Hellzero

YT's fault, not mine. 😁

Something like this :

All that noise for a new plectrum. Pfffffft. 🤣

It could be worse, I could play tapping with my nose ! Or slap. 😱

And I'm not sure there is 200 to 300 Volts to make them work properly... Here is the data sheet of a typical preamp valve (or tube), a 12AX7 aka ECC83 aka 7025 :

If you really don't need it, just buy it. Gas works that way. Don't let common sense win, do it. NOW !

A tribute, maybe...

No, Stevie Wonder built it himself.

Running again out of TLRT's, so Yep and proud of it, next time I'll play with my feet.

The strings (I've put an "s" otherwise there only can be one, so good luck to measure the distance between one string ) spacing is only one part of the equation as mentioned earlier. I was mainly a 6 strings bass player and was feeling that 18 mm at the bridge with 9 mm at the nut and a 34 inches scale was perfect. I tried the longer scales up to 36 inches that I liked very much, but not my right shoulder (capsulitis). I can't play on shorter scale (< 34 inches).Then one day I bought a Yamaha John Patitucci II, with 19 mm strings spacing at the bridge and 35 inches scale and I simply wasn't able to play it, so I sold it even if I liked the sound : there is something in this bass that makes you struggle with it all the time and I'm quite tall with big hands (think wood cutter type). The most strange part is that I now play 8 strings Extended Range Basses with 20 mm at the bridge, 9 mm at the nut and 34 inches scale, two Noguera basses (one fretless and one fretted). And I have absolutely no problem playing them : they are so easy to play just like my 6 strings 3/4 EUB... My conclusion is that the lutherie and the ability of the luthier is certainly as important as the strings spacing and scale, or even more. The overall balance is really important too, just like the neck and body shape, without forgetting the weight. So try as many as you can and find the one that suits you.

Quite sure it's the SC 312 model, made only for a year or two and designed for guitar. Late 80's IIRC. Seen it at the Frankfurt Messe back in the days, nothing extraordinary about this guitar cabinet, apart from the marketing...

Seems to. 🤣

All I have to say is : Jama Jama Hey ! Great to be here mates sharing with you, or not if you have decided to use the ignore button. I love the non sense and attitude I can find here. Thanks to @ped of course, but to everyone else too, well maybe not YT.

It's not a Pascal module in the Sumo, but a proprietary one made by Didier Elchardus, the guy behind GSS. I've owned the Sumo coupled to a Warwick JH PR40 Hellborg preamp and an Audiokinesis 18134 cabinet and and it's really powerful and defined. I've also owned the little combo 06B400 running on a lithium battery and it was also great sounding. I'm now using an FRFR 12+6 with tweeter (12 kilos for 500 Watts) coupled to a MarkBass Alain Caron Ground Stereo Pre pedal preamp. It's just amazing how good and transparent it sounds. Go on, you won't be disappointed by GSS products and Didier is always ready to help.

Very nice work, Andre. 👍

First of all, your ouput jack looks a bit weird (ring "connection" is odd) and rusty... The pickups groundings seam to go ... nowhere !?! And it's a nice mess, Vin, sorry.

Too bad, there's is this way too loud drummer. And they do teach sound engineering at Berklee, must have been Johnny Deaf behind the desk... Just boosted the lows and cut the highs to be able to listen to it. A real shame to have to do this.

I can do the same magic trick as the last time, if you want. 😉

Again... 😉

Joe Dart is THE new groove master, for sure. And Vulfpeck is a terrific and amazing band. Love them so much, always a pleasure to listen to and also to watch as they don't give a sh*t about attitude on stage. They are just themselves and having fun.

Pure gold. Thanks @PawelG. 😊

In fact, these modifications depend a lot on how precise and accurate your ears are. But, please don't fall into the audiophile stupidity. The change will be very very very slight, or more precisely subtle, but certainly audible ... to a certain degree (almost worst all of the time). The better idea, before changing parts on your instrument that will cost you big money for small improvement, is to ask yourself : What don't I like in this instrument ? Once you have the answer, try to find an instrument that suits better your taste, you'll save a lot of money. I've "upgraded" lots of gear (I've also been an audiophile, you know these guys listening to cables, but not to the music) in the past to eventually always go back to the original parts and tone. Now, if I don't like it, I get rid of it, because it's the way it was designed, so I won't improve it, but rather degrade it. Simple and effective. I have always this sentence of one of my teachers in my mind : There's no bad gear, only bad users.