itu

I suppose the string width cannot be very much. I've had an Ashula, which I did not like very much. If I need fretless and fretted, I'll take both basses with me.

That's really cheap! I thought this would be several thousands but it is well under one.

The only song that came to my mind was Suzanne Vega's Gypsy, but after thinking some more, wouldn't Deep Purple's Burn be suitable?

You wonder why are some basses dirty. Go out and check all bikes around. You sure get my point.

Is that funk-u-lator ex-@ped, or did you order it from Meridian?

It may be cheaper to buy a sack of sand, and walk around your house with it for one week at least 30 minutes three times a day. You'll get more muscles, or less Ampeg. Or more Ampeg, because then you have the power to carry it to gigs and rehearsals.

GT-1B requires 200 mA. Therefore your PSU can push enough energy to the effect (500 mA). It may be so that the quality of the PSU is not very good - I would try another one with reasonable specs, of course (9 VDC, >300 mA). The output of an SPS can "leak" some ripple from the power line, or is just filtered weakly, and that makes the whole system tick.

Give us more data, i.e. a pic of the PSU plate, or type.

EUB could be an option: sturdy, small... if the neck (setup) is good, it will be a breeze to play. Remember: strings cost quite some, but they last for ages. A suitable set supports your style.

Off topic, but what's wrong with pink cars? https://en.m.wikipedia.org/wiki/FAB_1

Try this one: https://www.daddario.com/globalassets/pdfs/accessories/tension_chart_13934.pdf

A place for the mic stand?

Hit me with your... by Ian Dury: what's the bass in the video, an Alembic, maybe?

Interstellar Overdrive is somewhat peculiar: it can be used as an amp (few watts, home rehearsal etc.), but the eq is not working then. Overdrive section can be controlled via ext. volume pedal which is pretty nice feature. - heavy weight +/- rehearsal amp, but no eq + a good sounding unit + connections and ext. vol pedal option

When Greek were playing in just intonation, intervals were based on simple numbers (ratios, like 1:2, 3:2 etc.). The problem was that you could play in only one key at a time, like A# major. You could not play blues, except in one key. Chord progressions would have sounded really weird. This meant that an instrument had to be tuned to one key at a time. (Check lutes, gambas etc. with moving frets.) For those interested: https://en.m.wikipedia.org/wiki/Pythagorean_comma Things started to change during 15th century, because of the tempered scale. All of the tempered scale intervals do not sound exact, but pretty close ("It's... good enough." -Mediocrates). The biggest advantage is that now you could modulate from key to key, and chord progressions became possible. A# and Bb are the same if we use tempered scale, but not necessarily in just intonation. A sidenote: Here we have been talking about western scales (a chromatic, tempered octave, 12 notes). There are many other systems, where the octave is divided to some other amount of notes, like 31, or 32. As we have learned to use 12 notes, other systems sound odd, but not for those who have learned that particular system. There are not many things that are absolute in music. Most of the stuff is based on agreements, starting from that A is 440 Hz. Except that some use Baroque A, around 415 Hz, or symphony bands that tune their instruments to 443 Hz, or...

SWR Interstellar Overdrive. I do have a tce 1140, too.

From that wiki: "C003 47uF 400v Some revisions 39uF"

Something from the printings: H9925 is most likely production year 1999 and week 25. 400 V is obvious. VZ series 39 microfarads? See the list: https://www.nichicon.co.jp/english/products/pdf/e-alm_mini_list_c.pdf

Meanwhile you can listen to the sound of the bus where this song was recorded.

How about a noise gate? I have a grey HB gate with 4 adjustments, and it can be used like a swell pedal.

Don't worry, he will. I bought a metronome to our drummer. He even wrote the bpms to a paper. Life is now a lot easier.

I bought a new 5-string Clevinger in the early 90's. There were three models in the shop 4, 5, and 6. The fretboard had a bad slope, but a luthier fixed it. At the moment it sports the second set of strings. Low action, wonderful sound.

I think I didn't literally talk about narrow band pass filtered stuff where every source is strictly separated from each other, did I? If you sit behind the desk (I am not talking about personal instrument monitoring, because that is a totally different thing) and make - even very rough looking - filtering, the end result may sound surprisingly good. This has a lot to do with masking (check some theory about hearing). That is a technique used in audio coding to lessen material that cannot be heard. That extra material only consumes quite a lot of power and bandwidth. Bass has pretty limited frequency response. I have measured some magnetic pickups, and anything beyond 4 kHz is practically non-existent. The response has fallen a lot far before that. I might say that 1 kHz would be very high stuff from bass. Because ear is sensitive in that area, vocals (naturally) contain far more interesting stuff there, and those g-word players are also there among keyboardists, brass and so on. How do you think a bass would have any interesting stuff to say there? In the middle of that chaos? I do understand your worry, but we are not buried under anything. We support the whole system, the band. We represent the base and the rhythm. Everything on top of us should be part of the foundation we build. (Although we play frequencies our equipment is actually unable to produce! Only our hearing builds those lowest frequencies that cabs cannot push out.)

I tried many, many B string gauges in my MG Quantum 5, but .120 (GHS SS RW) was hands down the best sounding one.