itu

I think that a luthier will be your friend. They can fix the details you hate in your current gear. A bolt on body can not be too expensive, although wood and finish choices may rise costs. Lighter and slimmer body and curves to die for - every player will love her!

Whoa, two long sets, long stairs to carry the stuff in an island... The place was like a wooden tube and the percussionist as well as the drummer beside me were stunts. There were several songs where I had no idea, what the others were doing out there, in front of these two guys. We gathered our stuff to a boat and left the island just 45 minutes after the last song. Not bad at all. OK, this time we were only 8, usually we are 12.

I used to keep my COG T-16 first in the pedal board, but I tried it after the comp and it works far better. If you need a x-over (like that Tyler @Cuzzie mentioned), Iron Ether Divaricator is an option, too. You can ask them from: https://www.effekt-boutique.de/ Send a mail and ask for a unit. That company is helpful.

It seems that price raises lots of interest and discussion (Alembic, Fender...), so should we simply have a topic for prices. No BS, no guessing of the owner, just the bass and the price? Like a simple list that anyone can admire? As a reference, some classical music instrument prices might be a nice addition. Yes, Limelight could make a better instrument for fraction of the price. But this is useless speculation.

Actually, mp3 (MPEG-1 audio layer 3) tests were done in a bit similar way. There were several countries and studios (listening rooms) and quite some people involved. As an example, two studio listening chairs in Japan (@ NHK) were disqualified because of bad results. Instrument wood qualification would cost a lot. This is the biggest reason for not conducting any scientific tests. We get only opinions. We can listen to our dear fellow players' talk, luthiers' opinions, marketing people jargon, or our own ears. Who do you trust?

Those enormous dots... Other than that, the Smith is kool.

Ladies and genitals, Have you ever heard about LifeSaver by Adrian Legg? Probably this issue has been discussed here in greater detail many times, but it is good to repeat it once more. Please study these: http://forum.metropoulos.net/viewtopic.php?t=41069 http://alexplorer.net/guitar/mods/shock.html This is a very good addition to any hi-Z ("passive") bass. It is even possible to reduce the circuitry by leaving the resistor out. Here is a suitable capacitor that fits well and costs nearly nothing: https://uk.farnell.com/vishay/440ls10-r/cap-0-01-f-20/dp/2342196 This does not solve all zaps, but at least they will not be lethal.

As said so many times before: If wood was homogenous material, there would be no issue stating this or that. Now we are able to compare many stable and uniform materials like steels and plastics. Within one log there are already so many discontinuities and irregularities that we can just say that the material is wood. It is not very reasonable to give exact specs. It is this simple. Different woods sound different and may even sound the same. But if you try to produce two identical instruments, put that log aside and choose another material.

As said, it is just the dust cover. If it was not there, you would see the magnet and a part of the coil. Take a vacuum cleaner and open the tube from the side (you know that sliding thing that you should use while vacuuming curtains). Put your hand to the cone and the tube to the dust cover. The cover takes its own shape. Done. If not, close the slider a bit. Repeat ad lib.

Where is the biggest difference if they are built in the same factory in China? JBL has very good reputation and two bands that I have been playing in have had JBLs. The current band I am in, has a pair of PRX 735. They are really good.

We got Nirvana and then the prices of lousy all Fenders went through the roof. Does not matter, it is not my brand, but it was funny.

You may end up in trouble, if the polarity is reversed in one pedal. This may mean that the plus is in the case in two and minus in the third pedal. When you connect them with signal cables, the plus and minus are in the same metal surface and the voltage will be plain 0. Not good. Power supply doesn't like this. You can try to connect all together with line cables and then power them up. If they turn themselves down, you need to buy a power brick with isolated outputs. Modern power supplies usually have other than just 9 V outputs and some are close to cheap.

I already know that my knowledge is very limited, but education and learning has lead me to use some very useful tools (like understanding notes, chord progressions, solfege, music software etc.). My honorable teachers have given me their time to enhance my abilities. Everyone of them has known the old truth, that I need to do at least as much as they have to reach their level. After all these years I am still on the way... I enjoy - no - I love playing bass. I think that any tool or any piece of knowledge helps me to take those little steps towards better playing (this certainly is something else than plain technique) and to the music that is sometimes larger than life. And I love being part of it.

Meridian has basses and effects, like the Funk-U-Lator. Alusonic has a line of basses and aluminium cabs. http://www.meridianguitars.com/ http://www.alusonic.com/

I like the story. The fretless is different and I love her, too. Your Wal reminds me of a bit similar looking unlined Wal. I saw it in a local store early 90's, I think. She had mostly dark brown top but with a lighter round area, a bit like yours has. It was far too expensive at the time and I have tried to find it later on. For some reason, the fretless 4 is fine but a fretted should be a 5. Don't know why.

Dear Mr. Richardson, Your video includes some simplified basics and is surely a good and compact start. I will add few details here. A signal chain of a bass looks like this: pickups - blend - vol - tone - output If any of these components is lo-Z, the output is also lo-Z. It is very common, that the "active" (low impedance, or lo-Z) circuitry, is only the tone, which is easy to override/bypass with a simple switch. There are few systems that are lo-Z from the start to the output, like EMG with their BTS/BTC preamp, but usually not. Volume, blend and tone are cheap pots, that produce more noise than the pickups. Powering may be anything: single or double sided, 3 - 36 volts, from primary or secondary batteries, or an external power box. A simple circuitry that tells about battery level is not so rare and can be retrofitted easily. Parts do not cost much. Check the pdf: https://www.edn.com/design/test-and-measurement/4335671/Low-battery-indicator-uses-fleapower A lo-Z bass signal level can be lower, equal or higher that a hi-Z one. This has a lot to do with what the designer wanted from the preamp. Pickup output and height should be included in the mixture. Active, so lo-Z electronics include lots of different preamps, a bit like you said. Different filters, parametric eqs, etc. Noise is often related to bad shielding, or pickup choices (like single coils without the hum coils) - and there are noisy lo-Z circuits, there. Hi-Z ("passive") basses were used by the stars in the 1960's, as there were no alternatives. Alembic came big time only in the 1970's. I am pretty sure that Johann Sebastian B. would have tried synthesizers, if he would have had a possibility to play them. So has Sir McCartney played a Wal among others. I somehow think that the equipment does not restrict skilled fingers. One thing that is not discussed very much is that the bass signal becomes lo-Z latest in the first stage of the preamp. If the amp has high quality adjustments, is the bass better not to have any adjustments at all? I get the idea of having those inferior quality pots at hand in the bass but still...

Some alternatives: https://www.skbcases.com/music/products/prodlist.php?o=&c=84&s=75

So his equipment is MarkBass and KingBass. Quite a set.

Very good additions! Yes, the first thing is always to learn the song including melody, progressions etc. This particular song that I knew by heart, and the feeling in that situation made me feel pretty uncomfortable. How should I put myself in, while not exactly following the major scale. It is true that minor might have been lame but that Continuum type of thing might have been the right way. I got lots of food for thought, now I need to digest this. Thank You for Your help and notes.

Carbon fiber = Status. Their selection includes non-lined, no front dots versions and many more. Even that woodish color as one option. Matt lacquer, tints... On top of these, Rob and Dawn are very service-oriented. http://www.status-graphite.com/

Yes, I think I'm in. Feel should be the first thing over single notes. Many songs have somewhat twofold lyrics and there has been a place to play a certain song (local, not in English, but includes nice words to a friend) in a funeral. I think that omitting that major 3rd might be the simple way. Still I try to figure out other ways of interpreting words by supporting them through the bass line. Those 9, #11 and 13 are certainly something I need to study here. Thank you Sir, this is very supportive.

I am amazed that so many posts suggest more power = loudness that is actually bad for ears. The new layout of the rehearsal place may lead to serious difference soundwise. It might lead to better overall sound, too.