itu

Both of your comments have interesting details, that I point out: - different headphones (microphones, speakers...) for different situations - many members of head-fi... sorry, I still rely on my ears The first is important, as different tasks require different equipment. Those professional soundengineers told me that Genelec is an excellent monitor for studio, but they would not use them at home. Yes, it was a rough comment, but it opened my eyes to understand the difference of tools. HiFi is one thing, studio another. There are lots of people making analysis on different stuff. As long as we discuss about basses and studio work, I am a bit careful mixing HiFi in. Yes, my equipment is HiFi, because I do not have a studio. But I would certainly check the offerings if I was sitting there. My idea here is that there is a point, where we need to change our listening habits according to the place, material, and surroundings. Then only our own ears can help us to hear the stuff that is important.

Quite many people have given their recommendations, but not very objective ones. Basics: the ear canal grows through life. It changes somewhat during a 5 year timeline. (This also means that molded ear plugs should be updated every now and then.) Ear in total is different with every person. You might say, that everybody hears things in a slightly different way. This is the reason why all hearing parameters are statistically analyzed and are a bunch of averaged numbers. OK, so the size of the ear may differ a lot. How well certain model fits an individual should be tested. How well certain model sounds to an individual should be tested, too. There is no single, or universal solution for you. This is why I suggest to test at least few units side by side. Volume has to be compensated. Testing only one pair without a reference is simply silly. Ear tends to accommodate to the media, and after a pretty short time the new pair of headphones is "the best I ever had". This simply sounds like BS. I used to work in a broadcasting company where soundengineers did yearly tests on equipment. The results were surprising every now and then, as the "standards" were challenged. The good thing was, that the test group was pretty big, and they published the results to those interested. A single guy in a single studio is not able to do comparisons like those. In reality the budget is the first limitation with any small studio. Test and compare, and you will be satisfied with a suitable product to your specific needs. Yes, I understand that a place with tens of pairs of headphones (studio monitors, microphone, you name it) is not always possible. Still I have to emphasize the importance of comparison. Believe what you hear.

www.ovnilab.com Maybe the simplest multiband unit is the tce Spectracomp. If you are afraid of not finding certain sound again, this UI may be of help. Do not think the unit is a one trick pony, that one knob adjusts several parameters.

Lovely story of a reborn bass. Wow, now she needs playing, lots of playing! Thanks for the story and good pics.

4558 is a low quality dual. Try TL072, NE5532... there are lots of alternatives. But, as there are sounds and options, there are also few things to look at: power consumption. 5532 sounds so good, and you can hear it from the battery, too. 072 is a good one and consumes less. OP-series is high end, but so is the price. I still recommend you to try, as the cost is very reasonable.

I did some work with Finale and was in a group that published modern (complex classical) music. Musescore can not produce that, but I do not see it as a hindrance. Finale is a far larger and far harder toolbox for practically anything. But that amount of possibilities made the SW awkward and really complicated to use. Compared to Encore, they were like night and an orange. Encore is quite like Musescore, but Finale, oh dear. I used four of its manuals all the time during that few years of active use. Musescore, I do not use manuals, although there are few hidden and needed features there.

I would put it this way: these songs have widened my understanding a lot, although I am not able to ever reach their level. My point of view to bass is probably a bit too technical (in terms of technology), although I love my instrument and her sound. 9 bass players anything from Domenico Dragonetti anything from Niels-Henning Ørstedt-Pedersen anything from CAB4 Victor Bailey - Round midnight Fernando Saunders - Sussan Pekka Pohjola - How about today Edgar Meyer - Webbed feet Jamaaladeen Tacuma - Kimono queen Wendy & Lisa - Waterfall 11 something else Jeff Beck - Come dancing Suzanne Vega - The queen and the soldier Pan sonic - About insects Linton Kwesi Johnson - Bass culture Kraftwerk - Computer world (the original German version) Florence Foster-Jenkins - Die Zauberflöte Basia - cruising for bruising Jackson Browne - Nothing but time King Sunny Ade and his African Beats - Ma jaiye oni Paco de Lucia - Alta mar (Live... One summer night.) Gene Krupa big band - Slow down (vocals Anita O'Day)

Yes, this should be here: https://www.basschat.co.uk/topic/409666-challenge-post-a-picture-of-the-most-ridiculous-bass-you-can-find-just-one-picture-per-person/

With white the pickups come out better... but the most important is the dark fretboard! Good instrument is always a good choice. I just do not get that everybody should start with toys. Tool is a tool, and it is good to start with a functional one. Enjoy!

If the tracks are alive, yes. Well, if the gliders are also well. Then some contact cleaner and lots of turning. Sometimes you have to open the cases and tighten the gliders. Not a job someone else would do, as it takes time (= money) but is very simple task.

Bourns, Alps... Cheaper quality: CTS, Alpha...

A teacher is in need. Someone like Marlowe DK could be a good start. Basic fingering patterns are certainly a few clicks away, too.

Well, now you have a nice signal generator! Take a rod or ruler, plastic or wooden, and push and move lightly on different components. This may reveal a bad solder or faulty part. Just in case the FX loop is oxidized, put a cable in there first.

I happened to buy that LP in sale maybe some 30 years ago. I am on the same track as you, @Bilbo: compared to Bruford's other works, the music is a strange mixture of Japanese something and kind of happy fusion. It is a bit unclear to me, why Watanabe was so hot at the time. Thanks for the transcription, once again. Interesting choices!

I am using a Meyer Sound webpage as a reference: "With real-world signals at high output, the power consumed is about 25 % of this value over long time periods." This means, that out of that 800 W, the continuous real world high power consumption lies within the ballpark of 200 W. "in UK the average cost of electricity per kWh is 14.37p", says our dear gloglo. To consume 14.37 pence (1 kWh) then equals 5 hours of playing - and playing pretty loud, by the way. If you have two rehearsals every week, you may be able to reach that weekly 1 kWh consumption. £1 is practically 7 times 14.37 p, i.e. you get 7 kWh. With two cancelled rehearsals you play two months for £1. If you play just one rehearsal every week and you use only half of the potential power of the amp, for £1 you can play 28 weeks, which is seven months. Let's do some practical comparison: How long can you play with your <1 kW bass amp with the energy you consume weekly, if your one way travel to work is a 10 km drive with that 100 kW engine car (which theoretically consumes only 5 litres / 100 km)? Do you want to calculate that? Really? OK. Your weekly driving to work and back is 100 km. This 5 litres contains approx. 45 kWh. With that amount of energy you can play your amp for one year after subtracting X-mases and few other holidays from your twice-a-week rehearsal schedule. Able to continue playing electric, or do you have to buy a double bass - and a bicycle?

But I am pretty sure, that the pedal bass notes are meant to play with this.

If you made a calculation of use and cost, you would be amazed. If you took into account the amount of power in RMS you are actually using, you would see, that for £1 you can play pretty long time. Don't worry about the consumption: probably your air conditioner is the bad, when you keep your window open at the same time.

Have you been seeing his amp endorsements? Me neither. I think his vol and eq are in some very big, and very expensive mixing desk.

I have. I do not remember his name, but there was an article in BP years ago of a studio bassist. His P (that's how I faintly remember it) had probably two switches: on/off, and tone, and the output jack. I think he talked about sound quality and simplicity, not forgetting the reliability. I did something similar to my Washburn in the 90's. Functional and simple. A comment on series/parallel/single -switch: one of these three tends to be unnecessary. It is better to leave one off and use the series/parallel or series/single option only. Everyone that has tried this can support the idea. The latter has also output difference (boost, anyone?) that should be taken into account.

My natural Washburn was Korean. It was heavily modified before retiring - the phenolic resin fretboard was beaten and ruined. If the fretboard would be changed... maybe, I have to think about the cost vs. results. And whether I can find the bridge etc. The instrument itself was reasonable, but not exceptional. With the 30-90 set it was twangy! I changed it to a MG Quantum 5 SPi Custom. A very different beast. The string spacing was too tight (17 mm) for me, so now I play a MG Genesis 5 with that cozy 19 mm spacing. I have seen and tried a red and a natural S2000. They were exceptional!

Baron Manfred von Richthofen! Kool!