Passinwind

If a bear poopies in the woods, does Big Brother hear it?

Put down the silver bass Bro. But seriously Ian, nice to see you here. Basschat has a very cool vibe that's all its own.

Only in very small doses, but that element is definitely there. The band is primarily a hippie/funk jam band, something like the Grateful Dead with horns and a more aggro psychedelic sort of vibe.

An old one, but they have recently started gigging again: The Raging Maggots

I do occasionally go see bands that I sub in. Haven't fronted a band of my own for a few years now though.

Yep, that's a pretty standard approach at some of the outdoor festival stages I play. Saves a ton of time at changeover, which counts for a lot. Being primarily a more or less traditional jazz player, I love how it sounds too.

Alright then, I have now voted early and often.

Kick Snare OH Done.

...Sniff... So many great memories. Glad it went to a good home!

A shame about those frets, but a really nice job in any case. Here's my Crescent Moon fretless, which also has Q-Tuner BL series pickups, and currently has a 3-band preamp of my own design in it: That's a one piece sapele body, neck-through maple neck (inset to body from back), and an ebony board.

Sound engineers have actually been using that general approach pretty much forever.

The HPF is highly valuable as an EQ tool as well though. If you set it to cut at 100 Hz and boost the bass control at 30 or 50Hz the net result may be a boost at something like 60-200Hz depending on amount of bass boost and details of you bass control's response curves, with a steep dropoff below the bass peaking. Voila, you've just changed everything about how you tailor your low end. By way of example, here's what happens in one of my amps when I set the bass control at 6/10 (a mild boost), then sweep the HPF over its entire range, which in my case is something like 25-130Hz.: So there's your boost in the low mids, if you want it, although a mild gain tweak may be needed too. The beauty of this approach is that you can tailor your bass EQ around specific room nodes that account for much or all of that "boominess" we all fight against so often. In practice this is a lot easier than it looks at first blush, at least IME. It's a very well known old school approach to EQ, as seen in classic Pultec EQs for instance. But if you just want to kill out of band mush, all good to that as well.

You definitely can derive distortion and probably ballpark S/N at least, but it's a bit tedious. There's a good explanation on the website of the True RTA makers. It's a lot easier to just use RMAA for those tests, but even that often has some "gotchas" involved. Thanks for taking the time to graph all that stuff. And FWIW, one of the DSP speaker management controllers I have (it's in a plate amp) recommends stacking PEQs as a viable solution for high pass filtering. I may have to revisit that, but programming that particular widget is a real exercise in patience and the way I did the HPF (stacked Butterworth HPF sections) has always worked well for me. And ultimately, if it sounds good it pretty much is good.

Had to look that up, but yeah. It's a very old concept that dates to at least the ancient tube design books.

I'll either do it myself or just hand the board layout off to someone else eventually. It'd be a fairly simple perfboard build in any case.

Thunderfunk amps use them, for one. I've had an onboard/pedal format design set to go for a few years now, but other rabbit holes continue to beckon more seductively.

For extra credit do distortion and signal/noise testing as well... And for better or worse, yeah, I have done this myself way too many times with my DIY stuff.

FWIW, there's a long running thread on TB with way more information on the US exporter's experience than most people here will probably want to know about: https://www.talkbass.com/threads/cites-what-every-bass-player-should-know.1072977/ I went through the whole drill last year when sending my '77 Travis Bean off to the Netherlands. The whole process took about three months, cost a few hundred dollars on my end (and some more on his as an importer), and was frankly a huge PITA. There are only a handful of inspection stations in all of the US and in my case it took about ten hours of driving and waiting to complete that phase. For many others it would be much worse, requiring at least an overnight stay or a roundtrip flight. My buyer put substantial money up front, had the patience of a saint, and cheerfully threw in a few hundred extra bucks to compensate me for the hassle. But all in all, he could've simply flown out here, picked up and hand carried the bass home, had a nice vacation, and ended up ahead of the game.

The best way to figure this out for real is to simply measure it yourself. If you have even a rudimentary soundcard there are plenty of freeware solutions to doing that. Several years ago a friend on another forum asked why just cutting his ten band EQ pedal at 32 Hz wouldn't work just as well as using a dedicated HPF. So here's roughly what a 10dB cut at 32Hz would look like: ...compared to a fixed 12dB + variable12dB format HPF set for a -3dB point of 32Hz: Note that especially in at least the first case whatever native low rolloffs the rest of the system provide could impact the left side of that curve quite substantially. Hence my recommendation to actually measure rather than assuming.

From my three basses, yes. The 17 piece big band that I sub in prefers my fretless 4 to my EUB, for instance.

I've lived in the US all but one year of my life Blue, but yeah, from what I've seen the Midwest is very different from Washington and Oregon for sure. The J knockoff was a loaner and I also prefer the other bass in question in this context, so there's no issue there on my part. But the OP asked if my bandmates or audience would notice if I brought a Squier, and at least one clearly would. Anyone I play with on gigs typically gets to choose between the three that I own (one fretted 5, one fretless 4, and one EUB) and if they wanted a Fender-ish bass instead I would gladly let them buy or loan me one if it meant that much to them. Same for upright, which one band does currently provide for rehearsals. It's just a tool in my world, not a religious artifact.

Nope, but it has nothing to do with disliking Fenders. She just prefers a certain bass that I already own for this particular act.

That answer was accurate, but perhaps a bit flip. In the case of my current occasional bass guitar gigs it would still be a "no" though. The diva I play with would definitely notice (not hypothetical, this actually happened two weeks ago), and whether it was a Squier, MIM, MIJ, MIA, or "boutique" Fender knockoff, she has specifically and repeatedly requested something else. But in all honesty, I really enjoyed playing that particular J knockoff-ish bass, and I'm sure I would've enjoyed playing a Squier J to some degree as well.

Don't blame me for giving an honest and accurate answer. And just put a foil on that slab and drop in at Jaws, no worries.

No, unless they have suddenly starting making EUBs and/or AUBs.