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  1. I have one of these. Cost me £320. Bargain alert. They do need careful placement and adjustment. But very good when you find "the right place" and excellent if you also play classical and want to take the pickup off. The on board volume control is really useful too.
  2. Main reason I sold my trace gp12smx.... too many possibilities. Now have a Bank of TC toneprint effects to waste time on instead. Damm those Danes.
  3. 'fraid I use a device called a Skoda citigo ... And if amps etc are needed, a bigger version called an Octavia estate. I've taken it on the train a few times, with discomfort and difficulty. Met a bloke once who moved his around in a bicycle trailer ... bit risky, these things cost £1000s!
  4. I've tried a few walking stick ferrules. Either grippy but too soft so wear out or hard and not grippy enough. File the sharp end off the end pin. Then he'll have to use a floor mat ;-). These are brill https://www.bassbags.co.uk/product/super-sensitive-stoppin/ ..
  5. Double Bass and Cello radii are tiny. The radius on my double bass is about 3.5 inches (and being set up for Jazz is moderately flat!). Cello tighter still. And they both have "romberg bevels" too. I've never seen an electric bass that was like that! It is indeed to make bowing possible, though on the double bass it does allow you to dig in very nicely. Having played the 'cello for 16 years or so before getting my first electric bass, I do still find the electric bass fingerboard a bit flat (especially on my 5-string) but it's no biggie.
  6. Shielding the control cavity won't help in this case as the noise is coming in from the pickups. You can shield the pickup cavities but it still leaves the front open. You could also shield against radiated interference by shielding the whole pickup ( surprised more pickups don't include an internal shield ).. but there is nothing much you can do about close field magnetic interference without also blocking the signal picked up from the strings ( and using thick plates of steel ). Copper Vs spray on conductive paint? Probably the same effect. Commercial basses almost all use paint and it works pretty well. Much easier to use than copper foil .. and less prone to gaps. Humbuckers = the way to go.
  7. Isn't it just.... Good price too. But also the start of a slippery slope of collecting the perfect set of cabs ....
  8. No wonder that went quick at that price. Wow.
  9. Wish I had this one: https://www.thomann.de/gb/km_stehhilfe_14045.htm. Bloke who sits next to me at orchestra has one .. very comfy.
  10. Conductive paint inside the pickup cavities might help a bit (connected to the ground wire if you can). A low amp impedance will reduce the noise too, but rob you of high end. A single single-coil pickup into a high impedance buffer in an electrically noisy room is the worst case. The solution is this: https://www.delano.de/jmvc_4_fe_m2/jmvc_4_fe_m2_details.html
  11. I switched from spiros to helicore hybrids some 20 years back to make bowing easier. Never noticed a coating. good strings .. bowable, pluckable, fairly soft under both hands, flexible for easy thumb position....last forever. NB: Switched back to spiros a few weeks ago, as I had only jazz gigs coming ... Wondering why I ever swapped for helicores. God that growl and sustain. With the Carbon bow, they sound and feel great. Maybe a certain lack of subtlety .. and rather loud. Playing Brahms 4th next week ... Keeping the spiros on. See if anyone complains! Meanwhile, went to a jazz session, hosted by a pro trio ... the pro bassist was using helicore hybrids ( and had the same bow as me ); sounded great.
  12. 56, bad back ( prolapsed a disk years back) none of my basses weigh under 4.8kg. I'm with the OP. They just feel so good. Not that I'm doing two hour sets six times a week in a casino band ... which a fellow Wal owner and (facebook) acquaintance manages. Solid mahogany, nowt like it😃
  13. I got my first 5-string a few months back. I was playing music with a low D in it and was also drawn in by the extra low notes and the increased number of notes available per hand position. BUT: most of the 5-strings I tried (including a Pedulla, a Zon, some Stingrays, plus a Chowny and some Warwicks at the EM bass bash) seemed to sound and feel a lot different on the bottom B string, it didn't feel "in keeping" with the rest of the bass; of these the stingrays were OK, but a Sandberg VM was perhaps the only one with the same feel and sound across all five strings - but that had a 34" neck (and I have small hands). Bought a 2nd Wal in the end ... just ... well I'm a Wal freak and couldn't help myself. It IS a different instrument to a 4-string. First you have to be a lot more careful about string damping as there are more strings to damp than you have free fingers to do the damping; I've had to adopt "floating thumb" which is actually good and I'm now using it on the 4-strings too. Second, it is not always easy to hit the right string when you are used to none of them being further than one string from the edge, the A in the middle is confusing and at first I'd find I was plucking one string and fingering a different one; I'm getting there. Third the neck is wide so it's a long way across to the bottom string. My hopes to plant my hand further up the neck and still get a bottom E ... yes, sometimes it's good, some music that on a four string demands all kinds of up and down the neck suddenly doesn't. But apart from remembering I don't have to change position, the tone up there isn't quite as good as you get from playing the same notes in a lower position, so I'm still based in first position. All in all, I'm glad to have a 5-string ...for one it's improved my four string playing, its an interesting learning experience and its opening up new avenues; if I could only keep one bass .. hmm. Not sure. Think I'd stick with the 4 string..... which I took out to a session last night and did not miss the extra string one tiny bit.
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