itu

Open the back plate (if there is one) and spray some contact cleaner to the switch. Then B - N - B - N - B - N... until the switch works well again.

I am the tallest and ugliest guy in the band, so my instrument is naturally - bass. What's the difference between a double bass and a coffin? Corps is inside the coffin. (I know it was an old one, but I haven't heard any new ones in a decade or so.)

Every material gives matter to the air at the atomic level in nearly all temperatures. Like was the problem with 1 kg standard weight (in Paris, n'est-ce pas?). Sure, all amounts do mean a lot with a material like lead. A small fan is just so comfortable with any fumes, be it resin/rosin or metals.

Flat response is possible. The drawback is, that the sensitivity will be reduced quite some. Passive X-over can cut frequency peaks = less noise, so you get a PA (i.e. bass) speaker that is not that loud. An amp is very easy to make flat. A speaker is far harder but doable. In these days of light and big D-class wattage it would be just fine to drive a speaker that is not so sensitive, to make it still sound pretty loud.

I have a small red Hotone, that is reasonably light in weight. It has two other functions that I do not use. As long as the size is not an issue, passive pedals are practically identical. The only bigger difference is the passive pot, lower or higher impedance. Another thing is the reliability, so sometimes metal may be better in harsh conditions, but this depends. These are good, they say: https://missionengineering.com/product-category/products/expression/ but this is special: https://www.sourceaudio.net/reflex-expression-controller.html

And the fumes are...? Flux, i.e. resin/rosin. It is true, you do not have to inhale it. The similar resins are there in the lead-free, too. Melting point of lead (Pb) is around 330 degree Celsius and boiling point over 1700 Celsius. If you are able to boil the tin with your iron, I would love to know the model, as I want similar.

Yesterday it was Dave Weckl, Tribal Tech, and Brian Bromberg, today Händel. Refreshing to listen to very different music.

Actually it has been prohibited to sell solder that contains lead to consumers since few years. But there are applications (like military etc.) where lead solder is still fine. So it will be available, and you may be lucky to be able to buy it. 500 - 1000 g will last for ages... There is silver tin, too. It contains around 1 - 2 % of silver and has better corrosion resistance, than basic 60/40 or eutectic 63/37. Yes, I hate lead-free solders, except tin for stainless steel. I think it is basically pure tin and some special flux.

Thank you @graham1945! As he already said, the transport was working very well. Actually the local post (that took care of the last phase of the delivery) is known to be very slow every now and then, but this time everything happened at least two days faster than was expected. Post office contacted me via SMS to tell that the instrument had arrived. The Eurosender pages were good enough, I've included a printscreen of the schedule until the local delivery. And what is the most important: the anticipated packet was intact. Here is some extra space, so I will give my humble credits to Graham The Gentleman, who took care of the details and sent me a super clean and very powerful tool. I am proud that I have had the chance to be in contact with him. Hopefully in the future, too.

So, that Harris version shows the notes he should play, like that D over there? OK, I'll just take my coat.

No, he can not be a true bassist. A true bassist can NOT play and move at the same time. This has to be fake! Yes, I have heard and even seen that Mark King can play and sing at the same time, but come on, his background is drums!

I start the transcription by finding the tempo with a metronome. Then I check the the length of the song, and do these few calculations to nail the number of bars of the score. Like Master @TKenrick showed us, it is nice to be able to "see" the parts. But the parts are also easier for me to put to a template that has the right amount of bars in it. Then I try to fix the parts, choruses, bridges et al. I hate a 150 bars paper, where I need to subtract 28 bars or 57 or anything from the middle of the song just because the end part was easy and the song actually is only 90 bars long. Afterwards it usually is much easier to make the score smaller, if there are repetitive parts etc. And I am much, much slower than our productive Master K and the other transcribers.

You have a tap tempo metronome, or at least a metronome (app, anything)? If you know the length of the song (minutes, seconds) AND tempo, you can count how many bars are there. See: 4/4 = 4 quarters (here: beats) per bar Length: 3.12 Tempo: quarter note is 90 bpm, so beats per minute 3 1/5 minutes = 3 x 90 + 90/5 = 270 + 18 = 288 beats 288 / 4 = 72 bars Helps in the start while trying to put all phrases to their respective places.

I bought a Modulus Genesis from Graham. He took care of everything better than anyone before. Just one detail: all parts of the bass were polished! The trip to north Europe, so Finland, took just few days and the bullet proof package came intact. Shop with confidence. He is a true gentleman you can trust. Kind regards, a big thank you.

@dannybuoy has wise words. It is reasonable to make a choice according to music. I would like to add, that the comp is a bit (too much) like a OD/fuzz/dist as the bass has an effect on its behaviour. I have a comp for hi-Z (so called "passive") bass (Daring Audio - Phat Beam) and another for a lo-Z bass (tce Hypergravity). (The latter is a three band comp and it takes time to tweak it to user's preferences.) At the moment an interesting newcomer is from East Europe. I suggest you to read this: https://www.basschat.co.uk/topic/359523-becos-compiq-stella-compressor-review/

Oh dear, once more and again, please refer to these pages: http://www.ovnilab.com/

Take a look at the string spacing (bridge). 17 mm is the most common, but there is everything from at least 14 to 21.5 mm. Without a test drive I would not buy any of those basses you mentioned. I did a test at a shop and tried maybe 6 different 5-string Laklands and all sounded and felt different. Not one was built for me, but two were pretty good - and different to each other. Especially the American made was not for me.

Oh dear. I am just using Taylor's FMeron. But if in need, Misa TriBass + Novation BassStation can put out some fun stuff. Not yet on a gig, though.

There is "high quality" and a carbon track pot in the same sentence. Funny. You want quality, buy a conductive plastic or cermet track pot. Brands to look for: Bourns, Vishay...

Our band pianist bought a Nord Stage III for something like £2500 - £3000. It will last for the next 7 - 10 years. During the same time I will probably buy strings for the same amount, so is it that bad? It sounds good and has literally new bells and whistles that he loves to search and try. More sounds, more fun.

I have been considering to buy a JE preamp. Now I like to have a blend (yes, two pickups), and I like humbuckers. Which preamp would be your suggestion to my use? That flat response might be my preference.

Although there are passive modes in some A/P basses, the circuit is always on when the plug is in the jack. The only exception I am aware of may be the Ex-Factor that had a rotary switch for OFF - Standby - ON, but did it shut the battery off while the cable was plugged, I do not recall. Owners of the Kubicki might be able to clarify this.

Nice colour including fretboards but for me it is just useless.

The first question is why you have to buy another? Do you have any idea? What is wrong with the current instrument? Is it too light or too heavy? Colour? Sound options? If you do not do your homework, you will be here after some time and ask help for one more bass. It is not wrong at all, but you do not seem to have the faintest idea of what is wrong, although something is not right. If you are not able to specify the issues, your only way is to do lots of test drives. Human nature is not good in absolute values, as our senses are made for comparing stuff.