itu

My basses (33.8 - 36") have suffered most, as well as benefitted most from string choices. Fretless: SS RW. Fretted: SS RW. Especially the low B was a PIA. I tried lots of strings to get the sound that I want. .005 makes a difference, believe me. Scale length is only my personal (physical) preference, and although I do like longer scale, the acoustic sound is now very similar from bass to bass.

A real multiscale is a 274 cm Steinway or a 90 key Bösendorfer. The difference is mostly about your preference and how playable the bass is. How about other details like the string spacing?

Take a short discussion with your neighbours and make a deal, that noise is OK from 12oo to 14oo, or whatever. When everybody knows this, there should be no word about it later on. This also drives you to do short, well thought (?) steps, one at a time. Talk about rhythm.

I do admit that @cb1 has clearer score. As this song is in 4/4, the beat should not be sacrificed (yes, I remember my dotted eights...), and has to be 4 beats written to each bar. You have to think that the bar has to have as many sets of notes and rests as the time signature tells. One important point is that we do not have to use the shortest element of the bar. Otherwise we might end up in a situation of 1/16 notes and rests filling the score. But it may be a good way to think that way: how to put them together, so that they form beats. It does not look so good in the first phase, when there are arcs and notes look like the are divided to unnecessary parts. But the more you read and play, you see that beat behind everything.

There was a similar discussion some time ago, so search might help a bit.

Guitar strings are far shorter. Please stay with bass strings. The piccolo tensions are followed with a .45 set. G (20) - 41.8 lbs / (45) - 42.8 lbs D (32) - 49 lbs / (65) - 51.3 lbs A (42) - 46.7 lbs / (85) - 48.4 lbs E (52) - 41.7 lbs / (105) - 40.3 lbs Total 179.2 lbs / 182.8 lbs The difference of 3.6 lbs is really small, isn't it?

http://www.daddario.com/upload/tension_chart_13934.pdf

I do have one, but my use is certainly 'quack'.

As price seems to be the first issue, I will not suggest a Status. But if the quality was...

Xero is an envelope filter, we discuss about eq stuff.

Very good discussion, the community shows its power again. I do admit that some of my choices were slightly odd. After listening to the song and reviewing the score, there are funnies, yes. Dotted notes were notationally (nearly) correct, but playing would have been, umm, "classical". My bad. The reason for many rests in the beginning is doublefold: the software plays longer set of rest bars right (and I am only not able to make such a short and tidy notation), although that looks complex without chords etc. When I do a bass score and something is happening without bass, I try to include details (lyrics, chords, melody lines...) to help following the reading. 8 bars here may seem crowded, but as I said earlier, this score is not overly complex. Usually this type of song is learned quickly and then the paper is just an extra support. It is true, that the legibility is another thing. As I use a tablet for my notes nowadays, and not paper anymore, this would drive the notation to three pages. No repeats, no segnos... and a bluetooth page turning device, which is really helpful. Thanks for your comments!

Status has 18 mm in 5-string basses. Ibanez BTB, broadneck Warwicks, and Modulus Quantum 5W have 19 - 21.5 mm etc.

Dear @stewblack, Let me put it this way: You have done the raw work of transcribing the song. I did some slight changes to legibility, now it is time to listen to @TKenrick et al. to get their thoughts about the score in detail. Kind regards.

This is my take of the same score. No, I did not listen to the track. It could have changed the layout somewhat (with those double bar lines etc.). This was just a 10 minute re-mapping of few notes and so on. Good base, have to say. As the honorable sir @TKenrick said, the 2/4/8 works usually very well. Here the start is looking a bit funny with long pauses, and some harder rhythmic figures, but then I changed the layout mostly to 8 bars. The line is not too hard to read, so 8 is still legible. Probably some changes would appear if I listened the song. Bars 43 and 44 were a bit odd to read, so I changed the first 16th and pause to a staccato 8th. Maybe not exact, but easier to perceive. In 44 the rests and notes were different, I divided all rests and notes to a steady 8th pulse. From 73 there were two quarter rests that I changed to a half. The half takes half of the bar, so again a bit easier to perceive. All in all, the basic work was very good. These tweaks were tiny after all. The "chorus" texts started to wander around: choose the first note of the chorus, go to the TEXT and there is that boxed B1 or Swing. You'll get the part text that you can change by clicking that B1 or Swing, whichever you choose to use. These texts then move with the bars and layout. Last but not least is the lowest left box of the software. It includes those bar and page changes, that help you to make the layout neat and according to your preference. Sometimes 2/4/8/16 bars is fine, but there are so many places where 3/9/something is the only reasonable choice. As there were so many bars, I divided them almost evenly to two pages for legibility. Again: the content here is approximately the same, but layout may help you a bit to read it on a gig, if the "chorus' first bar is always in the same column" on the paper. It_Must_Be_Love.mscz It_Must_Be_Love.pdf

He had a three string MM, factory built. His studio burned. Bass Player had an extensive article about him years back. Motorcycling and nappies included. Funk fingers.

Mine has serial 43 (like the Level 42 song), there are not too many of them, yet. Buy yours thru Reverb.com.

The original bridge was Schaller. The adjustable nut had some name like just-a-nut, didn't it?

Sizewise this is probably out of question, but my choice for fretless: Daring Audio's Phat Beam. Compressor included... ACG preamp built in to a pedal?

I know that shorter notes and rests exist, but they are not used here, no. If you find something shorter than a 16th, you know something is wrong, or then it is a jazz solo...

I changed the knobs once more, and put the FI as the second in line. Now the FunkyFellow works better.

No, there are not 32th rests or notes, no. How about trr-rip-le three four?

Particular and particular. Modern preamps have so high input impedance that they eat nearly anything from piezo to buffered lo Z pickups. Sounds a bit like marketing to separate the preamps to "active" and "passive" versions. If the preamp has output level trimmer glued to the side, it certainly works for both impedances. Even if it did not have the trimmer. Shame on you Seymour Duncan.

For some reason Fodera, and that simplfied version of Ned Steinberger's Spector NS-1 and -2. No curved body, ugly headstock and controls, astronomical price, what else not to like? Every singlecut. Spender "updates" that do not exist. Spender copycats. "New" instruments with common electronics, pickups and strings with "very special piano like tone" and something "very extra new" that was actually old before the company was founded. Tonewoods discussion. Maple necks, front dots, LEDs included. Carbon track pots which have some shiny brand name and still are just inferior carbon track pots. Some 60 year old Spender in superior condition named as some holy grail, when in real life there has been some reason not to play an instrument. Unplayable? And not playing is not good to any instrument. Ask any pro double bassist.

Power chord usually omits third. Works well over a major or a minor. As bass goes so low, third may not sound very good especially in the low end. Anything beyond 12th fret is another story. A fifth is usually the first functional double stop. If you write C/E, it means that your colleague is playing a C chord and your work is to play the note E under the chord.