itu

- international bands: Tina Weymouth, Suzi Quattro, Sting (fretless), Wilbur Bascomb (J. Beck - Wired), Billy Sheehan, many less known studio bassists - rare exports: Pekka Pohjola, Jonas Hellborg, Tom Kennedy - double speciality: Edgar Meyer, Marc Johnson

Switch is a possibility but remember that turning the electronics on usually makes a loud thud. Please include some soft start to it.

Why do I always read "Batman" first? Is this an upgrade of the Washburn Bantam bass? Get me coat...

I think it is time for someone to create the most disgusting ad from all these notes. Waiting to see that it will spread like butter (?) throughout the whole bass playing community. And the ad will be used as a reference to any beaten Fender, or whatever.

Like sisters.

First of all, this is not against you, rather something that I hate from marketing departments. Those numbers are meant to confuse us, players. True to say that the amp has pretty impressive figures but that 1200 W is also slightly irrational. Not all companies use "watts RMS @ 8 ohm" only because that would offer us numbers that we could compare to some extent. Which is the most: 1200 W @ 2 ohm or 500 W RMS @ 8 ohm or 300 W @ 16 ohm in real life context to an 8 ohm cabinet? I will make few simplifications and say that the figures are 300 W, 500 W, and 600 W @ 8 ohm. Remember that all are practically the same volume wise, because the loudness difference is only few decibels. If all given figures are RMS.

1200 W @ 2 ohm = 600 W @ 4 ohm = 300 W @ 8 ohm (but not always) Peak or RMS? I do hate these wattage wars when the specs are represented in incomparable numbers. You tell about the power output, it has to be in RMS @ 8 ohm. And power is not a variable of loudness.

I have never understood the need for a pedal tuner. I want my basses to be stable and one part is to learn the strings and how to set them to the tuning posts. Also bridge, saddle, tuners... I do have few tuners at home like Peterson SAM, and Korg MT-1200. But in my Mono gig bags I carry Ibanez MU40 tuner/metronomes. Small and functional. They do not take any space from the pedal boards...

http://www.status-graphite.com/status/pricelist/Status_Bass_Pricelist.pdf You can take a look at their pages and find different configurations. I understood that Peavey did collaboration with Modulus Graphite with the CF necks. That Bell & Carlson connection is new information to me.

Bass Player had a story of a British bassist whose name I do not recall sorry. But he stated that he changed his bass tuning to cello tuning and it took him only a short time to adjust to it. I made a trial with a 5-string and checked D'Addario's web help and tuned the bass starting from C. After finding the right gauges, the instrument felt like any other bass I have (all others have 40 - 95 / 120).

You want a decent priced CF neck bass, consider buying a used Peavey G-bass, or any bitsa with a Status neck.

Why not, everything else is also cheap in Fenders. That was Leo's intention in the first place: not a through-neck, one simple pickup etc. Relying to a single screw it is possible to save some tin, too. But reliable that connection is not.

Light weight, sounds, quality... at least you have to try one. Like Tony does here:

So you say the body has no effect on the whole instrument? Carbon neck without the headstock is probably the stiff part, but did you consider any other parts as a possible reason to the problem? Bass is a resonating system, not a neck. My biggest issues with basses have been with 5-string instruments. String spacing tends to be something like 17 mm. Tobias, MM, Modulus, Ibanez, Status... I found a Genesis 5 (from BC, of course) which is a dream (35", 19 mm, not incredibly heavy), but I simply do not understand why a five should differ from a four in spacing. Another issue is Fender. Prices are very high although the construction and often the feel is cheap and bulky. Even some Sadowskys have been lame, maybe J and P are not for me. I have played one Pensa-Suhr which nearly played itself, but that's about it.

String spacing at the bridge varies from 14 to 21.5 mm that I know. I see no reason to make it even broader or down to 10 mm if needed. The width of the neck shouldn't mean a lot if it is well made and the strings are reasonable (nothing like thick set and a tenor tuning...). You can also use a good amount of CF in the neck.

Maybe the A or D is written in the user manual? There are also digitally controlled units with analog signal path and so on. If the sound pleases, it is the right unit for you.

Dear Sir, if you read the article in the link...

26? Oh dear, so young and beautiful and... a bassist! I know it will go well. Take it easy. Follow your heart.

I have had a teacher, so mine is the Litespeed titanium tricycle.

Bourns makes MN pots in 250 k and 500 k. https://www.mouser.co.uk/ProductDetail/Bourns/PDB182-GTRB2-254MN?qs=MAZTpT1IVl9lP%2FZA5KktUg%3D%3D

Alpine is as french as my Vigier Passion. Another option could be a Renault 5 Turbo. Small, special, and light. Modulus Genesis could be Vette: both have fiber construction. Affirma is different, so is boxer Subaru and Wankel Mazda (RX-family). Hand built super light fretless... be it a Super Seven. Every bitsa is like any DIY glass fibre replica. But not a Ford Fiasco, no? Clevinger... a ten wheel Peterbilt without a trailer, maybe?

The picture tells something I particularly hate: no soldered earth to the jack. Cheapo. I would never rely on the plate ground only.

https://eepower.com/resistor-guide/resistor-types/potentiometer-taper/ Here A should mean Audio i.e. logarithmic. Are the electronics modded or changed in any way (picture, please)?