itu

It may be so, that the g-man has to take a short brake. He needs to play and check the feeling on a daily basis. Volume may change the hearing stimulus, so if it hurts in the beginning with high levels, he needs to start slowly - earplugs may help. I had a similar injury a while back (diving). It took several weeks to heal. Biggest issue was, that the injured ear heard two different frequencies while playing one. As the ear healed, the issue vanished. This injury has very good prognosis. Eardrum grows outwards and heals itself usually pretty quickly. It is reasonable to prevent possible inflammations, because they may lead to serious problems. So no dirt or dirty liquids to the ear.

I made some cables in the late 1980's that are still with me. The use of good materials and parts is the key: Gotham silicon cable, Neutrik plugs, some shrink tube, and a velcro tie.

Sometimes it is nice to listen to a true master - and remember my place playing root and five in the background.

I suppose that you have checked if there are any loose parts that make the noise (check the magnet, too). The easiest fix is to replace the element with another similar one. The change itself is simple if the new element fits the hole. The system was designed with that particular element. But if you are willing to try, get another with similar dimensions (frame is not equal every time, you may need to do some fitting) and power handling and hope for the best. If I was you, I would contact Phonic and ask for the replacement type or the part itself.

Volume is usually related to bad hearing. This may also mean another thing: If the g-player (or you yourself) is standing in front of the cabinet, that stands in the floor, there is no reasonable way of hearing that g-word. Then the obvious solution is to push the amp and listen to the reflections. Stupid from acoustics point of view, but sadly, a very common issue. Consider a different layout in the rehearsal place. Put all amps beside the drummer. Take few steps back so you can see and listen to the wall of sound: drs, guits, b. Is it different now? Do you really need that much power when you can hear all the instruments, not those poor reflections?

Why is this important? To be able to play 1 - 2 dB louder, maybe?

A neck single coil might be fine. The levels can be easily adjusted with pickup height. Some hum may be in order but I have not seen that as a big issue. Any basic jazz has the same problem, so... By the way, have those pickups 4 wire outputs? If so, you may install a pot or two with a DPDT switch and have a series/parallel option. This is probably the simplest way to new sound options. If a lo-Z possibility is in order, Noll has a Mixpot. It includes level adjustments for both "channels". In short Mixpot is a tiny pickup mixer, or rather an active blend. Requires a bit of tinkering and a 9 V battery.

Think about the basic signal route, first: pickup - S/P switch - volume - tone capsule - output OR pickup - S/P switch - tone capsule - volume - output Then check the wires needed. Name each wire with tape. Separate power and signal. Should already look pretty simple.

https://www.slideshare.net/finzic/series-parallel-wiring-diagram-for-4conductor-humbucker-pickups For example bartolini has decent schemas of how to connect all wires.

If you need to find out the pickup cables, take a DMM and a screw driver. - choose two cables from the pick up with the DMM (ohms), so that you get some reasonable number (5 kohms or so) - put the DMM to VDC and click the pickup coils/poles with the screw driver - cables are in phase, if the DMM starts with positive voltage (and + is the live wire of the coil) - write down the cable colors and which coil they belong to - repeat until all wires are clear - you probably want to connect the coils to form a humbucker - solder the live wire (+) to the preamp in - solder the ground wire together with the other grounds and the shielding I think that the next steps should be pretty clear from now on. Enjoy.

If the tool needs to be simple, Atlansia has that one string bass. Should that be the norm of a tool? Needs vary, tool tells very little of the player, or one's abilities. Playing is another thing.

Yes, thank you, I am aware that they do exist. But I do not understand, why aren't they the norm? BTB's have nice specs but they do not fit my hands. Your comments on feel is important - I do have that 19 mm as the start, but as you stated, there are lots of other details, too, that affect the overall feel. For the sound and size I would love to own a Steinberger L-2 but the neck is awful. Thick and round like a log. MM SR 5 was everything but wide, as is my Modulus Graphite (wide 5 was not available at the time when I had the money...). On the other hand, it is good that there are variations of the theme. 14 mm bridge spacing sounds like a mission impossible to me but for someone else that is the thing. But why >4 string spacing is usually less than a 4-string?

My issue with 5 string basses is the string spacing. I downright love 19 mm bridge and P-bass saddle but these are not very common on 5's. I do not get any reasonable arguments, why they have to be 17.5 or 14 mm in stead. Although 19 work for my fingers on a 4, it is almost impossible to find a 5 with the same spacing. Yes, 34" and 35" necks are very much available, but 19 mm no. I love my 4's but there are certain songs (mostly jazz or brass stuff) that are written to Eb and with a 5-string they are easier to handle. Our band is pretty big, 12 persons, so lower area is mine and a five is very suitable for that work. I have a 4 string that can be tuned to HEAD but it just does not work for me.

How should I play a song that is written in major but the story is really sad? Should I use the adjacent minor (like G to em) or try to avoid the major third? Probably one of the main things is to play very simple lines, were it solo or accompanying. I know there may not be one single answer but what would be Your approach, Sir?

Fender has all the parts and possibilities to make the neck attachment standard. Then anyone could choose whichever neck and attach it to a whichever body. Jaguar body, matching color rosewood P neck, no dots, baby blue color, JJ, light weight woods and tuners, decent bridge, just a sec, will be delivered within the next month to your door, please move forward. Steve W. Rabe did Mo'Bass and MiniMo and Interstellar Overdrive. Would love to get one...

Like so many others here before, I could tell you which strings I like and use. But I suggest you to try very different gauges. If that 30-90 is your thing (or twang), go for it. It may be some strange combination of super light top and very heavy bottom or whatever. You may want to try special tunings. Do not take our word, go your own way. It is just trial and error for some time but it sure gets you there, where you want to be.

Probably everyone remembers those old cats but one just slightly younger player has that Gibson lookalike pickup in his basses: Billy S.

Barry Moorhouse & Tony Bacon - The bass book (1995) Reference section - Gibson single pickup - EB (1970) - EB-0 (1959-61 v1, 1961-74 v2) - EB-0L (long scale, 34.5") - Electric bass, EB-1 (1953-58, 69-71) - EB-2 (1958-61, 64-70) - EB-4L (1972-73, long scale) two pickups - EB-2D (1966-72) - EB-3 (1961-79) There are quite a few other models like the six string EB-6 (three versions), T-bird, Les Paul, Victory, Melody Maker, Q-80 etc.

You may ask Iron Ether stuff from Europe: https://www.effekt-boutique.de/ Although the pages show just the name of the manufacture, a question of deliveries does not cost a penny. The shop is very helpful.

Well, if you would like to adjust those frequencies at least sometimes, that variable could be modified to a switchable with a switch and two trimmers.

But this time the price is right!

One big thing with faceless net shops and hometown entrepreneurs is the service. Net shop does not have that saucy teenager trying to convince me that this X is the best there is and I just have to buy it. Now! On the other hand, my possibilities to try that thing in the net shop does not exist. Net shop sells something to me with maybe reasonable but time consuming return terms, where I have to pick that thing from the post office and then return it the other day. Pack, write papers and wish for the best. Yes, the possibility to return stuff is very good addition to that net shop service, but that personal help and assist in the shop does not exist. I should rely on YT/net/BC comments. (Made by those saucy teenagers... maybe.) I think that an introvert shoe-gazer loves this net opportunity, but as prices have gotten close or even under the net shop offerings, my choice is nowadays a local store. They remember me (or just say so), and they get me to their shops to lose my money. Touching the stuff and playing with one is something net shop is not able to offer. Yes, I do compare prices but my home town shops can make me very competitive offers. In. Real. Life.

tc electronic (1140, 1210, 1220, 1280 etc.), Tom Scholz Rockman, Boss (1/2 rack units, thank you b7I4s), Alembic (superfilter and preamp), Drawmer (all those compressors)... there are lots of manufacturers and units. I think that you should look after 1980's and 1990's stuff. At the time people (especially those 6-stringers) had enormous systems which contained downright everything. Some players like Stuart Hamm were nearly exceptions: he only had a wire between his bass and amp.