itu

Well, I went to a store that has several headphones to test. My budget was 100 € / 90 GBP. I tried probably 12 - 15 pairs with music I know (Oleta Adams - Circle of one). Sennheisers were better and better after 160 € pricepoint, to my surprise Sony did not have anything reasonable (they usually have at least something). AKG is common for some reason but the sound has not offered me anything. These fashionable rap headphones (Dres et al.) were mostly just plain sad. Then tried Beyerdynamics. DT 770 PRO made my day for two reasons: they had a discount that met my budget and the sound was reasonably good. I took the 80 ohm model. It had better sound, if less volume (may save few hair cells) than the 32 ohm version. The highest ohms (250) did not offer more sound quality. If you need to buy headphones, try them first. One thing is how comfortable they are (will you use them?), the other is the sound quality (will you listen to them?). It is good way to test several pricepoints to understand the quality in every sense. My other set is Stax, which needs an extra power amp and is a strange animal but that is another story.

So plain physics, low notes take time to be recognized. Several vibrations, that is. If you need really fast tracking, tune your bass two octaves up and then shift the sound down low during the synth process. P2M is possible but not very good technology for us bassists. My dream choice would be an Industrial Radio but as I am a poor bassist (in every sense, maybe), my second solution was to buy a Misa Tri-Bass. It is somewhat odd... but the tracking is not. I first tried an Alesis nanobass with the Misa but it has not any ADSR settings (read: only ON/off) and I turned to BassStation II.

What's the difference between blending and using a X-over? Well, think blend as having two signals in the same frequency band. This means that you get possible phase issues and cancellations because of the same "channel" for two different signals (clean + processed). X-over divides clean and processed to two separate frequency bands = tight bass and effects on top.

My idea is a bit different but that was mostly covered in fretmeister's answer... Bass (no g-word) Octaver (for the tracking) (X-over starts) Muff (for that sound) Synth (for some space sounds) Chorus (and some extra wobble) (X-over ends) Compressor (let the comp level everything) Amp

I tried this blend stuff for few years but disappointed with every unit. Have two boards with X-overs now. Active board (it is for active basses) has the Tyler and the passive has Iron Ether's Divaricator. Both are working fine but are somewhat different animals. IE even has some extra effects and is smaller but needs an insert cable (a TRS plug to two TS plugs). Tyler actually took a bit more time to set up but has two adjustable loops (hi & lo) in stead of one. Please take some time to study the manuals to understand their differences. My choice for X-over frequency is around 400 Hz. Lowest E is 42 Hz, and 4th E is close to 330 Hz. So the fundamentals are not affected but higher frequencies, i.e. harmonics, can be tweaked - a lot! I did not know before that flanger or fuzz knobs could be turned so far right, to south-east. So the passive board starts with this very small but powerful COG T-16 octaver. In the IE Divaricator loop there is a Spruce Effects OGF and a mooer Pitch Box. After the IE loop there is the Daring Audio Phat Beam (that includes a comp and an effective LPF - especially mt fretless loves this box). Active board starts with the KMA Tyler. High loop has amptweaker Tight Fuzz - tce SCF - IE Xerograph. Low loop has IE Frantabit, because Franta can be adjusted far more with Tyler's LPF. Then after the Tyler comes an IE Nimbus and a tce HyperGravity. These last two do not need the X-over and I like them to be at the end of the line. The best thing with the X-over is the possibility to really play with different effects and sounds. All settings can be adjusted far more than ever before. If the band is very small, I think that the effects would give the bassist lots of sound seeking possibilities and new space without ever losing that low end.

Are all cables shielded, i.e. is there possibly a speaker cable in the set? If the power starts to die (condensers dry or die), the OneSpot may act as a hum generator. Can you measure it or test with another power supply? There should not be lots of AC voltage. Last thing is if you have loose parts. Check every effect, cable, connection...

Good answers from Stevie and Phil Starr. A basic triangle to consider when thinking of speakers and cabinets is: Volume - Lowest frequency - Efficiency If you make the cabinet bigger, it can have better efficiency or it just goes lower. If you want to keep the volume as is, you may affect the lowest frequency if you want better efficiency. This is pretty much the same as with cameras, where you have ISO - Speed - Aperture. Alter one, and at least one of those two others is altered, too.

TH350 has 175 W / 8 ohms. It is not extreme, especially for stoner, I think. BUT if you want more, I would consider a more sensitive speaker. Impedance has quite a little or nothing to do with loudness. Sensitivity has a lot. Next thing might be to read some of the manufacturer's sites to find out this particular number. It is of form XX dB / 1 W / 1 m. That means that when the speaker gets 1 W in, it produces XX decibels measured from 1 meter distance. This is a common way of telling something about the speaker's ability to transform the electrical energy to sound. Example: Aguilar cabinets' lowest sensitivity is 95 dB / W / m and highest is 104 dB / W / m. The difference is a lot, 9 dB! Try to compensate this with watts and you get the idea. 1) 1 watt produces 95 dB, 2 W 98 dB, 4 W 101 dB, 8 W 104 dB ... 128 W 116 dB, 256 W 119 dB (this is already more than the TH350 can produce; the threshold of pain is 120 dB) 2) 1 watt produces 104 dB, 2 W 107 dB, 4 W 110 dB ... 32 W 119 dB, (here in between is the threshold of pain) 64 W 122 dB, 128 W 125 dB, 256 W 128 dB Naturally power from the amp has something to do with loudness. But the speaker's sensitivity together with the power handling capacity tells a lot about loudness. Impedance is just one poor number that is often overemphasized. If you double the power (by halving the impedance), you get only a bit more loudness (3 dB) but if you can get a total of 9 dB extra through a more sensitive speaker, go for it!

I think, that our band has four LEDs that are somewhat similar to these: https://www.thomann.de/gb/eurolite_led_sls_7_hcl_floor.htm Just put them to the floor and let them blink (you may try different programs they have). Then in the middle of a gig the singer kicks one pointing at you and you have no chance to see any notes or anything else. Their power (excluding electric and heating power) is incredible and it does not matter, whether they are on the floor or somewhere else. You have the sound, you have the lights, let the show begin.

Actually there is no slot head in the insert. The slot goes in first and it partially cuts its way to wood. Just put a bolt and a nut to the insert and it is easy to fix it, if you can keep it straight. I have put inserts to one Status neck and they work really well. Have been thinking in making the bass a travel one: the neck is super easy to detach and as it is graphite, it keeps its shape and stays in tune.

Lovely looking BIG instrument! Probably costs an arm and a leg, literally... How about the neck, is it too flat for a bow?

Her maiden name is Modulus (Graphite) Quantum 6 SPi Custom. Extras include that maple top, black hardware and the bartolinis. KLD (thousand = kilo ladies dancing) neck is not wide (it is already 6) nor tinted, but they had red, blue and green available as an option. There was also the fretboard option of chechen in stead of phenolic resin. SPi is bolt-on and TBX is neck-through. Hollow version has a stylish f. Mine is Modulus Graphite Quantum 5 SPi Custom, with bartolinis, gold hardware and a cocacola top, born 1991 - I am sorry for the last note because it is inappropriate to speak about the age of a lady.

Buy VERY GOOD quality cables and few extras, too. After some time you will certainly understand the reason for this. Buy decent cases for the equipment. Plastic bags are a chore. If you believe that a cable is just a cable, leave few home while going to a new gig during Saturday afternoon: all local stores are closed and the nearest available cable is - at home. If your bass case has just one single cable, you have to be optimistic, too optimistic, that is. I know bassists are reasonable in keeping their stuff in good shape but your band probably has a guitarist or even worse, two. They tend to forget or brake their lousy (brand name here) spiral cables and keyboardist just forgot one of his cables to the rehearsal place. "This time only!" Power leads do not cost so much on Thursday but you can't buy one (five!) at any price on Saturday evening, when you happen to need them most. Local clubs may have them and usually not. Write your band's name to the power leads. Use permanent markers and big letters. You may buy cables in different colors, they are easier to find in "complete darkness". Buy lots of Velcros to keep the cables in shape. This one single velcro per cable will reduce the time to set up the scene. They will help you to keep the cables in shape for years to come. There is also the other way: expect Someone Else to keep the wire territory in shape in those funny plastic bags (which are put in between and under stands, drums, mixer and guitar amps in that fully packed Ford Fiasco) with your band and your life will be a chore from the second night on stage. After the first two gigs most of your gear is in terrible condition and you need to visit your local musicshop soon. You pay the price of a single cable twice. Why do I know this? Yes, I have been gigging since late 1980's and I have seen all this happen with several bands. I have already paid the price you don't have to.

Gain is actually a set of parameters (i.e. gain + drive + eq) that you can tweak in the preamp section. So, in stead of using eq as a gain (so turn those pots past 12 o'clock), you should try to reduce other frequencies a bit downwards. This way you'd be able to tweak all parameters a bit more freely. If your amp's clipping LED blinks every now and then but the sound is OK, the LED just shows that your gain level is very good. Excessive clipping may happen because the amp is too small, or the overall gain is past the acceptable. If there are any pedals in front of the amp, their gain should be considered, too.

One thing is this power taken from the mains. If the unit takes less than claimed, the unit should be able to produce this amount of extra power by itself. Got it? It should be able to create power from, yes, where from? Another thing is "peak" and its many forms. It may be possible, that this claimed peak power level is just calculated optimum output in milliseconds scale to some theoretical 4 ohm load - in theory. It does not exist in real life but it is nice to tell people incredible numbers, because there may be people who believe that you can get that much out of it. Does this serve us customers? I don't think so.

Kool, lots of information in these pictures and notes. Thank you, sir. Had to look after the Cyberbass/Midibase -thing and I found this from Talkbass: "My name is Mick Donner and I was the design engineer for the Midibase and Cyberbass projects while I was at Peavey. Hopefully I can answer some of your questions. There wasn't actually any trademark conflict with the guys at 360 systems. We just talked about it and came to a gentleman's agreement that changing the name was the right thing to do. There were several reasons for the physical changes from the Midibase to the Cyberbass. The Midibase body was based on the Peavey B-90 which had been discontinued. We wanted to bring the Cyberbase in line with the current bass shapes which were like the Palladium and Axcelerator basses. The Midibase note on and velocity sensors were built into the bridge pieces. Steve Chick and I found that if we moved the sensors away from the bridge pieces, we would get a more accurate read of the string so we put them into half of the bridge pickup. The software had several upgrades including a total reset, faster tracking and a "fretless" mode that blurred the note on/off triggered by sliding from one fret to another. Bending from one fret segment to another on the neck was done in the software. This was partially accomplished by making the cuts in the fret at a diagonal which caused the string to connect with both frets for an instant. This told the engine that the string was moving to another segment. This was not available on the Wal or Valley Arts versions of the basses that had cuts perpendicular to the frets. You had to play accurately. During my time as a product specialist for the Cyberbass my technique improved a lot because it had to. I still have one of the first Cyberbasses along with a rack full of Peavey sound modules and everything seems to be working just fine." AND this one (question was about suggested string types): "The two concerns with Stainless (steel strings) are the excessive overtones generated by the SS string and fret wear. The bass just seemed to track better with the nickels because the center of the note seems to be more dominant. As you can imagine, a fret job on one of these would probably be beyond a nightmare. The nickel strings are softer than the stainless so it would take a lot longer for the strings to be part of the problem."

Moses has these carbon necks, too, but they are pretty rare here in Europe. Comments on my Modulus Graphite Quantum 5 SPi (bolt-on neck, not a TBX): a bit on the heavy side, I would love to have a wide neck version (17 mm is just not quite suitable for me). But with a hardshell case it is a ultimate travel bass. Stays in tune, and with a good case it can withstand all the abuse it gets at the airports. Modulus and G Gould both produce instruments nowadays. Prices seem to be sky high. A used one might be a reasonable alternative for those interested.

Chris 2112 put a good basic list of carbon / graphite basses, and there are few more like B-quad and G-bass from Peavey (with MG necks). German Basslab. Status necked private builds...

Yes, and more pictures, please! Neck attachment, electronics...

By the way, went to see this "kilowatt amp". Its backplate clearly states, that the unit's input power is 200 W and 200 watts only! How could they explain this kilowatt if not using the word "peak"? Funny stuff. https://www.trickfishamps.com/amplifiers/bullhead-1k/

I stand on your side: there should be numbers (not just one, because it does not exist) that could be compared to each other. It is far too easy to write down too huge marketing numbers. To be honest, this standardization should be taught to customers, too. We are the ones to use those test method related numbers. I am so tired damn whizzed to read someone demand for a 4 ohm cabinet "because it is so much louder" rubbish cow poop. If the amp is not capable of delivering watts to the lo-Z cabinet, how on earth a young bloke can make a buying decision in the shop? And if we are talking about tubes/valves, there are even more magical words there flying back and forth: this impedance thing seems to be very important for tubemasters. Impedance is not constant. This is just basics. The ability to push power to a cabinet relates to few other parameters, than just impedance. But no. Music making equipment is so "magical". "I want 4 ohms!" OK, please do so. Buy an inefficient speaker box that has reflex/ported/open/vented/closed/hype word design just because you have an illusion that it is so much louder and better. Once more: as long as manufacturers produce only incomparable marketing hype, the best and only tool you can use and rely on, is your own ears. It really does not matter, what others say. It is trial and error, or in a more technical term: just A/B-testing.

What is the body material of the Resolite? Is it something else than wood, like glass fiber? I have seen a (Canadian?) bass in 1990's that had a wooden neck but a black hollow body and looked like a jazz. Godin, no?

Maybe my Ibanez Affirma (maple) and Misa Tri-Bass are closest to rare, if the latter is also considered as a bass. https://misa-digital.myshopify.com/products/tri-bass No, I do not own these, but some I would love to have: Mouradian CS-74 fretless Ampeg (1966) Vox Stinger IV (1967) Overwater C (1985) 5-string Parker Fly (1992?) Atlansia, any model Zemaitis, any bass any doubleneck: everybody remembers Rics, Wals and Pedullas but how about a Gretsch Bikini (1961)? Lane Poor minima (late 1980's and 1990's) Neuser Claudia / Clawhammer (1990's)

Well, I have seen and felt similar problems with certain pedals. A fuzz or an od needs just few mA, while some DSP based units may need nearly 500 mA. In a pedal format, yes. Some distortion/od/fuzzes like this "battery dead" type of use but not anything that is far more complicated and/or digital. The situation could be compared to a Ferrari with a Trabant motor. Cool looks, sad sound and terrible performance. A powerful transformer can be a low cost unit after all, so please consider carefully if you really are unable to invest few coins to one. I have three of those cheapo onespots for three boards.