itu

Travis Bean/Kramer Al-neck, Steinbergers, Flying V...

Danelectro, some acoustic basses, and double basses. SG, ES-335 looking lower brothers, Ken Smith, Surine, Hamer (shortscale)...

Bass playing is sports just like running. You need to warm up, keep your finger and hand muscles in shape, and train some more. Faster equals only more training.

Just bought a used Bruel & Kjær unit. Have to refresh some old acoustics courses and measure my Glockenklang Soul, and the cabs I have. No, there's no anechoic chamber around, but certain measurements are still possible even in a room.

No no no, ze order auf ze words wrong totally ist: Ich da strings für ze bass vont. I learned some German from Herbert aus Karavan.

Your amp may have tubes/valves, but it does not mean it has a tube power amp. TT800 has a class D power amp. A head consists of a preamp and a power amp. Preamp is for signal modification (gain, eq...) and power amp is for driving the cabinet. Your amp has powerful solidstate power amp, it is not to be attenuated with that external attenuator. You can just turn the volume down. Tube power amp is working so, that it starts to distort at its limits. Because that amount of power is quite a lot, many g-word players crank their amps to 10, but use the attenuator in between to get a reasonable sound level. Other power amp types sound worse at those limits and that's the reason your amp can be simply turned down. The effect is not the same. But you can drive the preamp to its limits. Please study the preamp section and what it does. Start from setting the vol to, say 1 or even less. Then crank the gain and bass' vol to 10. There's some distortion for sure. Remember: eq section is also like set of bandwidth limited volumes. If all eq pots are at 0, the preamp level is low. Turn all pots to noon, and start tweaking.

Actually, I have played in front of elevators, and our sax players named us as The great elevator band. Yes, we played smooth jazz to the audience which wasn't listening.

Shouldn't these be named Fendre, or Squire series?

Oh dear, flawless GRP jazz! I thought this was left to 90's.

Long ago Rhonda Smith was in Bass Player. She told she had a bass made to her, which was exactly like the original, but scaled down to fit her measures. I find this brave, as there are people - even here - who think Leo's ancient instruments are relics that can not be changed. Not at all. There are many classical double bassists, who are not so pop, and not in news all the time. But really hard working professionals. https://www.npr.org/sections/deceptivecadence/2016/05/17/478337126/jane-little-longtime-orchestra-musician-collapses-on-stage-and-dies https://whttps://www.ninaharries.com/bioww.cutcommonmag.com/meet-the-women-in-bass/ https://www.talkbass.com/threads/double-bass-women.247695/ https://m.famousfix.com/list/women-double-bassists https://slippedisc.com/2021/10/vienna-philharmonic-lets-a-woman-into-its-double-basses/ https://iro.uiowa.edu/esploro/outputs/doctoral/An-annotated-catalog-of-works-by/9983776851102771 https://fmq.fi/articles/jazz-bass-player-kaisa-maeensivu-band-leader-and-sidewoman From the popular side I downright love Kate Davis after her version of All about the bass. If anyone loves statistics, please study this: https://www.zippia.com/double-bass-player-jobs/demographics/

Oh my... this guy does not understand much about electricity, but is eager to tell others about it. Total bull. Lots of copy-paste, close to zero information, and very little understanding how things actually work. The microwave article was hilarious. Beware.

Can you please lead us to that piece of knowledge that we all really want to dive into? The energy going into the system through the few filter stages... how could that limit your amp's frequency response? Maybe if the filtering system would limit the power going into the amp, some strange behaviour would be in order. But a current limiting filter system?

Bass brother @BigRedX has many good points in his comments. If the signal path is designed well, the adjustments are feasible. But it is not so uncommon that the path is cheap as chips: "Here we will use basic carbon track pots, they are 25 pence each and, hey, this preamp costs a tenner, let's put this in and call it active!" Tone stack is one more amplified stage to the signal path. Any extra amp will add noise. So will a cheap pot, too. From UI and UX point of view the local adjustments are handy, although the amp sure has better performance. One comment seems to need a better argument, and it is about batteries. Battery does not hum, or create extra noise, like many power supplies. There are no ground loops. A fresh battery and a modern circuitry can be very good in quality and performance. Yes, they have limited lifetime, but a spare does not even cost much. They aren't that bad.

The first lesson I got was: "Where's your own cable? I don't bring any to you!" Then we went through scales and arpeggios, chords and progressions. I had been studied piano and theory for 13 years before bass. If you have nice and relatively easy songs for the beginners, they will love you instantly. I had lessons at home, and I went to few pupils, but whatever fits you, go for it. Amp is not a must always. Dry sound in a quiet room may be just enough. Dialing a sound from amp is one really good lesson, but that's it. No need to carry much stuff around all the time.

Which page will reveal the pricing? How long do we have to wait?

If you want a really cheap one, Artec has one band fully parametric pedal. Cheap as chips, and functional, although the instructions are not in line with the specs. Yes, I measured mine.

SWR Interstellar Overdrive should be here, too.

While working in Outside Broadcasting, I made and fixed quite many cables: 1/4", Bantams, multicores at least up to 24 balanced channels, digital... We used connectors from LEMO (yes, those tiny ones), Amphenol & Souriau (yes, the big ones), Neutrik etc., so I think I am now able to build some cables. We also fixed mixers, as well as built and fixed patch bays in cars (very uncomfortable!). Once we were building an OB car and went to a local dealer to buy two boxes of Neutrik XLRs. Came back to the office just to find out that we needed a few more boxes. The next week the same lady behind the dealer's desk said to us: "You can solder them twice or even more, you don't have to buy a new one every time." Thank you anyway, very polite offer from you.

I may use some of those when I approach the chord. Not through the score, but sometimes as an ingrediient. I do not think they are a must, but can add some interest to the line - sometimes. I also think that a 9 gives me a hint of the direction - and this is sometimes again - where to start to build the line. 6, 7, maj7 tell me to think about a grace note or similar when I go to the chord notes upwards the scale. 9 makes me think about possibilities to go downwards the scale. As you already know, these basic ideas are generalisations: the progression may drive players towards different ideas.

Whatever length: 1) learn to coil the cable, 2) use quality silicone cable, 3) use plugs from Neutrik, 4) add a velcro to the amp end (Neutrik silent is in the bass end), and 5) always have a spare cable in your bass case.

https://www.premierguitar.com/news/audiospektri-pgv

What I find from @JPJ 's approach, is that an offboard unit can use much more energy than an onboard one. One or two tiny batteries have not very much energy packed to them. But (again) modern opamps consume very little energy, and they are very capable. The sound may be different to every user, so everybody has to choose the system according to their preferences. This goes through the whole rig. And no, I will not start the valve/Mosfet/tonewood discussion now.

This may be on the theoretical side, but I'll just write something down. The discussion about active / passive instruments may mix players minds. While active mostly means low impedance output, many think that the battery will drive the system with super high output, and does some other strange things to the tried-and-true and simple high impedance signal of P and J. (Because Leo did it right in the first phase, and people actively forget MM Stingray, Sabre, and G&L basses.) The level of the hi Z or lo Z signal can be (and usually is) practically the same (you still get more or less signal by adjusting the pickup height). But as the impedance is different, some preamps and FX may behave in a different way to these two signals. An easy example of the output impedance is piezo's very high Z, which can be 1 - 10 Mohm, while a lo Z signal may be 100 ohm, and a hi Z 100 kohm. Piezo's output impedance matching to the next input stage (FX or amp) can be complicated, and can act like a HPF: the signal is degraded and lacks lows. In other words: sound is thin. This can be fixed with a high input impedance buffer. It just matches the impedance to the next input stage, it does not have to amplify it at all. Some like the effect of the hi Z adjustments, some don't. G-word players put treble bleeders to their hi Z ("passive") instruments, because the volume pot cuts high frequencies when it's turned down. This happens in a bass with hi Z vol and blend adjustments, too. I am not always keen on this behaviour, so I like active mixing. Whatever your signal path and adjustments will be, the next thing to consider is the placement of the pickups.

pickups - blend/vol - vol - tone stack - out This is probably the most common signal path of a 2 pickup bass. If you want to do pickup blending outside the bass, you need a complex (i.e. not universal) cable+connector to the outboard preamp. Tone stack is usually the only battery powered part of the system, so if you want, you can easily have tone(s) outside your instrument. One UX type of thing to remember is how to adjust your sound. In a bass you have everything at hand. Outboard pre may be somewhere out of reach, or the adjusting requires funny moves on stage. I do have some FX with super big pot hats, which I can adjust by feet. But only few. I think I am clumsy, and as a true bassist, I am not able to do two thing at the same time. No bubble gum and walking/playing. No dance moves. I suggest an active blend instead of Bourns blend pot (250 k or 500 k type MN). I did a good experiment with Noll Mixpot, and John East seems to have similar solution. It is still pretty rare. Active mixing means, that the pot does not load the pickup, and the pickup sound stays the same no matter the blend pot position. Volume pot affects a passive system sound, but will not have much of an effect if the mixing/blend is active (low impedance). Once again, "active bass" is misleading, as pickups are mostly passive, blend and volume, too, and only some tone tweaking circuitry has battery driven functionality. John East is naturally something else. I call it a mixer. Battery powered low impedance (lo Z) is mostly preferred, because it is more noise resistant than hi Z ("passive") circuitry. I still want to remind you that there are FX (dist, OD, fuzz, some compressors...) that behave in a different way to bass' lo Z or hi Z signal. If your system will have a battery powered part(s), please consider the possibility to override it with a hidden switch (DPDT) or a push/pull pot. This way the playing continues even when the battery has unexpectedly died. You may loose some functionality, but not the bass.