itu

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.

Music - composing - arranging - performing - learning - enjoying ... Whatever you do, what's not to like?

The current situation down there suggests that you turn your head to that direction only after Vladimir has left the building.

Giblin and Palladino are the first ones that come to my mind when I hear the word fretless. Willis and Manring, if it has to be more complicated. And John Francis.

@disssa: if you ever think about selling a PCB, or the files, I suppose there are more than two of us that might be interested in few of your creations...

The best is the one that has gone through a professional setup according to your preference.

To understand the capabilities of the pickups you could bypass everything in between the pickup and the amp. One at a time. Yes, a bit long way, but will lessen the need to buy preamps or other parts that could turn out useless. The split of the pickup is a natural step forward, if the mud is too much. If even that does not please your ear, consider new pickups. The basic sound has to be decent, preamp does not add anything that there isn't. Pots - tone & vol & blend - are high end killers. That's why I suggest bypassing them in the first place. They degrade the pickup response. (John East has active blend, which doesn't cut highs. Many preamps are just tone stacks after those ordinary vol, tone, or blend pots.)

Bass probably supports the amazing pianist. Trumpet is good, too, but the piano is really special.

Flathead screws, can not be new, maybe 80's, or 90's. Those bridge saddles look somewhat familiar. Home made, maybe?

Last weekend I visited a band, because their bassist is busy and their next gig is coming up at the end of next week. Four songs, I had heard all of them before, but played only one. Fine. In my tab I have maybe 3-5000 songs, realbooks etc. I could find the notes, and here's the tricky part, for me, that is: I have to transpose all songs. To make sure the gig will be fine I opened up MuseScore, and simply copied the originals. There it is, transpose, export, and now I have key corrected versions. Fingerings are different and so on. I will not rely on a score that is in different key and has tricks. Yes, maybe with something more familiar stuff, but not now: one rehearsal and straight to the stage. If something happens in the party, I try not to be the one messing things up. Not even after the gig: I don't get very high, but my hangovers tend to be brutal.

https://www.neutrik.com/en/product/na2m-j-tx I built the same transformer to a round Neutrik XLR - jack connector set. But as commented earlier, no through jack. Therfore this is usable with double output pedals like with a stereo chorus.

Check specs from pedal manufacturers' pages (owner's manuals). Add all mAs together / line, and you have the answer(s).

Are you analyzing this with old strings? Any adjustment should be done with a new set.

There's so much space in the board, that you could detatch all patch and power cables. Then start from the beginning of the chain. Put a cable from the pedal output to the amp and test it. ||: Connect the next pedal to the chain and test. :|| I would calculate the power consumption of the whole system, too.

Yours most probably use 9 V batteries in series, which is 18 V. I meant parallel connection. I still think like @pineweasel wrote earlier: a quality battery a year won't break my bank.

If you want, you can connect two in parallel, and you can get even longer performance from the batteries: 1+1>2.

What's your PSU? Does it pump enough mAs?

Cute, did you get the original HSC? It is very small, too.