itu

Wider neck. 17.5 was too tight for me. Practically I have left slapping to the 90's. I should concentrate on playing less i.e. the right notes only.

One of the many proud owners of his creations, I am more than happy to hear he is back.

1) Listen. 2) Read. 3) Transcribe. This is the most common way of learning to play something you have not played before. Even pretty complex sounding sentences can actually be pretty easy. 1) Try to find the bass from the mix and imitate the playing. 2) Go to a library, or study the stuff our dear fellow bassists have transcribed. There's tons of music. And it is free! 3) After you have learned to read, the ultimate step is to learn to write. Your computer background sure helps to learn this language of music. Try Musescore: you can write and listen to what you write. I know you can do it.

There was a rumour in the 90's that Marcus Miller changed his strings after every 3 hours of playing in the studio.

Start from new stainless steel strings, 30/50/70/90. Years ago Mark King said that he turns everything to full from his bass and that's his sound. Try these in the first phase.

Come on, Rutger was originally a g-word player. And he did his work and arrangements really well. To the topic, as there are a few delays in the system, your playing is probably in time. Here we hear a bit laidback version, although a good one. My drummer friend told me once that I should not overplay. The less the better. And it is true. Every time we record something, I have to leave half of the notes I try to play. It always sounds better with less than more. Don't get me wrong, I did not find too many extras. If I did the same, there would be my stupid choices in the first version. Usually the legato is complicated, but here you can play shorter notes with harder attack, as someone commented earlier. It becomes slightly harsher and that happens to fit this song. All in all, well done.

And I would strongly try more than one, and if possible, side by side.

3 x HyperGravity for lo Z basses or if the comp is at the end of some fx board. Daring Audio Phat Beam for my dear hi Z fretless.

Stan the man... the first solo record from 1976. I bought it used from some record auction for less than £2 somewhere in the late 80's. And then: Lopsy Lu! What? Then I got my hands on School days and that was it. Bass it is! I had a 1976 black 4001 which I had to restring to CGDA like Stan was playing. No, I couldn't play anything he can, still can't. But I am still playing bass. Yesterday was a rehearsal, and while I am very far from all super solo bassists (does not matter), I am so happy to support the bands I play with.

Should we build a database of strings?

Search is your dear old friend: www.ovnilab.com

IE Nimbus. With its eq it is possible to limit the bandwidth of the reverb, so it does not muddy sound. A bit of reverb works well with distorted sounds, too.

If you want a really good one, choose the same that was mentioned in the flanger thread: tce SCF. I think that the swedish unit is a cheap copy of this original.

Incredible. And I mean the speed of making another gem. Do you sleep at all, maybe?

Say what!?

As I have or have had basses without truss rods, I am not so afraid of the lack of one. This wire thing is of interest. To adjust it I have already two ideas. Simplest is a screw and nut, another is a modified tuner. A tuner that can handle all five strings.

Local library, bass books with code to grooves, or with a CD?

This fuzz/dist/OD is something I did not understand, so I started a research. Long story short I met a fuzz maker. He commented, that high impedance (hi-Z, passive) signal has different behaviour in an effect than lo Z (active). Therefore there are fx that act in a different way when driven with lo or hi Z signals. Even adjustments may have a different character. OK, so the impedance means something, even more than the signal level (remember, that hi and lo Z signals tend to be pretty similar in level). Then I lent several fx units and tried them with both active and passive basses. Yes, that's it! I need different units for different basses. Later I found the same applies to compressors, although in lesser extent. This is the reason I have fx boards for hi Z and lo Z basses. Remember: if the fuzz/OD/dist is after other fx, the driving signal is lo Z. If it is the first in line, the bass dictates the behaviour. (Some units I tried: Sparkle drive, Vemuram, Bass tight fuzz, Overlord (tube), Old growth fuzz (modded for bass), Crustacean, Møg, Oxide, Multi drive, Rat...)

No, I wouldn't say exactly that, but you could try to tweak your sound with existing adjustments, before adding anything new. I think you can make it happen. That semiparametric middle is fun with treble.

If you want to add a passive tone pot, the you just need a 2 x 20k or similar pot. I just don't get what extra does it provide? You setup includes practically all needed tone tweaking possibilities. Try to turn the treble down and use the mids in the high area to mimic passive tone pot.