itu

Sax, trumpet and trombone players hate A and E but Bb and Eb are something they favour.

I think... some basic knowledge could be gathered about bass, its setup including strings, amp + cab, and some basic accessories (case, pedals, cabling). Most of the newbies could start with those stickies, and lots of threads could be omitted.

Otis Bedding - Husher man Prince - Drop life

I want it now!

MTD Modulus wide necks Modulus Genesis Warwick wide necks Do some search, we have been talking about this earlier.

When that feels too easy, check Da ya think I'm sexy. Bass line is by Phil Chen.

Centuries ago scales were not tempered. Therefore C# and Db didn't have to be the same note. Lutes and gambas had frets, but they could be moved. They were moved for every scale so that certain intervals sounded good. Now read the previous chapter again. When a particular scale was used, it sounded different back then. Nowadays tempered scales have changed the game completely: now C# sounds the same as Db. C# major has 7 sharps, Db major 5 flats. Centuries ago they really sounded different, because C# and Db could sound different: they were in different places of different scales. This isn't the case any more. The scales formed since ancient greeks changed after Händel and the like started experimenting with tempered scales. String instruments were relatively easy to re-tune for every scale/song, but cembalo, organ, and piano were a chore. https://en.m.wikipedia.org/wiki/Pythagorean_comma This may clarify a bit the reason for those "theoretical" scales. They were very useful back then (and have a place in certain circumstances), but now it is possible to use scales up to 6 sharps and flats and practically cover every minor and major scale aavailable. Baroque and older music played with old instruments may sound slightly strange, because their A may be quite a lot lower, and the intervals are not based on tempered scale. That's why they couldn't have played II-V-I progressions. Listen and learn. https://en.m.wikipedia.org/wiki/Concert_pitch#History_of_pitch_standards_in_Western_music

Alpha pots, I wonder where are the values? Taking one off might reveal numbers and letters, like 250 kA (A means often Audio taper, but not always, as there are no standard codes). Measuring is an option.

Looks a bit like a low power iron. Therefore I guess you have been warming the pots a bit too long, and the tracks may be in bad shape. Pot covers need +50 W, contacts nearly anything from 15 W. Lead free has made soldering more complicated: higher temp needed, not so easy tin. Good resin helps, just like with 63/37. If you just replace all pots and use a decent iron and tin, the system will work for years.

I bought a cheapo amazon holder, and I bought it again, after it broke to pieces, when the previous stand fell to the floor. A good one would be nice, but haven't found a decent yet. Mic stands are heavy, and my solution has been a carbon camera tripod. Weighs nothing and is sturdy, Sirui T-025. It is my travel tripod, but lately there hasn't been so much travelling or photographing.

Thread lock may be a tad too strong, but nail lacquer isn't. A common help, available, and cheap solution. Colour is up to you, though.

Because...?

The neck IS different. Everybody talks about double truss rods, but one thing is the string spacing from nut to bridge, loved it. The neck heel could have been rounded differently though.

Yes, but mine was second hand, and I bought it in '86. £1450 today. (I should have added that it was my first own bass. Decent to play compared to Cimars and Yahayas of the time, and Fender has never been my thing anyway. There was one very good Aria Pro II, but the owner didn't want to sell it for obvious reasons.)

Molds cost an arm and a leg and some more. No wonder Status wasn't investing to a one more mold. I like wide necks, but there are very few 5-string wide ones, and those tend to cost a lot. I did an investment to a Modulus Genesis 5, that I bought from @graham1945. I used it three hours ago in a gig, and it is super stable. Wonderful sound, too. I actually tuned the bass with a Peterson SAM tuner on Wednesday, and it was still in tune after few days and a gig. Excellent performance.

The headline was "NBD, my first Rickenbacker". Years ago I could have written: ORD (old Rick day), my first bass. It was from 1974 and black. From Denmark street, and cost was £400. Lovely. I might try one again, but the price, no way.

Noo, I'm not into that particular bass, but does your wife have a sister, maybe...?

Bassic Status neck was maybe slightly cheaper, but tint and other options raised the price. Jerry Scheff from MG has built few necks every now and then, and those pop up rarely in Reverb. Steinberger bolt-on instruments may also be a base for a custom bass. Check Peavey G-bass. Cheap as chips!

Overrated: SVT, EBS, Fender, flatwounds, Big Muff, P pickup. Underrated: Peavey, Ibanez, and similar equipment used by the numerous garage bands.

Long ago it was Rotosound 606 30-90 SS. Now it has been 40-100 (+120) SS from GHS Long scale + or D'Addario. My basses (including fretlesses) have scales from 33" to 36".

I have had Encore (quick), Finale (very capable & very complicated), and finally, Musescore. Muse has quite good support via their web. There's nice selection of arrangements available (of varying quality, naturally). What I like in it is that it is pretty straightforward after learning its style to make scores. Some details may be hard to understand in the beginning (triplets, oh dear), but it is doable. What I dislike is triplets; some things you do seldom can be found fastest by trial and error. It is not super complicated like Finale, it has more features than Encore. Pricing is decent, too.

While playing lots of covers, the singers dictate the key. Therefore I just played a song in C sharp / D flat major on Friday. I have to say that my reading abilities could and should be far better. I played maybe 5 songs by heart (usually better feel), and some 30 from scores. Some I had transposed to the right key, but not all. That C# is always a chore...

Stan's song theme starts with the neck dots on one string. Connection to school, and learning the neck? (Just guessing.) Chord spacing The more important detail is about why the chords sound good when we travel up the neck, and not so much down low. Well... Frequency doubles when going up an octave. The frequency difference of a played octave is decent around the neck, even down there in the half position. A fifth does not work anymore when you go down low: from 42 Hz (E) to 62 Hz (B) the f difference is only 20 Hz. Not too far from let's say a detuning effect, but muddy anyway. Let's take the basic tuning A, 440 Hz and put a fifth (E, 659 Hz) on top of it. Now the difference is already over 200 Hz, and the sound is fine. The lower you go, the further away the notes have to be. Playing with a piano may be complicated, if the pianist loves to go down. You need a 5 string, or low tuning, or simply stop playing. There has to be some space between you and the next note upwards. Arrangers know this well. Hopefully someone now understands why chords are nice, but not every chord anywhere around the neck. And that we may need to have some space between instruments, if there's a chord, although some unisono or octave playing can be very effective.