itu

Free - Mr. Big The book with CDs: Standing in the shadows of Motown. If you like progressive, CAB (Brunel, MacAlpine, Chambers, Auger) is interesting, if a bit complicated. These are really pop, but who cares: Peter Gabriel - So. ABC - The lexicon of love ...and all those transcriptions here in basschat, lots of interesting stuff.

The first pictures shows your fingers, some vitamin B would be in order. The third shows the capacitor which is a bit too close to the cover. Previous comments about corrosion are probably on the right path. Use a plug to put it in several times to the jack. Battery contact, brush it. If you have a DMM (digital multimeter), check cables, too. A battery and a lamp is a cheap and simple tester.

Probably so. I have a Glockenklang Soul amp with a switchable eq. When the eq is bypassed, it does not have to be flat, but rather the adjustments are bypassed. Even hifi units have some tweaks, and still the manufacturers claim flat response.

We had lots of connectivity issues with the Ui24. A guy from another band asked how far are the IEMs? We just moved the IEMs further away and the unit works well. It is very good, that the unit keeps all settings after power off or if there is no unit connected to it. Powerful, yet simple enough. Presets for instruments and vocals, effects, comp... and 8 AUX. Did I say it's lightweight and compact?

Just few pages to check: https://www.zikinf.com/ http://www.bassic.de/kleinanzeigen/ This is a shop: https://www.todobajos.com/en/ For DIY people: https://schalltechnik04.de/en/home

My first bass teacher said, that the reliable cable is one part of my instrument. I have used Neutrik plugs (and XLRs) and silicone cables since late 80's. They just work. Build once, use always. I have had zero issues with them. Many of my playing or singing friends have asked me to build cables for them, too. Cable does not have to cost a fortune, but the parts have to be top notch.

If the settings are in the middle, it does not automatically equal flat. If your volume/master is set at 12 o'clock, it does not mean that 50% of the power is in use. Our equipment is not measurement stuff, far from it.

I bought a used Rick 4001 for £400 in 1986 from Rose-Morris. I think £3.5k was astronomical price at that time.

OK, fine. My modest opinion is that it is a very good, although not a simple unit. I am using multiband compressing, my choice is Hypergravity. All pots and parameters can be tweaked, which means that the unit is a bit complicated to program. After that it is easy to adjust the settings quickly on stage (like attack and release). Empress is fine unit if you need one sound or have the time to adjust it.

Once more: www.ovnilab.com

I had issues with a flight company: they forgot my instrument to the airport and then ruined the molded case. I would not fly with either of my M80, if I did not buy a ticket and a seat to her. That SKB looks rough and tough enough to withstand airport abuse.

I feel this is very close to some old Bass Player article. Overall it is a short overview. Some links to other texts by him are "interesting" like the ten best basslines. In fact many details are inaccurate: Alembic (1969) is certainly older company than Warwick (1982). A. Jackson started to play 6-string in the 80's rather than 70's. This is marketing, not historically correct text.

Madinter has instrument woods, too. Their blackwood was my choice for the fretless fretboard. Hard and black. It is actually tinted.

* or Russian, or American, or _________ Place whatever country on the line. If the kid is OK with the training, go ahead. If not, blame his/her parents.

My Achilles heel has always been the neck profile. I ended up ordering a custom fretless from a luthier.

If you are thinking about the resale, you are not going to keep it. I can see no reason to buy this one.

If you want to understand the basics of the signal chain, I wrote something to the following thread. It may help you a bit. Another thing is to understand the physical details, like pickup height, and the effect of strings (Ni vs. SS, flat/ground/round).

Come on, my answer was the third from the given options.

Humbuckers and a very functional preamp, need I say more?

Check "Takamine bass gothic", and find at least two black instruments of the 80's.

Digital multimeter. Simple functional units start from maybe under £20.

pickups - blend - vol - tone - output Any part in this signal chain can be "active" (battery powered, that is; low impedance = lo-Z to be correct). The most common way to "activate" an instrument is to add a battery powered tone capsule that can boost certain frequencies (most common are B/T). High impedance circuits (hi-Z, "passive" tone) can only cut. EMG has pickups with internal buffers. They can be considered "active", but the main point is that their output is lo-Z. Lo-Z output is less prone to interference and the cable length does not deteriorate the signal so much. For the hi-Z signal maybe 30 feet/10 m is still doable, but lo-Z signal can pass even 300 feet/100 m cable lengths. OK, if any part of the signal chain is lo-Z (to simplify things: battery powered), the output becomes lo-Z. The least common parts in the chain are active blend and vol. There are only few companies that offer active mixing like Audere, EMG, John East, and Noll. That £300 Sadowsky is only a tone circuit, if not pretty nice sounding. Why bother having an active mixing? Well, the biggest issue is, that any hi-Z component directly in the signal chain does two things: reduces volume and frequency response. Guitarists tend to use bleeding capacitors in the (hi-Z) pots to lessen the higher frequency reduction. If the "active" circuitry is only after the blend and vol, these first two pots affect the sound, like it or not.

Battery change is in need. If you have a DMM, it might be feasible to measure the voltage now. When you put the new in, write the month and year to the battery. Then you will see the approximate battery lifetime.

Yes, the resistance of the coils has a bit to do with the output level. But you can compensate the level with your amp settings. Preamp is usually wanted because of the eq, not the output. You get the possibility to sculpt the sound with T/M/B/LP/BP, semi parametric or whatever. Most of the preamps do not handle panning, but that is done with simple high impedance pots (250k/500k MN by Bourns is good for blend). It is the same with volume, cheap parts. John East, EMG, and Audere have real mixers, but these are rare. Maybe Alembic has mixing, too. Go and test the pickups. It is possible to wire them in series/parallel/single with a (rotary) switch, but I would say, that in practice you need only two of those three options: series/single or series/parallel. Parallel and single are so close together, I would leave the other out. If the pickups have 4-wire outputs, you can play with many options, a rotary switch (one hole) may be helpful, or just take two ON/ON DPDT ordinary switches (two holes needed) for sound variation possibilities. The choice of parallel (more output) or single (clearly thinner sound) depends on if you need the level difference against the humbucker. Nowadays I would say: take series/parallel, and use series most of the time.