itu

All music old enough is practically improvised. No one can claim, what was the actual idea behind any score. The composer is dead and there are no recordings available. The dirigent may have studied the works of an old master and interpret (improvise) the score the way s/he sees feasible. After the concert we listen to critics who discuss about "ponderable tempo and agogic choices" in detail. If you think that the guitar fight in the Crossroads movie was very original, study a bit of history and check how much Mr. Bach walked in Europe trying to find music competitions. Winners could get some money, although Johann's reputation as an improvising player was soon known in so many places there was no competition - and no money. By the way, JSB liked bars and used many folk songs in the themes he refined. I could call them pop(ular) songs of his time.

And for me neck thickness and fingerboard radius are a bit less important than width and profile.

The incredible Montserrat Caballe:

And bass is not even a member of the violin family. Viola da gamba is the predecessor of the bass.

https://www.premierguitar.com/articles/What_the_Heck_is_with_that_Neck I think that Tobias was at least one of the first to introduce an asymmetrical neck. A lapsteel may have a square block neck (which I like, and have in my fretless), but they are not common in basses. My feeling is that a Steinberger L-2 neck profile is very close to a double bass neck.

I would suggest Prince, as he had many women in his bands like Wendy and Lisa, Rhonda Smith, Ida Nielsen and so on. I don't think we need to divide the scene purely to wo/men, there are many very interesting "collaborations". Oleta Adams has incredible voice that is supported by some musicians. Esperanza Spalding sings and plays bass... how about Spice Girls, and take a look at Alissia Benveniste and her band: I think that it is reasonable as well as important to show that wo/men are equally good as musicians/leaders/composers/etc. but I also like the idea of equality over separation/segregation. Yes, I do come from a family and country where people are already quite equal. There is still work, yes, but we have had a woman as a president and a prime minister, so some glass ceilings have already been broken.

Minnie Riperton, Laura Branigan, Dana Dawson. Alice with Mick Karn

...like J. Jamerson jr.

Ken Smith, Michael V. Pedulla, Joe Zon... there certainly are many. How about Rob Green, John Diggins...?

There is a picture in the Bass book (Barry Moorhouse) of an Original with frets. The idea is nice, my custom fretless 4 has 36" scale, and the current project (fl 5) will probably be 36", although both will be tuned (B)EADG.

Hi-Z and lo-Z basses act differently with certain effects, or the other way around: especially OD/fuzz/dist and compressors behave differently depending on the bass' output circuitry. It does not seem to be so much about the level than the impedance. This is verified by changing the order of the effects in the chain. So I have two fx boards.

Humbucker may be a double coil with a 1coil tap. Then it can be switched to a series/parallel humbucker or a single coil. The output level can be whatever, so the discussion about levels is a bit complicated. (If you have a switchable humbucker, I would suggest ser/par, or ser/single setting. Single/par are not so different from each other.) Yes, different pickups sound different, but as there is so big variety of pickups available, sounds can be described in a basic level only. Details have to be studied individually. There are already so many J's that sound very different from each other, and some of them are actually humbuckers (stacked, parallel etc.). You can also adjust the sound with preamps, but maybe the biggest advantage is the bucking of the hum.

Esperanza Spalding Kate Davis

Oleta Adams - Pino is on Circle of one album, check Woman in chains live with Tears for fears, too Anastacia, although she's not my kind of girl Basia (Trzetrzelewska) Barbi Benton and quite many other country singers Yma Sumac has strange voice Carly Simon and that Bond tune Suzanne Vega, Nina Hagen, Julie London, Whitney Houston, des'ree, Macy Gray...

This is also a valid point, but this is very rare. Can you stand beside Mr. Legg, or the late Mr. de Lucia and think yourself at similar level? There are people that can create or make new without nearly any formal training. Still most of us get advantage when learning formally from the pros.

I remember this Prince bassist Rhonda (Smith?) having a smaller sized body on her bass. But I do not recall the manufacturer, could have been some luthier. A call to some local wood magician could be in order?

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.