itu

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.

True. And CTS is a plain carbon track pot, not a plastic track or a cermet. And even then a decent price should be less.

After all these years...

Isn't this about separating instruments to their respective bands? Why should a singer use low frequencies when the bass or keys are the ones working there? Bass drum wants to be the lowest, let's not put bass there. Otherwise lots of power is consumed to nothing that could not be heard. Audio codecs do that as well as skilled mixing personnel.

It is most likely done so, that the mixer can push levels to its max (headroom), which is around 0 dB in this case. There can be some extra available, depending on the technology: analogue mixers may be able to push some more while digital units do not. It is pretty common way of telling you where the max is, as digital units reach their 16/24/whatever bits. Anything over that will result distortion, because all headroom is used. This is something like you dive to -50 m and the surface is at...

All links direct you away from reverb. Come on: step + reverb + com or eu + de + stor? But if you think they are fine, you can deposit £2000, no £5000 to my account on number GB12 3456 7890 1357 90, just in case...

Pretty big one! Is the weight closer to an X-wing or a Death star?

I listened to Marcus Miller quite a lot. As a sideman, super player. His solo discs, meh. He is not a composer to me. With Wooten and Clarke trio, his work was the best of those three when he took the supporting role. Right notes at the right time. Others were more or less playing a lot, but aimlessly. I would have loved to see a structured act. A virtuoso player, and an interesting composer, that's a complicated equation.

I had lots of issues in my transition just because my muscle memory did not like that narrower (17 mm) string spacing. Now my fivers have 19 mm spacing, and I couldn't be happier. True about those scale lengths: my old five string MG Quantum Custom became far better when I found the right B string (.120"). I thought fatter would be better, but no. Be open and do trials.

I do not see an issue if it is in two parts. Like @3below mentioned, you can glue the parts together. Only if the parts are de-magnetized, you have to re-magnetize them with electric or magnetic field.

How the magnet is broken, then? De-magnetized?

You have a P with 34" scale and 19 mm string spacing. You say you want a 35" scale and probably get something with 17 mm string spacing? A small bodied 5 string, well your equation is not the easiest with your current budget. Similar ergonomics here would help you with the change. Do trials based on the ergonomics rather than pickups, or eq.