LukeFRC

My apologies don’t sweat it, if you can afford it and it brings you joy there’s far worse things to spend money on, and better gear can often be sold if you ever did find that it didn’t bring you joy or you needed the money.

Also practicing and theory doesn't generate as much chat as talking about capitalism's endless production of 'stuff'. So it's self selecting, the people on a forum where people talk about bass gear are more likely to be interested in bass gear than others. But I think the OP was trying to make an ethical distinction to suggest their own approach was morally better than anyone else's.

Some people buy the expensive Kellogg’s shreddies rather than the Lidl version we do. never something that has tempted me, but you know what, if I was into my cereal, and I work hard in a good job, so if I wanted to try I think I would be able to justify getting them to try. I don’t really understand the ethical dilemma you’re having. our society isn’t equal, some folk have more money than me, some less, some choose to spend more on things, others less. sometime it might be nice to try the fancy shreddies just to see.

It looks amazing. there is a little be of me that is sad that it just sounds like a P bass when it looks like that. I want it to sound like the future

I never said they were great in practice but bi laminate necks made by a machine was still groundbreaking, also the way they used antimatter in it so it was heavy enough to bend space time

well that goes without saying.

you're focusing on the wrong thing. It's clearly the tortoiseshell pick guard where most the tone comes from. I bet if you added one it would do the Jameson thing better!

Two piece neck design for stability, and using gun cases as a carry case... there were more things that were fairly groundbreaking too on it I think?

Mine was nice but literally double the weight of my main bass at the time.

It's a danish 50's design classic using birch ply https://arnejacobsen.com/works/series-7/ Actually interesting academic question - if Leo Fender had popularised factory produced electric guitar in modern, bauhaus-influenced Europe rather than California .... what would it look like?

I think the bass looks like some masters design project. It's conceptional interesting as a guitar but looks a bit daft as a bass (and the headstock is just stupid) - but it does make me think - that chair is steam bent laminated birch isn't it - which would be an interesting building material - possibly in a different direction to this Verso thing - but more sustainable

Plan b backup bass?

Exactly - if it was redesigned for bass first and wanted to carry across the minimalist aesthetic I think you might end up with piezo pickup only, and with such an oddly underdeveloped headstock you might as well go headless ( tuners mounted between the two bits of the metal?) you could get it really slick and minimalist that way

The body is a bit of bent metal I have no idea why everyone is discussing a movable pickup … The body is a bit of bent metal

And btw I am most convinced that tone woods make so little difference compared to almost everything else - and even less by the time the rest of the band starts up… but purely mechanically wood must make some difference

…And those two points are connected via another part of the instrument which has its its own stiffness and damping properties…. Think about it.

And in 2023 the bass players discussed tonewood again… Btw if we are going to model how a bass works to discount the fretboard wood I think it’s best to think of it as the restraining structure for the spring of the string - so between the neck, the fretboard, and the truss rod it’s going to have its own stiffness and damping properties. Does the species need of wood of the fretboard make a difference? I dunno, but it’s more involved than a thin decorative strip of wood

Utterly serious and sensible test here

Thanks! There’s some good stuff in luthiers corner … but mostly hidden amongst the dross!

Do you mind sharing a link?

What I would be interested in is it gets even more crappy at low power mode - which you would imagine you might use in inbuilt electronics - it would be interesting how much the voltage is controlled down for it. what effect would a really low slew rate have audibly on a lpf?

And check the specs at low power mode too

BC549 NPN transistors TAB1043 Programmable Quad Op Amp

We use a qu16 digital desk with different monitor out, that goes to some headphone amplifiers at the front - long cables then take a feed from each amplified output to each musician. Musicians who care can then set their own mix using the Qu-you app and those who don’t ask the sound guy. Mostly it’s a mono signal but if you are super lucky you get a stereo feed. this mixing bit for me is super important- basically we’ve all been in enough churches to tell stories about dubious sound techs - allowing me to do my own mix reduces their workload, let’s me get my mix right and crucially decreases the ability of someone deafening me! musicians bring their own IEM, this can range from custom moulded what sits, to decent bottom range ultimate ears for me, Mee pro m6 or even just phone buds depending on the musician and how much they need to hear/care. Unless you need to move around a lot while you play I imagine a cable would be enough for most churches and save in cost, and for me a set of IEM is the musicians thing to source - much like you might bring a bass and amp. this sometimes seems to be a harder concept for singers to grasp but to get started iPhone buds would just about work. It’s good to find a cheap but good ear phone that you can recommend as an upgrade, a few years back the Mee M6 pro were what we were suggesting at £25-30, affordable for those with middle class jobs and birthday present level for those without.