itu

Very important point. Tools. As long as people mystify music, there will be contradictional comments on creativity and education. I call this mystification BS. Stop it. Now. If you do not want to learn, or simply don't have time, that's fine. But you should say it out loud instead of giving outrageous and comical comments on education. My formal musical education in my youth (I started at the age of 5 and quit the second school when I was 24; I sang in a few choirs from 10 to 31 years of age) has helped me far more than any single lick, video, or some gadget. Continuous learning, singing, transposing, transcribing, playing etc. are what I do to keep up. To be honest, I am the big and ugly guy in the dark back row able to play simple meat and potatoes. I am anything but flashy. And I would not be able to play even basics in time without my teachers who were very patient with me. Creativity is just one side of making music. One is improvising. One is playing from notes, and there are several others. I try to put my energy in reproducing the stuff some skilled players and composers have created. I am happy with that. But again: without the tools I was given through education, I would be really bad. Now I am probably one in the middle class, but also proud to belong to this big and varied group of bassists.

Why not? You can put an extra support to the top of the amp, but if you handle the rack well, I see no issues with the idea.

Awesome and awesome, I have had experiences with several systems and units. The issues with audio clips is the possibility to record one, and then describe the difference with some other choice. Without any comparison, one clip can be meaningless. It is true my text is far less than audio, but my possibilities to make a reasonable recording are simply limited.

A friend of mine (classical player) fixes his nails with superglue and glass fibres. This mixture makes his nails really like plectras.

Which Carvin combo? If that is the output cable, why is there a blue and another white cable, there? Another element, perhaps? Logic says, that the white is ground, but you can check it with a bass and the amp: Connect your bass and take a screwdriver. Hit the pickup with the screwdriver and check which way the cone goes first. If outwards, your element is in correct phase. If there are two elements, both have to have similar function.

Although high priced, the SWR Interstellar Overdrive is in my favourite list. There is also one small black tube amp, which would work. German brand, just a sec, yes, H&K, and their half rack Cream Machine. There were also other models like Blues, Crunch, and Metal Master.

As @BigRedX said, configuration tells you about configuration, and maybe something about the possible size. Nothing else. I tried several cabs before buying my current alusonic 2 x 12". Aguilar 1 x 12" was said to be very good, while I found it simply bad. Remember, this is subjective! I cannot say that the alusonic is super - another cab I have is a Glockenklang 2 x 10". But it weighs a ton, and the 2 x 12" 18 kg... Neither is super: size, sound, weight, freq response... parametres are endless. Trust your ears and try several to find the most suitable for you. Sound is always subjective, because a person, the listener is involved.

We need new designs, please!

CW has a Misa Kitara "glued" to the Status. 8, or less, many of those were pretty hard.

Then buy some cheapo stuff and understand, why are there some better quality tools available. Or buy good and you do not have to ever buy two sets.

What I remember from that combo there is no decent box for the amp itself, so some woodworking may be in order. The switching output was optimized for a 4 ohm load. The output leads were just two wires with Abigo type connectors. Do not push your TE too much and the set may be functional. This comment is a bit weak, as many bassists tend to drive their equipment to the limits depending on circumstances like "I was a bit drunk", and "the others were noisy and I turned a bit more"...

I use distortion quite sparingly, but I like it every now and then. Tried several (read: many!) units, but when I found pedal x-overs, my understanding changed drastically. I have an IE Divaricator and had a KMA Tyler. When the x-over frequency is low enough (mine is at around 400 Hz), the lows keep coming through but there is space for quite some distortion. Even some famous but pretty bad sounding (to my ears, that is) units became useful. And I need the lows to my sound. X-over gives new dimensions to other effects, too. Chorus, flanger...

Cocacola, sorry, cocobolo belongs to rosewoods, namely it is Dalbergia Retusa. It is cultivated to instruments, although the wood is endangered in its natural habitat, somewhere in Amazon. You can get it, but the price is high. Not all woods are the same, Honduran mahogany and certain ebony is endangered, but not all. If you have a factory and start to build instruments from something illegal, the production is quickly turned down. Customs may cut the import/export to zero in no time.

Now! So this is the reason I have earned so little while playing bass.

Yes, it would be reasonable to hear some comments like sound and playability, as your collection is far more extensive than a single P in some corner of the house. (Nice floor, by the way.)

As long as you gig you need power. If the PA is not able to support bass (like a small set for singers), an amp is a must. Besides musicians tend to have varying tastes: if it has to be a tube amp...

Tony Levin had a three string Music Man, but I think he lost it when his studio was burned down. Atlansia produces Solitaire, both fretted and fretless. https://atlansiaguitars.com/Bass-Guitar.php?strings=1

The basics behind this tension thing is to replace thickness (gauges) with tension. Instead of 40/60/80/100 with equal tension is a nobrainer. I think you just have to understand these together, as we have been discussing decades about gauges and gauges only. Another thing is that do you need this one number of tension, or can you live with several thickness numbers and those varying lbs.

By (Jeffrey) Deon Estus.

Few simple searches: https://en.wikipedia.org/wiki/Steve_Bailey#Instruments_and_Electronics Aria Pro II Avante series 6 string fretless Steve Bailey signature model - Seymour Duncan Basslines pickups - active electronics - ebony fingerboard - sunburst ash body - a push-pull volume/mute knob https://www.talkbass.com/threads/aria-pro-ii-steve-bailey-model.1038485/ Steve Bailey: "Almost all were tobacco burst with basslines fundamental fretless pickups. There were 4 and 5rs as well as fretted 4, 5, 6... mine were all "stock" except the prototypes. Some were heavier than others."

What will be your expected delivery time, and some price indication would be nice, too. Is it only for 4-strings, and with which string spacing?

Now dear @fretmeister you should go to the end of the previous page and take another look. The whole question about the amount of strings is pretty meaningless. Should you say to a pianist, that there are too many keys in a piano? And a Bösendorfer grand piano is for posers only, because there are two extra keys. Oh dear...

Let's start with a picture that is over 300 years old: You can see frets and seven strings in the hands of Marin Marais. How do you see the bass has really evolved over time? Double basses and basses have this ancestor called viola da gamba. (Gamba family is not the same as violin family. Double bass is definitely not a big violin. NO!) We know that gambas and double basses have had several strings as well as frets. Players have used bow and certainly different kinds of plectra. Again, what is new here? Is four strings actually a step backwards, or rather a simplification of the instrument? Maybe a bigger question is that even the one string washtub basses have been used with success. It is not the instrument, but the player. Technology does not make music, we do.