itu

Excellent! If the link does not work, this will. My browser tried to reach it as https with no success, but http worked. http://www.solodoublebassrecordings.blogspot.com/

Polly is nice and helpful. Send a mail or give him a call. [email protected]

Sir, you are quite right, but many people think that the change would be in the same decade as watts (300 W to 600 W). I do not see that it is reasonable to emphasize power, but dBs. This monitor speaker can be our reference to few calculations (not for you Sir F., you know this stuff): https://products.electrovoice.com/emea/en/elx200-12/ sensitivity 93 dB / 1 W / 1 m continuous power handling 300 watts / 8 ohm (1200 W peak) max theoretical SPL: 128 dB / 1 m The amp mentioned can produce up to 300 watts per speaker. 1 watt produces 93 dB from this speaker (see sensitivity), 2 watts 96 dB, 4 W 99 dB, 8 W 102 dB, 16 W 105 dB, 32 W 108 dB, 64 W 111 dB, 128 W 114 dB, 250 W 117 dB, 500 W 120 dB (threshold of pain), 1 kW 123 dB, 2 kW 126 dB. From the previous list we can take the numbers 250 W (the amp was 300 W) and 117 dB. With two speakers we can get +6 dB and this will be equal a total of 123 dB with two speakers. A good thing is to understand that if the speaker was capable of eating lots of watts to produce decibels, the amp should be able to push 1 kW to reach the mentioned decibel level. Here we see that some extra watts do not automatically equal much more loudness.

Would a three band parametric help you? There are few, but they seem to be somewhat rare. WMD, Empress...

Power has a bit to do with the volume. But only a bit. If your amp has 10 watts, the next step is to buy a 100 watt amp. Next similar change requires a 1 000 watt amp. The difference between 100 W and 300 W is not so big. dB is about the volume. Sensitivity can help you to calculate how much volume you can get from the cab and amp. Impedance is like a stick. When it gets smaller (32 - 16 - 8 - 4 - 2 - 1), the stick gets thinner (from baseball bat to a needle) and it is harder to push with your finger. Amp gets warmer the smaller the impedance. This is because the amperes (A) start to rise which warm the amplifier section. If you double the number of cabs, you get smaller impedance, higher amperes (if your amp can push more watts to a harder load), and slightly more volume. This is around 2 - 6 dB, which can be heard, but it definitely is not so big change. It is common, that the placement of the cab can help player to hear details of the instrument far better than simple increment of power.

You just took over £40 k from their income. Bad boy!

Lady Dawn even called me in person to inform the neck was ready to ship. I could have listened her voice all day!

https://www.basschat.co.uk/topic/444788-experimental-prototype-bass-i-hope/page/9/#comments There's a cost analysis, if you want to calculate the profit. I used the minimum wages £8.91, but do you think his work is worth some more, do you? My guess is that the personnel at WAL can live with their work, but I doubt that's a gold mine. Let's say they (I assume there are only 2 persons, and I have excluded all outsourced work) build 4 instruments per month, around 40 per year (holidays etc.). 40 x £7 000 = £280 000. Subtract parts that may be something like £700 / instrument, round a little in case something breaks = £30 000. We have now £250 000 left. The very low rental of the workshop is £1 250 / month = £15 000. £235 000 left. Because the workers need to pay pension costs (£1 200 / month / person), insurance (£3 000), update tools (£ 1 000) etc. these yearly costs could be in the ballpark of £35 000. I need to point out that this is very rough guestimation and the costs are probably substantially higher. £200 000 left. Divide this to two, and we get £100 000 per person, which is £8 300 / month and after taxes maybe £5 500 / month. Gold diggers? I might call them hard working men.

Some think one screw is enough: https://reverb.com/item/35579498-journey-instruments-ob660-collapsible-acoustic-bass-carbon-fiber-travel-bass

Felix was German. La chanson de Roland is French. Do these two together make Japan? Or just hot air? Who am I? Is there any beer? [screams and runs away...]

http://web.daddario.com/StringTensionPro/ Depending on the tension values / gauges, there can be very little difference between the B and the G strings. This equals that if you change one to another, there's practically no need to adjust the truss rod.

No I don't. But that seems like 20 lbs.

One thing that has been steady with the band I am playing with is the day and time: Thursday @ 19oo. There's no messing with hundreds of messages/calls/mails. I just have to be there in time. Simple and easy.

Have you ever been thinking about the word retro? How many people want something that was fab in their youth? And is it wrong? Now there may be the possibility, and one little company gets steady income. Nothing wrong with it, or what should we think about their situation, both buyers and the company?

...buffers fitted into the same casing. I know, just a detail, but I think it's more common to use that word instead of the preamp, which may modify the f response or output level. Was it Seymour Duncan that had J pickups with three tiny white switches?

There's even one with delta metal fretboard... shouldn't have looked... But compared to the availability and prices of Wal basses, there are still few Vigiers, they are lighter in weight and prices are nearly reasonable.

You want to understand the circuitry, it is easiest to start from the signal chain: pickup(s) - blend (or vol) - vol - tone - output Any part before the output can be battery powered (low impedance, lo-Z, active) or not (high impedance, hi-Z, passive). If any of the parts is battery powered, the output will be lo-Z. Low impedance output is interfering less with the following cable from the instrument to the amp input. If you buy an instrument with battery (or in some rare cases, PSU) powered electronics, the output is different from the no battery alternative. Likewise, if you can bypass battery powered parts, the output becomes high impedance. It is important to understand, that most pickups are hi-Z. There are exceptions, but practically any pickup can drive electronics, which include blend, volume, or tone circuitry. It is very common, that the only lo-Z part is the tone tweaking circuitry. This equals, that vol and blend affect pickups, because they load the pickup outputs. There are few companies producing fully active signal chain from the pickups (John East, Audere...) and at least one that produces the buffered pickups, too (EMG). There are obviously others, but these I know for sure. If your system is hi-Z, you only need some pots and a capacitor for volume and tone tweaking, but all of these parts affect the pickup response. This has not been a big issue, since similar basses have been produced since 1951, but if you want to try, lo-Z electronics have been available at least since 1963 by Burns. Some other early trials: 1964 Bob Murrell and Guitorgan, with split fret -neck 1966 Vox V251 (Guitar Organ) at the end of 1960's Ovation develops a piezomic 1969 Ron Hoag @ NAMM - optical infrared microphone

But nothing like: "We will be producing a new affordable series in *#¤(/&= so anyone can get one!" I like their approach. Quality matters.

Do you have any slow licks available, please? I am a true bassist... ...will get my coat...

Stevie Winwood - Back in the high life Anything from Robert Palmer Oleta Adams - Circle of one I admit that I still like FGTH, Cyndi Lauper, Durans... That TTDA is one good bet!

I only have two Passion II basses, and their preamps are capable of anything I need to play. So my understanding of the Excess is therefore limited, but I do not have any reason to believe they wouldn't be very good in any genre. String choice affects the outcome quite a lot, so for twang I would choose Vigier's basic strings, 40-95 SS RW. For more middle nickel strings work better, and naturally you can go down to flats if needed. I think string choice is crucial to the basic sound of any instrument. As the necks do not have truss rods, you can only adjust the bridge. If you are after a very low action, my instruments have been steady since 1980's and I am confident that Excess is no exception.

If the instrument brand dictates your playing style... no, I won't continue. Make a test ride and choose the one that fits like a glove and sounds incredible.

Does anyone have similar service for strings? And I mean not only for G-strings, but 5-packs, too...

Just go ahead. And you can put thread inserts to the neck. Put two more in the middle and you have 8...

I am repeating myself :II Try an OD/dist/fuzz with lo- and hi-Z (act/pass) basses to find the right sound. I tried many, many units and one pedal building friend of mine hinted that the output of the bass affects the sound very much. True. Now I have a fuzz for my lo-Z (active) as well as high impedance basses. It is the same with compressors, too. Another useful tool for the tight lows and nice buzz can be achieved with a X-over.