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  1. When you're playing a string, the vibrating part has two ends - one is at the bridge, the other is either the nut or a fret. A fret is a rather small/light piece of metal, anchored on a somewhat flexible piece of wood (the neck). The bridge is a relatively massive piece of metal attached to a much less flexible piece of wood (the body). When you think about this for a bit, you realize that the majority of the losses in the string's energy (when vibration leaves the string and starts vibrating the wood) occur at the fret/neck end of the string, as things are less massive and less stiff there. If you want to improve sustain of a vibrating string, the bridge is the wrong end to work on. A more massive, stiffer neck, with bigger frets will get you more sustain faster than making the bridge heavier. It's like a boat with a pinhole in one end and a hole a foot across at the other end. If you want to stay afloat a long time, you work on patching the big hole first. A lot of people talk about the bridge;s job as being a means to couple vibration into the body. That's wrong - the ideal (infinitely massive) bridge would not put any energy into the body - any energy put into the body or neck has to come from somewhere, and in fact it' is "stolen" from the string and thus reduces sustain. Physics lecture is done for today. Tomorrow I have a quiz for you on the Acoustics of Tort.
  2. The things that wear well when being scraped by metal are...harder metals. Metals aren't.......black, therefore frets aren't available in that color. To the original question, all my bass with frets have stainless frets. Warmoth charges $20 extra for stainless. Given that that option gives you much more fret life (probably lifetime frets, as I'm old and spread my wear across multiple basses)), it seems rather silly to go with nickel frets to me. One a couple of my basses I've gone with smaller frets (but still stainless) to see if it tames the high end zing - it seems to do that, although there are enough variables that I can't say for certain.
  3. micguy

    Geddy Lee pedal

    AKA 3 guys that play bass in trio format loud bands (yes, the Who had a singer, too, but just 3 instruments). Their tone is part of why their bands could make so much noise with just 3 guys.
  4. I have a Wampler Pantheon - with the presence knob off, and the other tone controls at noon, it's flat - doesn't lose bass. Very good at "just a hint of breakup" sounds. If you want something a bit snarly, then a Pike Vulcan is just the ticket - I go back and forth between the two, depending on what vibe I'm chasing for a particular gig.
  5. Godlyke Power grip is what I use - not sure if it's available on your side of the pond (I'm in the colonies), but it uses the same stuff on both sides, and doesn't gather dust too badly - kind of like loops on both surfaces. Holds really well, too.
  6. I’ve been playing for 40 years. I have absolutely huge hands. I have trouble finding glives long enough. My left hand has an inch and a half more span than my right hand. Even with all that, I don’t do one finger per fret very often. I do a lot of double stops - fifths and octaves. I shift - a lot. You can’t play the lines I play with one finger per fret. One finger per fret is great for speed shredder type guitarists. Maybe it works for some bassists, too. If all your lines are one note at a time, maybe it’s OK. For others, like me, not so much.
  7. Pickuos that don’t hum. We’ve known for many decades how to do this, all the basic patents have expired. Why do people still make basses that hum?
  8. So does the introduction of the new (no toneprint) bass amps mean that Tone Prints (and the support for them) are getting phased out?gosh, I hope not.
  9. I've been ampless and in ear for 90 percent of my gigs for the last 5 years. Any pedal that has a decently low impedance can be used to drive a DI (assuming the venue has one), or, like many of us, you can bring your own DI. I currently am using a Tech21 Q strip as my eq and DI at the output end of my pedalboard. The tough thing about going ampless is, if you want to use dirt, you don't have a cabinet to filter out high frequency stuff that the dirt pedal creates. That means you have to figure out how to deal with that on your pedalboard. A low pass filter or cabinet emulator are the usual way, though some overdrives have enough filtering built in that you're OK without additional EQ. The 3kHz low pass on my Q strip is on all the time - just a bit of filtering to dust that tiny bit of fizz or clinkiness of my signal I assess and tweak the tone of my rig though a mixer driving a pair of headphones that I know the sound of really well. So far, FOH guys are able to work with what I'm feeding them without issues - I ask, as I don't ever hear what's coming off the PA mains, and I want to know if there's anything I can do better.
  10. Behringer has been around for quite a while, and it didn't prevent Darkglass from rising up and creating a niche and some great products - yes, there will be low end clones forever, but the real innovators will always have a place as well.
  11. The bridge is the end termination of the string - change it's mechanical impedance, and the string will vibrate a little differently. The Physicist in me knows this. Is it audible? The best demonstration I've done for myself on this was to change 1 bridge saddle - with a set of relatively new strings. I played them for an hour or so, to get used to the sound will all brass saddles, then changed the D string saddle to a titanium one. After the change, whenever I got to the D string, it was indeed a bit zingier than the G and A strings - it "jumped" out a bit. Swapping the saddle back, things became more even across strings again. Will anyone in the audience notice? Probably not, but I do. I adjust bridges and saddles as a fine tweak to a bass's tone, once I get used to the thing and figure out if I want to push things one way or the other.
  12. I find growl, snarl, twang, etc. to be partly in the gauges - I use 35/50/70/95 strings on most of my basses. I could never get the sound I wanted from 40-95's (except for the E string - duh!)
  13. In the early 80's nobody (at least where I live) wanted a Fender from any era - everyone wanted guitars and basses that were pointy, with locking Floyd rose tremolos on the guitars, and Fenders were the same tired old, curvy things - without Floyds. If I had know where things were headed, I could have bought a bunch of old Fenders from the 60's for cheap, and..... alas, not to be. I have no idea if the Fender instruments from that era were great or not. I'd bet as time goes by, since very few were bought in that era, the scarcity thing might make them valuable.
  14. Warmoth wood - especially the necks. I build my own basses using their wood, and it's all superbly made. Last night I swapped a neck on a bass (I had a baked maple fretboard on it, and it was just too bright). I took the old neck off, bolted the new one on, gave the trussrod a half turn past snug (all my necks end up about there w.r.t. trussrod adjustment), strung it up, and played it. The action was dead on from one neck to the next, and I didn't even have to touch the intonation - everything was just...there. They are also always snug in the body pocket - if you wanted to adjust any of my necks to line up the strings by moving the neck....well, there's no play, so it;'s a good thing they're all dead on.
  15. Mighty Mite makes a fretless neck that has an ebonol fingergoard - mwah for days, and it's pretty darn cheap. If you have something with a Fender neck pocket, you can try it as a fretless before you go too deep financially. Whatever you try it on, you want something with a bridge pickup that you can solo - a P isn't really the best bass for mwah, which for many of us, is pretty much the point of fretless. In terms of pickups, not having frets means that what you might consider an agressive pickup won't really sound that way - it'll be "lively". A more polite pickup on a fretless is likely to be just plain dull sounding.
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