itu

3 x HyperGravity for lo Z basses or if the comp is at the end of some fx board. Daring Audio Phat Beam for my dear hi Z fretless.

Stan the man... the first solo record from 1976. I bought it used from some record auction for less than £2 somewhere in the late 80's. And then: Lopsy Lu! What? Then I got my hands on School days and that was it. Bass it is! I had a 1976 black 4001 which I had to restring to CGDA like Stan was playing. No, I couldn't play anything he can, still can't. But I am still playing bass. Yesterday was a rehearsal, and while I am very far from all super solo bassists (does not matter), I am so happy to support the bands I play with.

Should we build a database of strings?

Search is your dear old friend: www.ovnilab.com

IE Nimbus. With its eq it is possible to limit the bandwidth of the reverb, so it does not muddy sound. A bit of reverb works well with distorted sounds, too.

If you want a really good one, choose the same that was mentioned in the flanger thread: tce SCF. I think that the swedish unit is a cheap copy of this original.

Incredible. And I mean the speed of making another gem. Do you sleep at all, maybe?

Say what!?

As I have or have had basses without truss rods, I am not so afraid of the lack of one. This wire thing is of interest. To adjust it I have already two ideas. Simplest is a screw and nut, another is a modified tuner. A tuner that can handle all five strings.

Local library, bass books with code to grooves, or with a CD?

This fuzz/dist/OD is something I did not understand, so I started a research. Long story short I met a fuzz maker. He commented, that high impedance (hi-Z, passive) signal has different behaviour in an effect than lo Z (active). Therefore there are fx that act in a different way when driven with lo or hi Z signals. Even adjustments may have a different character. OK, so the impedance means something, even more than the signal level (remember, that hi and lo Z signals tend to be pretty similar in level). Then I lent several fx units and tried them with both active and passive basses. Yes, that's it! I need different units for different basses. Later I found the same applies to compressors, although in lesser extent. This is the reason I have fx boards for hi Z and lo Z basses. Remember: if the fuzz/OD/dist is after other fx, the driving signal is lo Z. If it is the first in line, the bass dictates the behaviour. (Some units I tried: Sparkle drive, Vemuram, Bass tight fuzz, Overlord (tube), Old growth fuzz (modded for bass), Crustacean, Møg, Oxide, Multi drive, Rat...)

No, I wouldn't say exactly that, but you could try to tweak your sound with existing adjustments, before adding anything new. I think you can make it happen. That semiparametric middle is fun with treble.

If you want to add a passive tone pot, the you just need a 2 x 20k or similar pot. I just don't get what extra does it provide? You setup includes practically all needed tone tweaking possibilities. Try to turn the treble down and use the mids in the high area to mimic passive tone pot.

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...