itu

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).

These cats are alive. fretless: Bunny Brunel and Gary Willis 4-string frets: Jeff Berlin and Jonas Hellborg 5-string frets: Tom Kennedy and Jimmy Haslip 6-string frets: John Patitucci DB: Edgar Meyer and Steve Rodby and Marc Johnson (Where are all excellent European players, my list is too Americain.) Stewart Copeland should be here, because I would like to learn more about drummers' rhythmic approach to songs.

Crimping was the solution for first moon flights, too. You can solder Al, but it is complicated because of oxidization et al. Still crimping is considered superior to other solutions.

Excellent and slightly different in a very good way. Me like! (and I love a dark neck with no dots)

If you know the notes of chords, you can walk. First you should learn two beat (two half notes per bar, I and V), and then four beat (quarters, play I I V III). Say you see a C7, you play C E G Bb (I III V VII upwards) or C Bb G E (I VII V III downwards). The next chord gives you the first note, and the position in the fretboard suggests the direction, up or down. Then you can modify the walk by octaves, triplets and other melodic, and rhythmic ideas. Do not forget two, and four beat here. Start with a slow version of Autumn leaves. Listen to it a couple of times. Find the chords and start playing. Make it slow, starting from two beat, and you'll amaze yourself.

I don't care about the clothing CBS offered in 1977, but there seems to be one of the first headless basses. How many were sold? (And the coat...)

Steve Rodby is one of those super annoying bassists that play only the right notes at the right time. Sarcasm aside, I'd love to be able to play that way, to make the instrument sing.

After seeing his work so far, it seems nothing is impossible for him. I would say: very custom!

I suppose you know a Quantum with a 34" scale is a 26 fret model and quite novel? I do not remember if there are models from the 80's that are Quantum AND 34"? During 90's everything in the Q SPi range was 35". (TBX may have been whatever, because as its name states: through body experimental, but I do not consider that they belong to the family of bolt-on Qs.)

Molded plugs usually have crimped or welded connections. I think crimping is the most popular way because it is fast, cheap, and reliable.

I've seen welded, but never soldered cables. Tinning copper makes it brittle, which can lead to scary end results.

Now that's a lovely present! Any bass is a journey of a lifetime. I see you have many songbooks made out of glass, the start is most likely pretty easy.