itu

Maiden? The number of the beast? Anyone? Cloud #9... now where is the list of numbers, when someone asks...

Impedance itself is not a steady parameter. It changes over the frequency range.

Depending on your cabs' efficiencies, the power is distributed basically according to their impedances. On the other hand the efficiency may level the difference. This can be verified by playing through the cabinets.

Maybe the difference is so big that you'll leave the other cab away. But this needs testing.

If you drive the head to its extremes, the choice may be more crucial, but if you do not need all headroom, play with both and check the temp of the transformer. That probably gives most tangible result to your question. Cooler is better.

If you do a comparison on similar strings (SS RW as an example), the thickness defines tension. Thicker needs more tension and vice versa. If that 130 is too sloppy, try a 135.

Pushing the string is just pushing or bending it over the nut or bridge.

There is a difference in sound between SS and nickel strings. You need to try them and find your preference.

I play strings that are made in the same factory the name represents: Rotosound, GHS, D'Addario... they are reliable. Many of the brands come from few factories. If your hands sweat alot, you may try coated ones (Elixir etc.).

It took quite some time for me to find out the right B-string for my previous Modulus Graphite. The .125 was The Thing. All other gauges were floppy and sloppy and blobby. She just started to sing with the right gauge. Do some trials, it may be the gauge.

A DPDT switch, a trimmer, and a capacitor. Simple as that.

PRS has this simple switch that controls tone on/off. You could do a bit similar with a capacitor and a trimmer (Smith may have had a coil in the circuitry, too). When the switch connects the components to the signal line, you get a preset tone you want, as you can adjust the trimmer to your preference. When the switch is off, the parts are not in the signal route.

alusonic makes 1 x 12" and 2 x 12" units made out of aluminum. The bigger weighs 18 kg. Yes, I do have that 2 x 12" + tweeter unit.

On 30/11/2019 at 19:47, paul_c2 said:

On a bass, IMHO, effects are not really necessary, but sometimes add a little sparkle or interest to the tone.

I have to say that I do not disagree: most of the stuff that I should be able to produce, can be done with the bass and me. There is a lot of stuff that is done in the studio and some of the stuff includes reverb, compression, distortion, envelope filtering and so on.

As the stomp effects are pretty reasonably priced today, I see no reason not to use them. The big thing is, which ones work with the instrument.

I have few fx boards. One is for my hi-Z fretless. One is for my lo-Z basses and one for experimenting (synth etc.).

I did not think about effects so much, except that OC-2 when Mr. Palladino came out with Paul Young. But later on I have started to think that they are just tools, so why not to use them?

As I have some background in acoustics and broadcasting, I looked for a X-over and they are probably the best thing related to fx. When the effected signal does not touch the low frequencies, there is a possibility to drive the effects further. And now effects are more fun than ever before.

Try it, you'll like it.

Weight saving is possible, but the box has to be rigid. It can be done with supports from around the center of the opposite panels.

Remember to tighten the screws after a month or so, and use a good material to seal every single seam. Leaks weaken especially the bass response. Element needs a gasket to prevent air leaks, which would also equal weak bass response. You can easily test this by trying to play (with a low volume) with the element only, and then put it to a whichever box or tube. The difference is drastic.

If you know something about photography, then the ISO-aperture-time -triangle is familiar to you. The same in bass is: efficiency-cabinet volume-lowest reproducible frequency.

Do not hunt for 20 or 30 Hz. 50 - 60 Hz is already very good, because ear works in a bit funny way.

A PRS-type tone switch?

...one more a** here...

www.ovnilab.com

My personal experience is that a comp is a lot like a distortion. The instrument and the placement in the signal chain have an effect on the performance. I do have three compressors: Hypergravity multi-band for lo-Z basses, Phat Beam for my hi-Z fretless and Constrictor for effects behaviour. The last one is definitely not transparent.

Quite a lot of the performance is also user dependent. Learn, how the unit works and it is your friend. Sound on sound has good tutorials.

If the casing is not stiff and tight, the bass response is affected. Very small box raises the lowest reproducible frequency. If you need an efficient and small box, the low end response is also sacrificed. What else you needed to know?

As this doesn't seem to be very serious, please add Boney M Christmas album to your list. Local radios started playing some songs already on October. It is just too much...

bartolini quad coils (packed to a single casing), Atlansia...

Both are pretty rare. I would consider contacting a pickup maker and ask for such a unit(s).

I have one and the price of this is very... black Friday.

Is Wilkinson owned by Gotoh? At least they have had products with "licenced" texts.

There was some news months ago that had something to do with his health or similar. I admit that I have no idea, what might be going on, but if the question is about health, I would rush slowly.

Passive has usually nice low cut close to very low frequencies. Some passive are not very functional with hard impedances, like with piezos.

Active needs always power, internal or external. Internal may be a 9 volt battery or some power supply included. Some boxes eat external power like Phantom from the mixer. You need to check the owner's manuals. If the box has very big input impedance, it eats piezos as a breakfast.

Durability. My Countryman type 85 would probably survive, when rats and cockroaches do not. Most of the boxes I have seen are designed to harsh environments, like for gigging bassists.

If the box has a switch for two different signal levels, that is a nice, optional extra.

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

I have had lots of issues with my hands, as I rode a road bike in my youth. No gloves in the spring time. Now my hands are cold, if the temp is below 25. I use wool gloves even during sleep.

One thing is to take care of the wrist area and the hand muscles. Both need some exercise. It is not so uncommon to fill hand muscles with lactate. Warm up, and if it is not enough, visit a manipulator.

By the way: White sugar is really bad for my wrists. No exercise and lots of sweet food make my hands hurt.

To clarify my previous comment, I downright love his music and playing. I even had a chance to see him playing live maybe two, three times. The bands were so tight and at the same time so relaxed. The just played! Bass General is one main reasons I still play. I covered some song of his while applying to a music school in my late teens and got in.

Now, I am far away from his level but his playing made me try to develop and reach for more. His son, Verneri Pohjola is also an honored musician. Fathers and sons...

The late Bass General did lots of progressive and somewhat complicated music, but his compositions include fun stuff, too.

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Not good. A young Audi boy drove over my old Alfa 33 while I was driving to the gig. My playing sucked, as I was thinking, what happened and how much this gig will cost. Oh dear. But the ladies were wearing shiny stockings and my dear bass sang some nice stuff. I shouldn't feel too bad.