itu

Did I mention ES-335, Lairat, Steinberger... I think I covered (sic!) possible materials, too. By the way, if this is new to you, many graphite necks are hollow.

But... I should buy a second box from @GisserD, too. That smaller and lighter box is indeed a must.

The paint of a road bike frame weighs around 3 ounces / 100 g. You want colour, use tinted lacquer and save few coats of paint.

And when some newer tiktaktoktuber gets ones hands on Wal, "everybody" has to get one. Why is Hotel California popular every now and then? Why is LP so succesful? Have you heard about film making with Super8? This list is - once more - endless.

I need to add that why a Wal? Why not something from younger luthiers that may become a classic later on? Vintage costs a lot, modern basses may be very decently priced, today. If you are brave enough, put East - or maybe your own design - under the hood and start making something totally new. Just like Wal (or Status, or Jaydee...) was special when the company started. Though their prices were not sky high, back then.

...and again. We have covered this issue earlier. You want something rare, start saving, or do like @Doctor J said.

I think a neck through is closest to monocoque - one piece wooden bass could be nearly possible. Feasible? Maybe not. @Lfalex v1.1 please check SDC's offering. I learned about this construction about five years ago.

Neck joints: 1) through body neck 2) set neck 3) bolt on 4) neck through bridge The last one is known from S. D. Curlee instruments. One more to consider.

IE is not the easiest to get. I have, or have had four units in total: FMeron, FrantaBit, Nimbus, Xerograph DeLuxe... and Oxide! Yes, five units. During the covid I had to sell some of my equipment, and Franta, Oxide, and FMeron left the building. I was not happy, but kids eat so much...

https://weightweenies.starbike.com/ These guys and gals are master competitors, but their targets are not measured in seconds.

Learn from bicycles: - paint is unnecessary - screws (Ti and Al) - nearly every part can have holes - carbon fibre - file every corner - make the frame/body thinner - replace known solutions with lighter ideas (like glass fibre tape in rims) Check Steinberger and Paul Lairat. Is a Lace Sensor or a piezo lighter? Do you need two pickups? Do you need pots? Modulus and Vigier didn't use truss rods. How is ES-335 constructed? The list is nearly endless.

https://ironether.com/pedals/divaricator/ This is far smaller than the KMA, practically equal in performance and features, but IN/OUT needs an insert cable.

US, Japan, or Germany model? It is a well built, light weight jazz with their active circuitry. I have played an ash (?) one that was heavy for my fingers. That particular bass I did not like so much, but have played others that feel like old British roadsters. And I usually do not like J that much.

I think the big thing while studying was to get tools to my tool box. I do not be able to play Jeff Berlin's solos @200 bpm, but I can transcribe and understand some of the theoretical background. My sight-reading could always be even better, but I use scores and understand chords and progressions. I actually find tabs harder to read than scores.

Piccolo strings could help with that monster. I remember seeing one, but the shape said, don't touch.

I should source some phosphorescent powder and mix it with clear nail lacquer. Dark stages are frightening...

I have been amazed by the tracking accuracy of the newest (?) Boss pedal synth, SY-1. Probably not the most flexible unit, but keeps what it promises. (I have FI, SY(B)- 1/3/5, Subdecay Octasynth, and Cog T16.)

This is the main point. Let's say your amp is able to produce something like 500 W. Without a decent LPF, your signal (mixed with handling noises) only warms up the coil of the element. You want to be heard? Use the amp power to reproduce string vibrations (from the first harmonic). Bass cab is so small in volume that the first fundamental at 40 Hz is practically impossible (= inaudible) with decent efficiency (1 - 2 %). Yes, you can make it happen in a small Hi-Fi speaker, but the efficiency will be brutally sacrificed: the cabinet size is tiny AND it has a flat frequency response (do not mix this with any of the FRFR PA speaker jokes). It may be in the ballpark of 0.01 %. That is well under 1/100 of a PA/bass speaker. If we combine these two, you can see, that out of the 500 W amp, you are able to produce 5 to 10 watts of sound (remembering efficiency). If you would like to have a (nearly) flat response system, you would have to sacrifice efficiency: the lowest end would be heard as well as the middle, BUT the output would be well under 1 watt of sound power. Think that you would be using a tiny 30 watt clean solid state bass amp beside Marshall stacks. May sound good, but cannot be heard. In short: Cut the lowest end, rely on the first harmonic, and BOOM BOOM BOOM.

Come on: you slide, you find. By the way, I put markers to the side of the fretboard. Far easier to be in the neighbourhood of the note while playing in a bigger band.

It is easy to make threads, but not so easy to make them straight...

Dark. To be more specific. Sans fretboard markers, another thing I do like. Maple and dots - no way!

https://www.wood-database.com/redheart/ The bass is Modulus Genesis 5.

At the moment: fretted 4 - phenolic resin fretless 4 - blackwood (Mad Inter) fretted 5 - chakte kok fretless 5 - rosewood EUB 5 - ebony This clearly shows that my favourite is black.

I did some homework years ago and tested a variety of units. First of all, some work better with high impedance basses, and some with lo-Z basses. That's why I have separate boards for different bass types. Clean blend is not my thing. X-over is (like IE Divaricator). With a X-over I can use effects in a different way than without. Low end is clean and makes the thump. High end can be pushed, even over ordinary limits when in need. X-over is easy to use. The main thing is to find the cross-over frequency that suits the sound preferred. I have found 400 Hz functional, yours may be very different, or even changing. Try it, you'll like it.