itu

Rosin and resin burn, yes, but you get the same stuff from lead free solder, too.

OK, then any company that makes lightweight instruments is possible. MG Revolite, Sandberg... And there was an interesting story here about one late bassist, whose Overwater was heavily modified by the luthier himself. Check it out.

The basics: If this is a live setup, an extra mixer will not ruin your sound, if the signal levels are reasonable. Another take: If you are able to open your mouth and explain the person behind the big board, that this is your sound and what you want from it, you are on a right path. Then you can reduce the output system to an ABY pedal and a DI box (I am assuming you use only one instrument at the time). By the way, if you do not know what is an ABY, I have included a picture of one:

It would be pretty easy to continue with number 8: - octaMIDI - otto/ottaMIDI What's 8 in Danish, by the way? What other features could be raised and used as part of the name? And is MIDI a must in the name? As everybody knows MIDI means Musical Instruments Danish Interface.

Years ago I used Finale that was capable of most of those. Is Sibelius today the one, I am not sure? My needs are fulfilled with MuseScore, as I am not connected to modern music scene anymore.

Rainsong is full carbon (but a g-word), and I think that maybe Bogart had composite body. There is a short scale (27") acoustic bass from JourneyInstruments.com with detachable neck. Several colours, bag etc. Probably from Ch... named Overhead. You are right, Basslab is a true option. @binky_bass did you contact them already?

Gary Karr, Mingus, Marc Johnson... https://www.last.fm/tag/double+bass/artists

Basslab.de which is a German company. Definitely expensive but so is Modulus Graphite. A TBX (through body experimental) costs an arm and a leg. And few kidneys. Check Reverb and also these companies if a used one could still be an option: - Zon - Status - Vigier - Modulus' Jerry Dorsch - Geoff Gould (MG founder) - SKC Bogart / Schack (either or) - CarbonTech - Collier - Gus was mentioned later here - Moses was somewhat varying in quality I don't recall if Steinberger, or Alembic, or MusicMan did six string basses. The necks of Peavey (G bass) and Alvarez were made by MG (I think?). All in all, contact basslab.de

The attachment is more important than the metal material. It has to stay tight. The weight will affect the tuning of the system (body, neck etc.) but you are pretty much unable to measure it. If you buy the headpiece in both materials and you can make a stable measuring system, you may be able to analyze some minute difference. Maybe.

The tricky ones are dist/OD/fuzz, comp, and wah. First thing would be to use two at the time. Try them both ways: wah + comp, muff + wah, and muff + comp. When you find the best combinations, put the rest after these. Maybe the comp can be the last one in line, but do some trials.

Eight buttons, so it's simply M8. Every bassists' Mate.

That's not exactly true. Low voltage and lots of amperes (like car battery) is as safe as high V and low A. Maybe even more comfortable than the spark. But when both are on the high side, beware! If you meant that when amperes (a lot!) run through body, patient is in danger, yes, that's true.

tce SCF. Mine is from 80's and still going strong. Three effects in one box, and superior performance compared to any other pedal mentioned earlier.

These things Björn again!

Is there anything like dirt in the speakers? Could be on either side of the cone. Or the dust cover is loose?

I was wondering why are you wanting two pickups: cheap and good? Wouldn't the good one be enough?

One thing is to practise, the other is to practise right things with an accessible target in mind. If it was easy, everybody would be doing it. And I mean both playing and the right things. When was the last time you set a target and scheduled it? What was the reasonable amount of daily practise you thought would be enough within that set timeline?

@ped has a good point here, there has been quite a few wooden Arpeges, but Passion and wood?

Not quite original: the headstock is black, i.e. carbon graphite i.e. series II. The first Arpege and Passion basses had wooden necks.

If the tension of the string is changed, the tuning is changed, while the vibrating string length is constant. The excess behind the nut and the bridge do not mean a thing. (Someone will surely start the discussion of stringing through the body, and how superior it is.)

I like the copied body shape of that dark Fodera, and the wide fretboard. The headstock is a joke, no matter which size, and the dots are always a no go for me. Price, well that's the joke.

Chorus may eat your lowest end out. A good comp (see: www.ovnilab.com ) is your friend. You need to know how it works to get the best out of it. Octave needs very clean playing, and many do not track the notes below C or so. For most of these I would say: use sparingly. If you want to cut the attack out of the ADSR, you could try Harley Benton Noise Gate NG-100. It is cheap as chips and works like Boss's age old (and expensive) Slow Gear SG-1. Even some more.

Your sound depends on your equipment, but also on the place where you play. I have one volume adjustment in my bass amp - 12 o'clock - but the volume and sound are very different at the rehearsals, or in a concrete or wooden house. We cannot exclude the space where we play. Your amp sure has an eq, please use it. You can turn all pots down, and then start playing with different freq bands to find the sound of yours. And as said, remember to use the eq also in gigs where the surroundings are different. Learn your amp before mixing fx to the equation of your sound.

These are not super expensive, nor very popular. One day I may buy one or the mini MO'.

...during April 1st?