itu

Check the net and picture search for DPDT bypass switch. Two top poles should be wired together and the signal goes in from the other middle pole and out from the other. Pots are connected to the two lowest poles. A picture will open this up for you. If you do not want to make any holes, consider buying a pot that has a DPDT switch. Just push the pot and the signal goes straight to the output. Nice hidden feature.

Serials between 61 000 - 70 000 were circa 1962 - 1964. Funny thing is that 71 000 - 99 000 were circa 1962 - 1963! Gibson changed their numbering in 1975. Before that they had various numbering systems, so duplications occur. EB-2, built during 1958 - 1961, and 1964 - 1970. 30 1/2" scale, 20 frets, nickel- or chrome-plated hardware. One plastic-cover (metal-cover from 1964) pickup. Vol, tone, from circa 1959 a pushbutton tone switch. Also EB-2D with two pickups (1966 - 1972). Source: Barry Moorhouse, Tony Bacon - The bass book.

The question is: How many times you have been in a gig with a singer/guitarist/any instrument and they say, the next song is in d-double flat or g sharp in stead of eb? Nearly every gig is like that. Take a fake book and start from the beginning and when you have played it through, start all over again but transpose one up. Repeat until you learned all chord changes. This takes some time, but after some training you will be able to transpose any song in a fraction of a second.

That. Is. Shiny!

One easy solution while travelling along with an instrument is to have a copy of the proof of purchase. I had it with me when I travelled to Switzerland in May. I also walked to the airport Customs and asked for a paper, that I have this and that with me. The paper cost nothing and filling it took a few minutes (I had made a paper with names, serials, and approx. prices that was attached to the official paper). Then the friendly lady behind the counter put a very official looking stamp to it. Let's see, the paper is somewhere here... https://tulli.fi/en/private-persons/more-on-customs-clearance/clearing-export-goods-through-customs# OK, the actual paper is not here (have not been able to find it from the net), but here is something about the temporary export: https://tulli.fi/en/private-persons/more-on-customs-clearance/temporary-export-of-goods Although the pages tell about ID's and so on, the paper was there in the Customs and there was no need to do anything special. Just use a pen and fill the list.

I have one in my Vigier Passion (Schaller, headstock) and another in my Ibanez (Ibanez, bridge). Both have a screw with which the fine tuning has to be done. They seem to keep their adjustments really well.

As I try to learn more about music every day, that 20 % is now clearly bigger amount of stuff than it was 30 years ago, when I was so young, so sure about everything, and so wrong. There is still that 80 % that is growing, too, but maybe some Schönberg atonality is not so important to me after all. There is much theory available, but I see theory as a tool: it is there for us to understand some complicated stuff. It is there like a wrench that is needed once in ten years when repairing an old Ford Fiasco. I can not say that I loved those seemingly unnecessary parts of theory (or that Ford!), but I can assure you that my taste has changed, if not evolved, over time. Even that Schönberg has some interesting stuff. II: listen more, learn more, play more :II repeat ad lib

And this is the reason, the d-b-e strings matched. If the neck was any shorter, the strings wouldn't fit. Thank you @Bassassin.

So Fender is a brand that continuously updates and improves the recipe that has been in use since 1948? Give me a break. If I would be interested in an "improved" jazz or precision, I certainly would not look at Fender, maybe Lull, Sadowsky, de Gier, Overwater etc. Better quality and bang for buck. My Vigiers have their serials furthest away from the headstock. Rickenbacker...

I find this twofold: the manufacturing year is one thing and when the usage started, another.

No. I had a bass with d-b-e strings and there were no length choices. Rotosound was the brand at the time, late 80's.

How do the double-ball-end strings match with the hardware?

For me that parallel or series was not the answer. So I split the freq range to lower (no effects, except comp) and higher band (effects in series). This way it is very easy to use the effects without mudding or screwing the low end. Brave new world.

If anybody asks me, I will steer them to find an ergonomic solution. 1) scale length? (estimated together) 2) style? 3) a used or a new one and why? 4) some instrument suggestions ⁸based on these and the price range. It is also reasonable to suggest: a) professional setup and at least b) new strings, a light set of 40-100 is a good start for a beginner, c) a wide strap and d) one quality silicone cable. I live in a country that has pretty big changes in temp, so if a bag is in order, thicker is better to reduce temp shocks. Last, but definitely not least is a test drive. I want to try the instrument and I want that the person tries it, too. This is just one way.

Exactly, thanks, my translation abilities seem to be louse, as these basic things got messed. My bad.

Recycle. It does not matter if there is some coating. That plastic related stuff and silk will be separated in the processes. Also iron, nickel, chrome, cobalt etc. can be separated from each other. That tiny brass part or bronze goes along, no need to worry.

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.