal as there's no controls on it! So ner ner ner!

I use it. I sometimes post vids of bass covers, but I'm mainly there to look at other music related stuff, and food, tattoos, magic.

Yeah - I mean I know all amps have an HPF in them somewhere but apart from some of the Bergantino heads I don't know any that have controls for the cut off freq.

Youtube randomly suggested a demo of Sine Effects (Scottish company) HPF Website: https://sineeffect.company.site/ They look pretty good. I've always got a Thumpinator on my board as I like to control Octave and Synth pedals a bit more before they hit the front of the amp. It would be good if the slope was a bit more drastic though. I like a more obvious chop off!

Function is vital to me. Weight and Balance are my 2 biggest concerns and they go hand-in-hand with playability. Colour / looks etc are dead last. I'd happily do a jazz gig with a BC Rich Warlock bass if the important stuff was right.

Used Ibanez Mezzo?

I think the Behringer would be in the right ballpark. I don't have that pedal but I did have the Boss is was based on (I sold it for buttons years ago ) and that's what I would pick for it.

For many years Dusty had an always on Octave when playing live. A MicroPog into a Thumpinator to cut everything lower than a low B so he could leave it on all the time. The Thumpinator made sure that nothing lower got through. Elwood (when he was still the tech) explains it from about 1min30 here:

A huge amount of metal bass players seem to play a Jazz.