itu

I have been thinking about the difference between baroque and modern rhythm music. I think (this may be a very narrow viewpoint) that the old music was more about melodic patterns, whereas we should aim to the rhythmic content and decorate it with suitable notes and sounds (I find the latter also of importance). This does not exclude melody, but still the main point is to carry the base with the drs/perc and leave the melody to the solo instruments like brass and keys. Therefore simplifying the melody may drive the song better than very ornamental playing. Overplaying, who? Me? But where are the places where I should do like in the old proverb: when in doubt, leave it out? What's the note that is not important for rhythm or melody? How to simplify my line of eights? Should I listen to the singer, or other players, or all of them? Help!

First impressions without trying to play it through. 1) What's the tempo? 2) Is there some pattern that repeats itself over the parts? I am not able to see anything like that, yet, but most likely I should play it through first. 3) Done by a machine (see the first notes in bar 15)? How does it sound straight from the computer? 4) What kind of band is playing? Is it even possible to go up high if there are keys close by? Soundwise it may be feasible to stay in the half and first position. 5) I think (this is my very biased opinion) that bass should be rhythmic instrument in modern music. Compared to say baroque music I believe melodic content was more important then than rhythmic if we look at older and today's music. Therefore many melodic jumps seen in the score might be possible to "reduce" to smaller intervals without "reducing" rhythmic content. Ghost notes should not be forgotten. Wishing to see comments from the pros here, like TKenrick, Bilbo, Tom Read, Chris Dev, et al.

Depending on the body proportions and the strap length, the first one is much more universal. Here I would say, more carve is better, but I have had issues with my hands. If the player sets the bass very low, the carve is nearly useless.

Here are two examples of the questions I've seen lately. Could there be one "database"?

The list should have details like: - brand, possibly the original manufacturer, too - material (Ni, SS, bronze, tape...) - tape/flat/ground/round wound - silk colours - string colour or coating - ball ends - piano string design - round/hex core What else?

There are lots of individual topics here about string brands and models/types. I suppose AI could make a compilation of the topics so far. I am not that familiar with AI, that it would be quick and straightforward way for me to ask for results, but is there someone that would do us all a favour? (I am too old to learn old tricks. For me these new ones are even more complicated...)

If the neck is ringing, some foam could dampen those frequencies. Most likely requires (lots of) testing.

OD/dist/fuzz can act very differently depending on its place in the chain. Therefore I would try it by itself first. If the sound changes when it is after the comp or preamp, then you most likely use it as the first unit. Other than that, the rest of the chain can be built like @pantherairsoft just wrote.

A DMM sure tells something about the batteries. True battery testers usually have some kind of load which gives better understanding of the capacity.

Our musical leader got a stroke in an ambulance and clinically died there by Easter. Because of the personnel they were able to give the needed care, and we still have a leader. No one of us were ready to stop playing. Even our patient was driving us to play from the hospital. Now he is back and in good shape, although he cannot carry the stuff, but that's a small issue because he is alive and kicking. If I was you, I would continue making music with your group.

A floor is one big unit. The comparison between a tiny neck and an acre of maple is not fair. A carpenter told me that any wooden floor moves, no matter if it's oiled, painted, or lacquered. It should float, or it can be attached from one side, but it moves a lot. I've had necks that need a tiny bit of adjusting in spring and autumn, like the original Affirma fretted 4, but not the fretless 5. My basses with carbon necks are stable round the year.

That riser would benefit from a specific place where you put the end pin every time (tuned resonance, like sound post of the bass). @Jean-Luc Pickguard had a good point: if you could make an extra plate where you stand, that riser would be tuned every time the same way. Otherwise your feet would always tune the riser in a different way. Measurements, I think that a double bass itself will give you a hint of the size. Should it be just a plate or a tuned box? Thin, braced vibrating plate (the end pin will go through a very thin top without any bracing)? What should be the contact to the floor? Whole bottom surface, feet... Theory, see: Chladni patterns.

@ around 3.16 I got this screen shot. No idea of the brand.

Can try to whisper it to us?

MY EXACT WORDS TODAY. YOU ARE A CLAIRVOYANT!

If the pickup doesn't work with the amp, consider a high impedance buffer between them. Then you will get good lows. Sometimes a buffered effect may work well, too.

Which bass? Is its output hi- or lo-Z? Where in the chain you want that effect? I have fuzz/dist pedal first after the bass. I have two (well, three) pedalboards, one for both bass output types. I love a X-over, because the lowest bass stays intact and powerful.

Any link available?

Old tce SCF: it's also a flanger, and nowadays I like the flanger sound, not the basic chorus anymore. Maybe those new tce choruses have the same options via TonePrint.

One thing to consider is the amount of full power needed. Because of the signal bassists create, there's very seldom any situation where 100 % is needed for more than milliseconds. OK, if your amp is a small 30W unit, it will be fried in a loud band. Anything beyond 300 W is most likely enough (especially with a sensitive cab).

Most likely 4 strings. The first ones were from Kramer/Spector era, if I remember correctly. There are old brochures online if anyone wants to search.

Most likely everybody knows that NS means Ned Steinberger, the designer of the bass. The first basses were available with two pickup brands (the other was DiMarzio) and with 1 or 2 pickups. NS-1 was the first unit (1 meant 1 pickup).