itu

No, there was no gig. They arranged it, and said yes, please. Then they had a meeting and no, there was no gig this night.

Leduc pretty much copied that 1961 Gretsch idea. OK, Bikini was a g-word + bass double neck. There are only few pictures in the web, as only around 50 instruments were made.

Do agree. But when people change cabinets, watts and decibels behave depending on the efficiency, frequency response et al. just because the cabs are different. Bass response and cabinet volume and efficiency are related, as we all know. If I want to equalize two different cabinets to match each other for similar sound (response), watts play a role, but then watts are not automatically equal. Similar loudness may need substantially different amount of power. This is why I do not see the relation being very strong. Watts do matter, but how to compare rigs, if the loudness (dB) is unknown? Yes, we should know some vital specs from the amp and the cab. These are not published often, i.e. we are not given enough data to be able to compare different rigs. We need decibels, but marketing department says: "Watts!"

Looking at the pot hats? They do not tell anything about the actual power level. They tell that they are set to certain direction. Nothing else. Once more, if the amp was able to push power without limits, the cabs should be connected parallel until the impedance was something like a fraction of one. But... When the impedance is getting lower, the current is rising in the amp. This heats the power amp. When the current is rising, at some point the amp reaches its limits and can not push power anymore. It may even melt. This may equal that the sound is affected, too: transients aren't sharp anymore, no more attacks (ADRS, anyone?). By the way, the attack is super important to instrument perception and sound. Once more: If you think the impedance (from amp's point of view) is like nail, and the current capacity of the amp is your thumb, you get the idea of what lowering the impedance (nail getting sharper) means to your thumb (ouch!). It starts to hurt pretty soon, when the current rises while the impedance gets lower. Of course you can lower the impedance as much as you like, but the amp gets really hot while not producing any decent power anymore. One thing that people tend to mess up is that W is not directly the same as dB, although they are faintly connected. The difference of power seems to be hard to understand, because the difference of 100 W - 1 000 W is very distinctive 10 dB, while 100 W - 200 W is only 3 dB. These things are not linear, my dear Watson.

Correction: Austria. https://www.spaltinstruments.com/contact/

Alembic in the early 70's, Westone Rail bass, a German Viper bass... g-word players are pretty much slower with their "novelties". Found it: Spalt vViper is that German instrument.

To the transistor amp the bigger impedance is usually easier load. Think it like a nail against your thumb: the smaller the Z, the sharper the head. As our grand old man Bill F. already told us, please use one amp / cab, and your amp will love you.

Slightly reminds me of the style of A. Laboriel. Well played.

- fretted 5 (Genesis, 35", 19 mm) - fretless 4 (custom, 36", 19 mm) - fretted 4 (Passion II, 33.8", 19 mm) - fretless 5 (Affirma, 34", 19 mm) - eub (Clevinger) Some others are lurking from the closet. These are played the most in this order. I think I should find my camera, because this thread is...

We used Gotham in the local broadcasting company, so that was already a good reference to me. The oldest cable I did and is still working is probably from early 90's. Or late 80's. Slightly dirty but very functional.

My exact experiences: one Silent Neutrik from the first batches was DOA. Van Damme, Sommer, and Klotz. Functional, reliable, decent price. Long ago I used to have two 100 m rolls of yellow and pink Gotham GAC, but have not seen it in years in local shops. The colours are visible in the stage and no one has tried to claim my funny coloured cables their's.

So first you have to freeze the poor copper wires close to the absolute zero. Then you have to use The Cable Cooker to burn the cable in for the ultimate results. Hey, please... snake oil was old before these "technologies" were even invented. I do not welcome some esoteric HiFi jokes to bass playing without reasonable and authorized ABX tests. And, we already have tone woods under strict inspection and waiting for the ultimate results. Buy some silicone cable with Neutriks.

Nah, let's put this way: Instead of BEADG, the original tuning was EADG-DG. Mixing fretted and fretless in one tune does not work. I do understand soloing with fretless, but it does not sound good when mixed both within a song.

I had an Ashula. I restrung it to have a GDEAB tuning instead of GD-GDAE. Well... bandmates told me there are strange sounding passages in the bassline while I wandered through the fretboard and from time to time to the fretless side. No, it did not work. Now I do have a fretless 4 & 5 and a fretted 4 & 5. These are all separate instruments for sound and comfort.

Neutrik connectors and silicone cable. An iron and some lead/silver tin. That recipe equals tens of years of use without any fault. I think my oldest cable is from the 80's. Err... it's not 1880's.

Bien, 16.5 mm. No, I do not have to buy this one. Thank you. I am actually happy, that Patrice chose tight spacings with his 5s. I do not have to hunt after one, and I couldn't modify a 6 to a wide 5.

Is your series sound activated by pulling a pot? Is it really a series option, or bypassing the bridge capacitor?

Do not use a foam that is filled with carbon, if you put it in contact with the bare wires.

Swell pedal... try a grey Harley Benton noise gate.

YES! How is it so that here I have @stewblack telling about my (questionable) successes... ...and all of my (big) mistakes. If I sold my pedals, or would have saved all the money that went to these toys, which dream bass would I have bought years ago? And lost the fun finding all those nice noises that were completely useless in the band context? That's life (That's life) That's what all the people say You're riding high in April, shot down in May But I know I'm gonna change that tune When I'm back on top, back on top in June I said that's life (That's life) And as funny as it may seem Some people get their kicks Stomping on a dream - Frankie