itu

You are on a right track. You could try to tune your D-string to the same pitch as your G. Maybe you lost that D, as it might break, and at least the neck gets substantially more tension to it. It has to put equally much tension against the strings to keep itself straight. Here truss rod adjustment helps. It is there for different gauges and tunings, i.e. tensions.

The core can be thick and the winding round it thin - or vice versa, and still you have two strings with equal thickness. But the mass may differ, and the force to tune it to certain frequency is different = different tension. Remember, as an example there are flatwounds with nylon wound. Again the cross section may be the same as some other set, but the ratio of mass / length is not. http://www.rotosound.com/tru-bass-88/

Pound for pound, the best P bass for me is still in the shop. Do not want one. Money saved.

I would like to hear your suggestions for training during one week. Sometimes there are moments to play hours, sometimes just minutes. How do you handle your week or a month and keep up your playing abilities? What is the material that suits your personal progression? A friend of mine - a drummer - said that if he plays at least 5 minutes a day, he can keep some touch to his playing. It certainly is far better than one hour once a week. So warming up, rehearsal, cooling down, or what and how?

Very similar was that short scale Hamer bass, but the one in the picture is a DR. Compare them side by side and you may see twins.

Paganini, but that is violin stuff and thus very hard. Dragonetti - the Paganini of bass - has done kinky stuff for double bass. Edgar Meyer and Niels-Henning Ørstedt-Pedersen have played some very hard arrangements. A local record reviewer had a doubt that NHØP was actually two persons playing two basses... A young player may find it hard to play rests, or long enough notes, or legato. I still do have issues with all three.

That Roland is uncommon, as all its channels are: 3 hot, 2 cold. Not everything that those chaps behind that big water do is always a good thing. Well, not that uncommon but I have not seen such a unit in years. You might say that it is rare (like people tend to say that on any bass, that has not been built during the last two decades). https://en.wikipedia.org/wiki/XLR_connector#Technical_usage_information

You may need to play a bit with levels, but other than that, you're on a right track. If the mixer/PA has normal inputs, 2 is hot and 1+3 go together because of that unbalanced signal. A friend of mine just bought a Roland mixer that has 3 as hot. It took a few minutes to figure that out... RING = red = right (fixed, thanks to @tauzero)

I actually do repeat most of the stuff that these gentlemen before me wrote already. Hope that my angle gives some light to the topic. Basically the tension is related to the string thickness + string length (= mass) and tuning. There are details in the strings that affect the tension, like materials and how thick the string core is. If you buy a set strings that are 30 - 90, they are very light. On the other hand a 55 - 110 set would be heavy/hard, compared to so called basic 45 - 100 set. But as said, there are differences depending on manufacturers' designs. Usually the feel between different basses with similar strings is related to the height of the strings from the fretboard and the neck dimensions (like 30" - 36") and if the neck is convex or concave. So setting up a neck and bridge are important. Remember that the tension is the same, no matter which way you string your bass. If the string posts are certain or the bridge has different holes, like through-body, these do not affect tension. If you think that the string is between two bricks (or vices, as @Andyjr1515 already wrote), there is no effect, whether the string is doing some curves after that brick or not, if the string behind that anchor point does not stretch. There are constructions that minimize that stretch like a double ball end headless bass. Check this chart, it may give you ideas and lit that lamp above your head: www.daddario.com/upload/tension_chart_13934.pdf This was my key to different tunings with the same tension as with basic string set and tuning.

This thread starts to look like... https://www.mavic.com/

@keziahj packed the IE FMeron well. He kept me updated with all details. The package and the unit in its original box were like new when they arrived. Deal with confidence.

Have you considered that your cables need some cooking before use, too? Try this: https://www.thecablecooker.com/ Basic version is 650 U$D and a deluxe around 800. A must-have! (I asked my kids to shoot me if I ever even consider such %^%#.)

You are not a qualified electrician, so if something happens, like your house burns, insurance will love you. They pay you nothing. It is possible, that the change is easy. The transformer will be changed and the unit is ready to rock. But there may be other components or the whole power supply unit that has to be changed. Ask some local amp manufacturer. Help is now in need. It may be wise to consult Hartke, too.

DiMeola: Tour de force (live) Jeff Beck: Wired CAB: any record A. Holdsworth: Metal fatigue Manring: Thonk Tribal tech, Bruford... As an extra, I have to share this link with you. A Finnish composer and a bassist extraordinaire, Mr. Pekka Pohjola:

While my instruments do not have actual P, my preference for a neck pickup - fretted or fretless - is a humbucker. At the moment my fretless has that roundish Delano. I have a switch for ser/par/single and most of the time the switch is set to basic humbucker. It is not about the sound level but the roundness of the sound. I feel that a single has somewhat compressed and thinner sound, while a humbucker cuts some top sizzle. As I mostly play in a middle sized band (we are twelve), I try to stay within my frequency band. Otherwise I might step on the toes of the guitarist and the piano player. I see, that the pickup choice depends on the band, the instruments, playing style, and personal preference.

Pretty nice hint, @Al Krow , act now.

Two days ago I was visiting a local dealer. I tried 5 different 5-string Laklands and a Mayones Feraud unamplified. Every one was very different. Usually I hate maple fretboards, but similar to yours was very good. Another blue Skyline was also fine sounding, but three others did not fit my fingers. Not at all. Same neck, same body, but not the same feel. It was somewhat strange, because I haven't been doing such testing in years, if not in decades. One instrument just talks to me and the other - so similar looking - is good for fireplace from my point of view. My herd acts in a certain way and that is what I am used to expect from my dear instruments. An instrument has to be tested. Always. The first impression may give a very good hints of what is coming. If there was a possibility to change strings to my preference, some things might have changed. An instrument may work better with certain blend of strings. My Quantum needed few string trials to get the best out from the low B. GDAE was an easy 40 - 100, but that B started to live with a 125. For example 135 was a nightmare. Weight, well, I have seen lighter instruments than Laklands. But most of those I tested had exceptional balance that made them feel far lighter than they actually were. That's some very good design.