itu

You really want vol and tone to one, stacked pot? I think BQC is concentric, and BQS is separated, describing the tone controls. Years ago EMG made a single pot that controlled both bass and treble. You can call this a tilt EQ. If you could have a pot that has three tracks, one would be the vol and two the tilt eq. Pretty custom, probably not impossible.

Efektlåda! Nå just! Listen now sjukskötare, I was under impression, that the unit is Lada (Ru##ian L.A. D.A.), but it seems to be låda (a box). Well, Lada is also a box of a kind. (Nå, I am nåt Swede. Althåugh I am writing this cåmment in Ståckhålm because åf wårk trip. Weather here is cåld.)

If you lean on the corner of the body of your bass, your hand may not like it. Circulation has to work well while playing. It is meaningful to play in front of a mirror and find possible issues with hands. Sometimes a little adjustment of a bass height may help.

When it is fluent, you can suggest Costello's wife's version of Devil may care. This live version is fun to play along:

Exactly. I think I tried to open this up by comparing the difference in sensitivity (<0.1 % vs. >2 %). It would not be feasible to use flat response in PA systems, because the system would be so ineffective. If we compare pure power, this would equal 20 kW vs. 1 kW. This is one reason I very much doubt the FRFR talk.

In photography it is well known that changing ISO, aperture, or time affects other parametres, too. True, these laws are not equal, but represent pretty similar behaviour. Hofmann (https://en.m.wikipedia.org/wiki/Josef_Anton_Hofmann) says, that low frequency reproduction is possible even in small volume, but the sensitivity will be ridiculously low. This can be heard in low cubic volume hifi speakers. Sensitivity may be far less than 0.1 %, while in PA systems it can be over 2 %. It is true that when we want to go really low, a bigger cubic volume (i.e. cabinet) is in order after certain frequency. Adding volume by filling the cabinet with denser material, or making it "look" bigger to the element (for example isobaric trials) have not been as succesful as using bigger cubic volume. The design and construction have to be of exceptional quality, too. By the way, my home speakers have 12" open baffle bass elements. No boxes, as the bass is a dipole. The speakers don't produce anything below 40 Hz.

There are magnet inserts in the plywood.

Paul Chambers. Listen to So what.

I bought Vigier Passion II, and strung her with D'Addarios, because the system stays in tune for ages. Marriage made in heaven. My choice was Neutrik plugs and Gotham cables, because they do not break. Another marriage...

I have met the designer, and I have tried one. I also know some acoustics, because I studied it in university. Toob is made for g-word. It works somehow, but the design is not bass specific, like @Bill Fitzmaurice said. Photography has its rule: ISO - aperture - exposure bass cab has similar: volume - sensitivity - lowest reproducible frequency If you change any of the three parametres, at least one of the two others will change, too.

It is small and light in weight. The sound is fine for home and a small jazz club. Rock and a bigger venue, no way.

Really? PA speakers are known for their output rather than response. Don't get me wrong, flat hifi response means drastic cutting of several frequency regions, which equals low sensitivity. It is OK, because the power (loudness) level at home is low, maybe a watt or even less. Sensitivity can be fractions of percent, like 0.1 %. PA (including instrument amps+cabs) has to be powerful. If you want flat response and you want loudness, the low sensitivity would equal enormous power levels. A PA speaker may have sensitivity in the 2 - 3 % level. This can be something like 30 times more than in a hifi system. Would you like to haul a PA system that pushes 500 watts/side or 15 kW/side to a club gig? And this was only the amp. This FRFR nonsense is a joke. It is OK to claim a system is FRFR = funny response & funny range. But before I see a measured response, I need to be alert. Learn, measure, understand. or Spread the marketing stuff, believe everything they say, get disappointed.

But I use rather Neutrik than Rean, if possible. Rean still feels too Chinese after the real thing.

GHS has similar set, I think it was named as contact core.

I just have to thank you @ChrisDev for every single transcription you have made available to us. Well done, please keep it up!

Travis Bean/Kramer Al-neck, Steinbergers, Flying V...

Danelectro, some acoustic basses, and double basses. SG, ES-335 looking lower brothers, Ken Smith, Surine, Hamer (shortscale)...

Bass playing is sports just like running. You need to warm up, keep your finger and hand muscles in shape, and train some more. Faster equals only more training.

Just bought a used Bruel & Kjær unit. Have to refresh some old acoustics courses and measure my Glockenklang Soul, and the cabs I have. No, there's no anechoic chamber around, but certain measurements are still possible even in a room.

No no no, ze order auf ze words wrong totally ist: Ich da strings für ze bass vont. I learned some German from Herbert aus Karavan.

Your amp may have tubes/valves, but it does not mean it has a tube power amp. TT800 has a class D power amp. A head consists of a preamp and a power amp. Preamp is for signal modification (gain, eq...) and power amp is for driving the cabinet. Your amp has powerful solidstate power amp, it is not to be attenuated with that external attenuator. You can just turn the volume down. Tube power amp is working so, that it starts to distort at its limits. Because that amount of power is quite a lot, many g-word players crank their amps to 10, but use the attenuator in between to get a reasonable sound level. Other power amp types sound worse at those limits and that's the reason your amp can be simply turned down. The effect is not the same. But you can drive the preamp to its limits. Please study the preamp section and what it does. Start from setting the vol to, say 1 or even less. Then crank the gain and bass' vol to 10. There's some distortion for sure. Remember: eq section is also like set of bandwidth limited volumes. If all eq pots are at 0, the preamp level is low. Turn all pots to noon, and start tweaking.

Actually, I have played in front of elevators, and our sax players named us as The great elevator band. Yes, we played smooth jazz to the audience which wasn't listening.

Shouldn't these be named Fendre, or Squire series?

Oh dear, flawless GRP jazz! I thought this was left to 90's.

Long ago Rhonda Smith was in Bass Player. She told she had a bass made to her, which was exactly like the original, but scaled down to fit her measures. I find this brave, as there are people - even here - who think Leo's ancient instruments are relics that can not be changed. Not at all. There are many classical double bassists, who are not so pop, and not in news all the time. But really hard working professionals. https://www.npr.org/sections/deceptivecadence/2016/05/17/478337126/jane-little-longtime-orchestra-musician-collapses-on-stage-and-dies https://whttps://www.ninaharries.com/bioww.cutcommonmag.com/meet-the-women-in-bass/ https://www.talkbass.com/threads/double-bass-women.247695/ https://m.famousfix.com/list/women-double-bassists https://slippedisc.com/2021/10/vienna-philharmonic-lets-a-woman-into-its-double-basses/ https://iro.uiowa.edu/esploro/outputs/doctoral/An-annotated-catalog-of-works-by/9983776851102771 https://fmq.fi/articles/jazz-bass-player-kaisa-maeensivu-band-leader-and-sidewoman From the popular side I downright love Kate Davis after her version of All about the bass. If anyone loves statistics, please study this: https://www.zippia.com/double-bass-player-jobs/demographics/