itu

Tina Turner - We don't need another hero. Have to do a transcription to the next Thursday rehearsal. That very probable synth bass has few peculiarities that take time to catch.

@Vinny spoke wise words. There are several manufacturers and their chemistries and capacities vary. I would always use a new pair of the same brand. Mixing batteries is the way to, well, you know. It is reasonable to use certain brand for some time if you want to know their exact performance.

I did some search and the HS (high speed) model uses faster slew rate opamps compared to that basic model. TL074 is pretty basic and cheap quad opamp, so upgrading them might change the behavior a bit. May belong to "nearly-audible-and-hard-to-hear" area but does not cost so much. Let's see...

Ask Geoff Gould (founder), Jerry Dorsch (neck builder), or Joe Perman (current owner). https://www.modulusgraphite.com/ It is probably pretty easy to figure their email, that starts with info@...

I followed your suggestion and now I am an owner of an 1140. Thank you for your advice. The cost was £140 - that was slightly funny.

If you buy a bass because it has certain pickups, your decision is strange. The feel of the bass including playability and all ergonomic aspects mean most. The sound can be tweaked via pedals and changing electronics, pickups, and strings. Ergonomics you can not tweak with electronics.

That TRS may have power supply in the ring. But balanced, who knows? Again, schema would help. Max Input Level: +4dBV XLR balanced, +10dBV unbalanced Phantom Power: +24 Volts, 6 mA This (from the web page) tells that the input(s?) has the Phantom and that the other input is unbalanced. Paper told us something else.

A class 2 calibrated meter costs reasonable amount of money, but a class 1 that includes periodic calibration sure is overkill at home. An RMS DMM has limited frequency response, so there will be lots of work to try to measure anything reasonable. RTA on the other hand may cost anything from tens of pounds to sky-high extremes. Buy an old Behringer 8024 Ultra-curve. Sure it is cheap and has tiny, but not an impossible display in it. Print that manual, you'll gonna need it. Measuring mics also cost anything from £50 to £5000. Your needs are covered with a £50 mic that has no calibration certificate. Why? Because I doubt the possibility to use an anechoic chamber. Horizontal and vertical placements are crucial - 1 meter is the basic measuring distance. Anything else should be normalized to that one meter's distance. Logarithms are your friend...

Probably the simplest way is to use unbal - unbal. As you can see from the unit's labeling, only XLRs are balanced. You should check, whether the 3.5 mm input is only TS, because it is unbalanced. If you use the XLR, then 1 is ground, 2 is hot and 3 cold -> solder 1 (from the sleeve) and 3 together and 2 to the signal/tip.

Sounds a bit like you believe that hi-fi systems have linear response. That may be the ideal in some circles, but not everywhere. A switch that overrides tone controls may have some hidden low end enhancer. Just an example. As we have seen in this thread, simplifications do represent nothing. Usually one single number is, what it is: a single number. Like: all basses with 4 strings are equal, aren't they.

What I hate in this live performance is how easy it looks. (Just joking...) To be honest, the laid back feel and the easy looking performance comes only through incredible amount of practicing. Anita Baker is lovely. I do like the performances of Oleta Adams, too.

In the text there was a note on a 5-string bass, so my answer should covers the question. OK, a decent cable is expensive? Check these: https://www.thomann.de/gb/guitar_cables.html?feature-11507-first=3&feature-11507-last=5&feature-47036[0]=Jack&feature-52381[0]=Jack&filter=true&manufacturer[0]=Cordial&manufacturer[1]=Sommer Cable&oa=pra&price-first=0 The selection is limited to jack-jack (both straight ones) and length is between 3 to 5 meters. Anything else than Cordial, and Sommer Cable are left out. These cost between £6 and £35. You will use it for the next ten years. Not a big, but an important investment. I always carry at least two with me. You know those g-word players and their so-called cables...

This is very important! There are too many companies that use some marketing nonsense in their ads. If the measured charts would be available, the comparison of different units would be easier. But everybody is just talking about wattage and impedance that tells practically nothing about the sound or loudness or anything. Every measurement should be normalized. Then at least few numbers would be comparable. Frequency response should be within +/- 6 dB. Then these ridiculous "18 Hz to 13 kHz with a 12" driver" responses would disappear completely. But there is no such thing as an honest marketing manager when talking about comparable facts. It is so tempting to write 500 W / 4 ohms, when the amp can deliver 300 W / 8 ohms. Because 500 is just bigger number than 300. Then kids think that the cab should be 4 ohms "to deliver the most loudness" from that amp. Oh dear! The loudness difference between an 8 ohm and a 4 ohm cab would be nearly 2 dB that usually can not be heard. IF the cabs are similar - which they are not. So sorry to announce: Too many numbers in the music industry are meaningless. 1) It is impossible to tell user how many dBs the system can produce within the frequency band, if the system is not tested and measured. The reason for this is because some amps and cabs like each other while some do not. The cab may be hard for the amp. 2) It is impossible to tell what is the frequency range of the system if it is not tested and measured. The frequency range may be limited somehow because of the amp or the cab. 3) It is impossible to tell the difference between two systems if they are not tested and measured. Two sets of amps and cabs may give very different performance depending on the 1) and 2). When these two sets are mixed, you get a system #3 that again acts in a different way. Without trying a complete set in vivo, you are unable to predict the way the set, a system works. Period. It would be possible to measure the parts and the set in an acoustics lab, but who would pay the costs? Just because the amp says ampeg and the cab says 8x10" has nothing to do with loudness. The specifications only tell you that the system is heavy. Does the system go to 32 Hz within that +/- 6 dB, no one knows.

I bought my black Rickenbacker 4001 (1976) in 1986 from Rose Morris, I think. £400. Back at home I bought a Session 100 bass amp. Amp was not flashy, but that 4001 was a good one.

Marc Johnson has pretty tough book: https://www.amazon.com/Concepts-Bass-Soloing-Chuck-Sher/dp/1883217008

Any brand may or may not be a good one. Without testing several, you get no idea of a suitable bass for yourself. My preference may have nothing to do with your preferences. Take a walk to local and distant stores and try many different ones. Try higher price categories, too. Then think about the price again. Cost may limit your choices, but it is also reasonable to ask yourself if you need to spare a bit longer to get that first reasonable instrument. An instrument is not functional without a good quality silicone cable (3 meters / 10 feet should be fine), a wide strap, and if it is low impedance (active), buy a set of spare batteries. If you need to carry the bass around, a decent case or thick padded bag is in order, too. Last, but not least is the spare set of strings. If you are new with bass, you may consider a bit lighter 40 - 120, or a basic 45 - 130 set. The complete minimum set costs some more than you thought in the first place, but you need to be able to change a string or a battery in a hurry, when shops are not open or just too far.

The big difference is this: 1 W - 102 dB (this is the sensitivity number @ 1 m distance) 2 W - 105 dB 4 W - 108 dB 8 W - 111 dB 16 W - 114 dB 32 W - 117 dB 64 W - 120 dB (threshold of pain) 1 W - 90 dB (this is the sensitivity of another cab) 2 W - 93 dB 4 W - 96 dB 8 W - 99 dB 16 W - 102 dB 32 W - 105 dB 64 W - 108 dB 128 W - 111 dB 256 W - 114 dB 512 W - 117 dB 1 kW - 120 dB (beware!) So you need an amp that has lots of headroom or a sensitive cab to reach loud voices. I do admit that the first cab example would have very, if not extreme sensitivity. But when comparing the wattage, you may get an idea, why watts are not very good measure of loudness. It is reasonable to have headroom, but amps are not something that you can compare one to one, except that wattage. The whole system - including preamp, power amp and cab - produces the loudness, not any single component.

If the unit's powering scheme supports DC, it may work. Still I would not try that without carefully studying the unit. Besides, 9 VDC may not be enough.

Most exotic tops are easy to track down if one has at least one good quality picture. She may show up within few days or few months depending on the situation with those burglars. If some speed is needed soon, the instrument will show up soon. Wish you good luck with the insurance company et al. It is always lots of work and harm.

Alesis uses 9 VAC very often. It may be the reason for the odd sized connector.

Those jack-jack connectors have few issues if the connections are not very close to each other. Cable in between reduces any forces that bend those effects.

PSU: yes, that Boss type is usually the standard. Older and some exotic units have reverse polarity, 18 V, 40 V, 9 VAC and whatever. Signal: use silicone cables and Neutrik connectors if the cables move. If not, something cheap may be functional. Order: there are millions of helpful people telling you the only and one way, but rely on your ears. That's it. If comp is the last in line, the boost will be tamed a bit, depending on the comp settings. You may try to put that S. after the comp. Quick suggestion: bass - tuner - comp - S. - chorus This way chorus and S. will not affect comp action. Try to run these in other order and find out the most suitable for you.

My limited view to vocal harmonizers is that if your keyboard player offers you MIDI signal, you can do nearly anything. If not, beware. Most of the octave up -pedals have somewhat strange sound, something that relates to old ghost movies. Maybe some other effect like distortion would enhance the sound. Octave down is an easier task. Just buy nearly any octaver and you're in. Digital units have always some sort of delay, but this very much depends on the unit. I recently received an IE FMeron and its latency is negligible, if possible. Some other units have far longer and sometimes somewhat annoying delays. No, I am not able to buy an Eventide Harmonizer, neither was Jaco. He simply lent one. They do not loan one for me, though. One thing is to remember: whenever I play with a harmonizer/octaver/something similar, the performance very much depends on my abilities to play very clean voices. Cutting treble helps the unit to track better and a compressor may help, too. But my own technique is the most critical. Any hassle with fingerings and ringing tones are poison to the electronics, no matter analog or digital.

Me confused: not a single picture of any of the 57 varieties.