itu

Next step is to buy a Sony PCM-3324, or -3348, a digital r2r. I have seen one, once.

https://en.wikipedia.org/wiki/Tommy_Tedesco wrote in GP that a producer wanted a certain sound. The g-word sound wasn't right and the producer wanted a mandolin. Well, Tommy adjusted his instrument a bit as well as his playing technique and played a new take. Producer was happy with the mandolin sound. But it was exactly the same instrument. I find it funny that the P would be the answer to everything in the studio. I want to play my favourite instruments. It is my technique and ability to adjust the sound to reach something that others want. It is not about the instrument. I use the bass that I feel is suitable to the task according to the specs. (I do not own a P, neither do I want one.)

Everybody should listen to works of the Domenico Dragonetti. Gary Karr is just great player. I read from a newspaper that the writer thought Niels-Henning Ørsted-Pedersen was two persons... Edgar Meyer - Dreams of flight was an eye opener for me. This first song has some backing stuff there but his work is tremendous.

Were there any kinds of arrangements or just dixieland?

Practically any light source will charge the dots. UV is the most efficient, but not necessary. If you really want, a UV torch from Amazon cannot be overly expensive, but not a must. I believe Luminlay contains Super-Luminova from Japan. It's a Strontium based inactive luminous material. Lifetime is decades. (Radio) Active materials (the most common is Tritium) are functional but their lifetime is limited. Half life of Tritium is 12.5 years.

I don't get this. SNR is usually sacrificed, if gain (driving the preamp) is very low and volume (driving the power amp) very high. Gain should be turned up until distorion is heard, and then slightly back. Then volume controls the loudness.

Is that a fretless Fonder? And the coat...

Just like @Kiwi said, the structure can be enhanced with a metal mesh or carbon powder or many other things to make it more or less conductive. To source a suitable material and parts is another story. Money talks.

Yes, I have seen basses which are ergonomic and the tuners are protected. That seems to be an easy solution to move the neck towards player and save some weight in the body end. (As said, upper bout is against this idea.)

As the first batch is about to leave your factory I would like to ask your next steps. 1) Will there be "always available" basic models like P and J with certain options mentioned here? 2) Will there be a possibility to order custom neck like with special neck width and thickness? Example: 5-string, 19 mm string spacing, no dots... I understand that the latter means also custom mould, that sure is expensive. But I don't care whether the custom would be headed or headless, I am able to build the parts for the headless. Any hint about your future plans?

I understand the reason for the position of the tuners: the half position is closer to the player and therefore more ergonomic. I have been looking at many designs where the bridge is (nearly) in the middle of the bass (starting from Alembics) and half position is miles away. Brown Bass is most likely OK for Jokic, and Antetokoumpo (and Clarke), but my reach is shorter. Long gigs are a real pain with XLong scale and that low B somewhere in the Far East. The design of this particular bass is a bit cumbersome, like @Bassassin noted. Most likely only a study of the design, and something that people can talk about (an advertisement of the maker per se). After all this is a plain PJ bass.

ABY pedal is most likely without buffers, so some kind of signal degradation is possible. Parallel processing is very doable, but when you mix both loops together, there may be issues like phase difference, and therefore some signal degradation, again. Parallel loops require some testing. Have you considered biamped systems: upper band is usually heavily processed (distortions, chorus...) while the low band has less effects (compressor), but clear lows. This can be mimicked with a X-over (Rolls is a low cost unit) in a single amp system.

Then a professional setup would change the bass entirely.

I've had both but as the DB is substantially larger, I sold it. I can manage most gigs with a Clevinger 5 and an old GK 200MB. The bass became much better with a good setup and strings.

I think there's a possibility to make a trial with a stereo chorus (or similar) fx pedal. When the effect is OFF, it still feeds both outputs. You may even have some suitable pedal for the trial?

Yes, in these two examples the same note is used multiple times. The rhythmic approach was not the exact answer to the original question, although these lines are built with apparently simple bassic ingredients and still drive the songs.

Tears for fears - Everybody wants to rule the world. Simple, yet effective by Curt Smith (played with a PPG Wave synth).

Bernard Edwards plays D a couple of times @ 1.45, 2.45, and 3.50 in the song I'm coming out sang by Diana Ross. The song was written by B. E. and N. Rogers.

Now we want a comment about fendersquires.

If there's that cap, I stronly suggest you to replace one with a bypass switch pot. Bridge pu is unnecessary thin if the cap is there as always ON.

Does this have that cap bypass switch in some pot?

I wish F will start using G&L headstocks only. By the way, where's Kubicki?

Cheapo instruments, maybe Korean brand, from 90's?

https://g-gotoh.com/productList/carbon-o-lite-ja/ https://g-gotoh.com/productList/carbon-o-lite/?lang=en And in search of super light... https://www.rotosound.com/product/fm66/