itu

An old fart like me remembers hifi stuff that were equipped with tone defeat switches. The only thing was that there usually was something hidden behind that switch, like bass boost. Flat, what is a flat response if it wasn't measured? Even better, could the system (amp&cab) be equalized to flattest possible? I belong to the group of people that wants the electronics of the bass to be lo-Z and adjustable (if not transparent). Hi-Z electronics usually colour the sound and cut highs so much.

...and underplating is usually nickel (Ni). Still in a place like plug and jack the wearing resistance should be substantial. If the base material is hard, it helps the coating a lot (and the other way around). Otherwise coating a piece of cheddar with diamond like carbon (DLC) results like it was coated with carbon like diamond. No support, no hard surface.

Just add @Kiwi carbon necks and there are custom pickup makers here, like @The Guitar Weasel.

If you are not into doing your own stuff, loan, steal, and arrange. Like Paul Anka did his lounge recordings. I think nothing is sacred in the blues scene any more, a song in major can be arranged pretty easily to the blues/minor scale. If the owner of the rights is nice (and you to them!), even some words can be changed from the original. Our band wanted to change few words from an old punk song, as we wanted to make a bossa nova of it. Like we were young and played punk then, now we are middle aged people with kids. We wanted to make the song very laid back, but the changed words was the final straw. We weren't given the possibility to publish it. (Even though the original artist gave a thumbs up of the idea and our arrangement.)

Oh dear, 8 weeks! But the quality is outstanding. Very nice to see so many phases of your work.

It is called flash gold (plating). The thickness is in the scale of micrometres, sure it will wear out in active use. Gold is so soft, all materials around it are harder.

Again you make the building process look like it was easy. All details are thought through, like fret ends! Can you give an approximate building time of this beauty? If this was the fifth bass this year, how many are you planning to do by the end of 2025?

Peavey has used those VFL pickups for some time. Vertical Flux Loading or something like that. @kodiakblair sure has more knowledge on those, too.

Mains transformer would be doable to replace. I think you have one nice Selmer set. It may have only some historical value, but that head could interest people - think about an ampeg Portaflex. Those cabs have old Goodmans elements. If they aren't working, they may be replaceable. Our Amps & Cabs specialists will help you with them.

@Bassassin knows!

Sorry, I meant the load resistor, and a switch (in the jack) that chooses between the resistor load and the cab. But as you use Speakons, that's not an option. Your amp will not only sound good, but looks good, too.

Are you going to put some extra safety resistor to the output, in case the cable is disconnected? Do the connectors have suitable switches?

30 W x 16 ≈ 500 W QED

My bandmates wanted a different sound to certain songs. I put an SWR Interstellar Overdrive to the Glockenklang Soul power amp in. I can say that the power amp sounds really good with another (good sounding) preamp, too.

...and their playing happens at the ear's most sensitive frequencies.

My first bass lesson was a shout: "Where's your cable!" Now I carry at least one in every gig bag I have. And one for the g-word player who...

Pino Palladino (fretless MM) using roundwounds. Louis Johnson (fretted MM) using flatwounds - and slapping. If there were rules, just break them.

Those orange pictures cannot be seen here. Convert them to jpeg.

Some want to tame tiny technical errors in their playing (volume based, not wrong notes). This may also help some fx like octavers when in front of the unit. If you want to use all of the potential available of the fx you have, I would put the comp to the end of the chain. Then your playing affects effects (?) before you compress the result. Think about an envelope filter that squeaks after dynamic changes in your playing. I suggest you to try it right after the bass, after an OD/dist/fuzz, and after the fx chain. Turn knobs bravely to get an idea of how a comp really works. It can be an effect or a peak tamer. Many want the comp to cut the peaks (less peak volume), but also to push more vol to the sustain phase of the note (you know ADSR?). That way the volume sounds louder than it actually would be without a comp. Do trials and read more about compression from Sound On Sound articles.

If you haven't tried different strings, it's really hard to judge the instrument's abilities, and performance. Some strings are a match with the bass, some don't. I like 120, too. It (GHS SS RW, exposed core) was the best sounding B string in a Quantum 5 SPi.

Tri-Bass and Quadwave. Let's see if the learning curve is any shorter with the four string. Rack synth is an old BassStation I.

Calling @Chienmortbb. Basics: any fender, toss it. Use quality silicone cable (Sommer, Cordial...) and Neutrik plugs and XLRs.

"The plan is for a straight up punk P bass. Think single volume knob, bright colours." Will you do something different and paint the neck? It seems to be one very rare choice.

Maybe it was available only from Atlansia?

For me rounds are the thing, but finding the right set took quite a lot of time. 1) The right one here means that I use two brands, but similar gauge sets (SS RW) in every bass I have. 2) This helps to carry an extra set in a bass case, because that one suits, yes, every bass. 3) It's cheaper to order 10 sets at one time than 1 set 10 times. 4) The feel is nearly the same through all instruments, although scale lengths (33.8 - 36") have some effect on it. Maybe I am a fanboi of the string sets I use now, but there was a long and pricey trial and error period. Someone asks why I do not list the sets? Only because I believe that everyone should test different sets and find the right types, brands, and gauges that go together with the instruments and playing styles people have. My choice most probably isn't suitable for you. How I see strings: - tapewound: short sustain, lousy sound (which isn't automatically a bad one) - flatwound: a bit more of everything to TWs - groundwound: see previous Every set mentioned so far can be held in a bass until a fret cuts the surface of the string. - Ni RW: flat, pretty full response, good for rock, and fretless - SS RW: enhances highs and lows, thin sets can be really twangy (Miller and King obviously change their strings after few hours of playing) Specialities like a piccolo set can be fun for some time.