itu

"I havent ever titlted it or put it on a stand off the floor as many say dont elevate it as you lose the bottom end." And you believe that before trying this by yourself? There's lots of talk out there. You don't even need any bottom end if the noise is already unbearable.

@ikay : There's most likely a frame of some kind made of metal. That could explain the halo.

I think you have a common problem. If you stand beside your amps (g, g, b) which are at your feet and point elsewhere than you ears = big trouble. Start from those g-word players: Amps against their own faces, and there will be less noise. This is so obvious that we tend to forget the simplest solution every now and then. It is not feasible to listen to the sound jumping from walls and other surfaces. It may also make the sounds better than everything cranked up.

If you are able to keep your instrument at your lap, use the healthier hand to exercise. It may open up new things from the fretboard, strings, or the instrument. Do also exercises in your mind. I know a musician who had to stay in hospital for two weeks. During that time she learned most of a big composition just by reading the music. She said later that the last 10 % came from the physical training with the violin.

Well, how about musically if literally isn't working?

My teacher had a greenish Tobias 5 at the time they were built by the master himself. Cost an arm and a leg, but sound was nice. String spacing wasn't for me, 17 mm. Neck profile was special, asymmetric. Pretty nice, to be honest.

@Rob MacKillop check also Tom Kennedy - Just Play! His recordings include standards. This particular record is played with a double bass. In others (Basses Loaded, points of view...) there's electric, too. I think Brian Bromberg has some standards played with a double bass, although he is more known because of his electric (and piccolo) work.

EMG sold similar magnetic paper. I saw a magnetic window for 1" video tape in the early 90's at a broadcasting company. They used it to find the place for cutting the tape. Here's my Passion II with Benedetti single coils.

Bought 2 Mono cases (mono and double), have only the M. Graphite flight case left. Other hard cases took too much space.

125 W - 250 W - 500 W - 1 kW There's a 3 dB step everytime you double the power. Most likely this will be in the 8 dB area, which is quite a lot. If the drivers are more sensitive than the originals, the change will be even more, maybe 10 - 12 dB. And that is a lot.

https://jazztimes.com/reviews/albums/stanley-clarke-standards/

An addition. Big orchestras love to tune higher for the sound. 415 - 445 Hz in just few centuries.

Is it starting from the basics of two beat, four beat and walking? Or is it about refining harmonic (most probably rhythmic, too) approach to walking? I learned the basics of walking starting from two beat. Then it was pretty easy to turn to four beat. These and the theory of chords pushed me towards walking in very short time. My rhythmic and melodic abilities are mediocre at best, so following this with great interest.

Anyone able to make threads will fix this to you under an hour. Find a local that has the tools.

Nice production, very well done! Kool!

...and Vigier Passion. By the way, where was that Overwater Artisan for sale?

I consider myself as a player. I would like to be a musician (like to be able to arrange and compose), if not an artist. The choices made earlier in my life prevent me from being a musician or more.

Cheapo Chickenbackers from China. No thank you.

Noooo... I have loved your comments. Knowledge of yours is something that should not be forgotten. (And you have lots of nice equipment.) Keep in touch with the BC. We need you here.

X-over that I have had (KMA) or use (IE) is set to around 400 Hz. I checked the fundamental frequencies over the fretboard, and decided to try to keep these frequencies intact. This led me to around 400 Hz. It seems to work fine, and I can push practically any effect to their limits without losing the clear low end. BUT the possibility to push effects to their limits means that there can easily be far too much effect. Not only OD/fuzz/dist, but flanger, chorus et al. Not good: it is easy to get too excited of the possibility.

Solder ground to output. Don't rely on the screw contact on a metal plate. Pot cases should be soldered, too. Use a file to scratch the surface for easier soldering. When assembling the harness to the bass, check that none of the wires or parts touch the body. You should paint (conductive) or use copper tape to shield the cavities and ground them to the harness.

EMG makes P pickups in a DC (dual coil) case. I also remember that Ibanez and few other manufacturers in the 80's had P pickups in a humbucker case. I think @Bassassin could list all of them. (EMG widths, as everybody knows, are 3.5" - 4.5".)

Less volume, here you mean less wattage? Loudness will not be reduced a lot, that depends on the sensitivity of the cabs. Of course there other specs like weight that may affect your choice, but you have most likely far better after sales and support with Ashdown.

Next step is to buy a Sony PCM-3324, or -3348, a digital r2r. I have seen one, once.

https://en.wikipedia.org/wiki/Tommy_Tedesco wrote in GP that a producer wanted a certain sound. The g-word sound wasn't right and the producer wanted a mandolin. Well, Tommy adjusted his instrument a bit as well as his playing technique and played a new take. Producer was happy with the mandolin sound. But it was exactly the same instrument. I find it funny that the P would be the answer to everything in the studio. I want to play my favourite instruments. It is my technique and ability to adjust the sound to reach something that others want. It is not about the instrument. I use the bass that I feel is suitable to the task according to the specs. (I do not own a P, neither do I want one.)