Lfalex v1.1

Definitely an SB700 if one can be had for £500. I should imagine an Ibanez MC 924 would be more than that, but I wouldn't mind one.

3 big knobs? Does it have a piezo bridge, or is it a mid- frequency or a passive tone?

Good work, a lovely finish and a comprehensive guide. What's not to like? Well done!

This. Amp EQ for "room" EQ Instrument EQ to get your tone EQ pedal for those times when you want to change your EQ for given songs/ sections of a song.

It's alright. You can always paint necks to overcome any aesthetic misgivings you may have.

It was only about a 20ft round trip. The remote still worked through the glass if the doors were shut.

But I'll warrant that you put the kit together properly. Not £950 bass QC "pass", but properly, as many other forum members might also.

When my previous house was extended, I had the original patio doors left in between the old and new sections of the house. I figured that having the sources and amps in a different room would be a good way to reduce any kind of acoustic feedback. I was right. All I needed to do was drill a hole in the frame of the said patio doors. I chose to do so in the bottom corner beneath the fixed pane. The doors were good but fairly old. Shouldn't be too hard, being box section aluminum right? Wrong.Virtually solid. Solid Steel. I used six drill bits doing it. At least it worked.

I'm inclined to think that it's more dependent on the neck profile (in terms of thickness), the type and number of truss-rods, any other reinforcing and stabilising rods, and the cut and type of wood used. Then maybe the laminations, if any. The only exception I can think of is if no one wooden material dominates- like say, an Alembic comprised of Maple, Walnut, Purple Heart etc. The stiffest bass neck I've owned was on a Streamer LX6. That was a 7- piece Wenge item (with reinforcing bars, I think) That wasn't going anywhere, ever. Conversely, my Ibanez loves to go for a wander if it gets cold. That's one piece maple under the paint. That said, it's running a crazy low action and only just enough relief. De-tune it even a smidge and it'll start to buzz.

I thought that was a Rolling Stones bassist..

^ I'll buy that as the reason that the Chapman stick sustains for ages. That and the 36" scale.

(On a more serious note than my previous post!) There's more to sustain than just the quantity (duration) there's the quality, too.

As per the title, divided up loosely into technique, theory and other musings. As stated by the individuals in question. I found it quite an interesting exercise in self-analysis. https://www-guitarworld-com.cdn.ampproject.org/v/s/www.guitarworld.com/amp/features/12-mind-blowing-guitarists-reveal-the-techniques-they-struggled-to-master-and-how-you-can-improve-your-guitar-playing-faster?amp_js_v=a6&amp_gsa=1#referrer=https%3A%2F%2Fwww.google.com&amp_tf=From %1%24s&ampshare=https%3A%2F%2Fwww.guitarworld.com%2Ffeatures%2F12-mind-blowing-guitarists-reveal-the-techniques-they-struggled-to-master-and-how-you-can-improve-your-guitar-playing-faster

That's why I carry Viagra. I find that definitely increases my sustain.

You don't have to put the head atop the cabinet/s. I used to try to stand mine vertically alongside the cab. Still accessible, but it can't fall or be pulled off, and hopefully it's subject to less vibration than if its on a cabinet.

And available very cheaply from many hotels.😉

I had positive results from putting a BadassII on a Squier 70s VMJazz. Sustain and playability were definitely better. That said, I set it up to within an inch of its life after fitting the new bridge. I marked, cut and filed each saddle using the string as a guide, then did neck relief, action and intonation. Any of the adjustments might have also improved the sustain and playability as well.

That looks interesting...

And other musicians is why I no longer play in bands...

I'd ensure I was running a good degree of compression from the helix. Domestic "hifi" drivers do not take kindly to the kind of "abuse" that instrument amp drivers and PA / Monitors regularly endure. You may need some strange EQ too, to get the sound that you want.

It wasn't that bad, actually. I prioritised tracks and titles that weren't otherwise available. Once set up, it only takes as long as playing the LP, and modern DAW software would probably allow you to record an entire side and then cut & copy it into individual tracks, level-match the outputs and even remove some of the surface noise.

I did mine (back in the day) thus; Turntable 》Hifi preamp with phono stage》out via "tape out" 》8 track hdd recorder》digital out to 》standalone Philips CD recorder. These days, I'd go; Turntable》preamp》stereo audio USB interface》laptop running DAW》WAV or MP3 to memory card or HDD/NAS drive as required》

Oddly, All I do have left of my various hifi misadventures are cables for varying applications and a couple of mains conditioners/ purifiers. The better one, a Lynwood Mega, is still doing good service in front of my TV and Blu-ray player. Glad I kept that. It once managed to quell an attack of the buzzes from which my Ampeg preamp was suffering. The guys in the studio looked amazed when I dragged out a hefty black box and a bright green XLO mains cable. It worked, though.

Hmmm. So, the Bolivians; Would they be able to discern that (for example) two A (440hz) were not out of tune with each other, and that if one were to gently de-tune one and not the other, they'd notice that, too. Extend that to an 880hz A and a 440hz A played that simultaneously. I guess they'd realise that the two were in tune, even if not what the (synthetic musical) relationship between the two tones was.

I've had a difficult relationship with hifi. Once, I lived and died for it and bought the best I could afford at any given point. That fostered an interest in music. So; Music 》Hifi 》"Music" 》Bass 》 Bands, rehearsals, gigs 》no more time for dedicated listening 》No more Hifi.