itu

OK guys, was it Buzz or the new ID7 Tourer?

Once we were asked to play in a flat. No worries, we loaded cars and drove to unload our stuff to a living room (which was modern, and quite big). That eve we were 3 singers and 8 players, and we (and them) had some very good time. Afterwards they told our keyboardist that they were amazed of so many people carrying PA and other stuff, because they expected to see a trio.

Most of the covers are made of GBP (good black plastic), use any file or sandpaper. Glossy surface requires very fine paper and some polishing, if necessary. Matt is most likely OK.

Do it with four beat first. Walking is much easier after that.

Should the RSD be March 3rd for LPs? Optionally February 2nd, and 14th for singles. For older music March 19th? (33th, 45th, and 78th day of the year. Yes, I excluded 16 rpm records, as they are so rare.)

Dear @Bilbo, Your work is super, and sharing it is very generous. Thank you very much.

34" Quantums have 26 frets. They do exist but are rare just like wide neck 5s with 19 mm or 21.5 mm string spacing. TBX = through body experimentals are even rarer.

Was it 1818X that had 10" and 18" elements in a box that was downright impossible to carry? Not only was it heavy, but the handles were in awkward places. A friend of mine had one for a very short time, like few weeks, and few gigs.

What are good books/lectures about piezos that are hopefully available, too? I understand basics, but a deeper dive would be of interest.

Have to say you are brave to heat the magnet, but as the temp was low, all good. After the Curie temperature the material loses its magnetic force. This varies a lot from material to another, but usually several hundred degrees Celsius in iron based magnets.

Why wouldn't it? Yes, it works.

We had a wedding gig on an island. Long story short - this was before mobile phones - band mates figured out what had happened and called all islands with restaurants nearby. A boat came to catch me, and I just managed to be in time on stage.

That ramp may be a good place to mark pickup heights. I do not use those, but if that helps someone, go ahead.

Peruchin, Esquivel... older recordings from say 30's, 40's, 50's.

Broken English.

1) True in a closed box. The problem is that if you want to produce reasonable loudness, you have to push the eq to reach lower frequencies. That equals lots of power and driver excursion, both of which are always limited to some extent. 2) Not true in a reflex box. The cabinet cuts lower frequencies very effectively after the tuning f. The driver simply cannot produce any feasible loudness under that. The element acts like it had no cabinet around itself. A HPF (high pass filter that cuts lower f) is your friend. You have better power reserve behind you, and handling noises are limited. Win-win. ±3 dB is very strict, and suitable for HiFi stuff. I might use ±6, or even ±9 dB limits when we talk about PA systems. HiFi is about flat response, PA is about power. (That's why I hate the term FRFR, which is somewhere between flat response and power, but I think closer to power.)

A lesson maybe just too strict word here. First of all, we all learn stuff that was played and performed before us. In our learning phase we listened to the others and tried to imitate something that already existed, "standing in the shoulders of giants". To me this "lessons affect you and your creativity" is - sorry you all - pure BS. A teacher can offer you tools. It is true that if your tools are limited, your style will be limited, too. But - and this has been here many times - learning to use your tools gives you more possibilities to express yourself. I have met very few people who can create original music. No matter what I can still hear the giants behind them, because we use the same scales and tunings after all these centuries. Listening to modern music or very old music can open up ears to understand the evolution of music. I'd say original choices are very rare. But listening to the music in a scale of centuries gives good understanding, why we play today like we play. (And no, bass is not a g-word, or violin, and its predecessors have had many strings, and frets and so on. That "Jaco needed four strings" nonsense is just BS. And Dragonetti needed three.) After being in music schools for two decades since the age of 5 years, I still struggle with bass. My technique is far from perfect, my speed comes from Mediocrates, theory I know basics and a bit more, AND I feel my limited abilities to learn anything anymore is frightening. In the bands I play, I try to join the community, and give the best I can to the music. Every song gives me the opportunity to learn something new. Once again: In terms of expression, those tools help me to make that song mine.

There are even slap frets up there.

20 Hz - 20 kHz is the average. I heard about a person who has reached 37 kHz in tests. Like @Bolo said, an old fart like me may have issues reaching 10 kHz. Small venues and loud drummers have done lots of harm to my hearing. But: far more serious is to lose the 1 - 5 kHz area, because that is the critical area of speech recognition.

@Macbass68: Remember that power does NOT tell you about loudness. dB is the right instead of wattage. When you double the power, you gain 3 dB in loudness. 100 W to 200 W. This amount of difference can be heard in studio surroundings. When you want to get 10 dB louder (this can be heard on stage, too!), you need to multiply the power by 10. This means that a 100 W amplifier should be replaced by a 1 000 W amp. Low impedance (Z) is also hard to the amp. 8 ohm is an easy one, and does not heat the amp that much. You can think Z as a stick that you push. If the number is big, the area of the stick head is big, and it is easy to push it with your thumb. The smaller the Z, the thinner the stick, and at some point like a needle.

I've tried Braun and Philips, and this time the latter won. I had a Washburn Status copy long ago, and the neck shape did not feel good. A local and very talented carpenter took off the lacquer from the body, and did some extensive shaping of the body and neck. Neck lost several mm from its thickness. Felt far better, but because Washburns had somewhat soft necks, this became really springy: no need for trem. (Now I have a bolt-on copy of Status. Although the neck is thicker, its shape is boxy and fits my hands well.)

EBS had a built in 9 V Phantom in their preamps. Just connect your bass with a stereo (TRS) cable.

Basic theory (that was cut short last time because of a cat): Sound travels 340 m/s in the air (20 °C). Wavelength of a 20 Hz wave is 340 m/s / 20 Hz = 17 m. 40 Hz is half of the previous, 8.5 m, and so on. Standing wave means that some distance from a wall to another parallel wall happens to be the same as some wavelength. Therefore to avoid standing wave the space should consist of non-parallel or well damped walls. Standing waves can be best tamed with (parametric, or 31-band) equalizers. Basically if you know the height, width, and length of a room, you can easily calculate standing waves and their harmonics, and kill the ringing with an eq. As cabinets are usually the shape of a box, there are also three main frequencies (and their harmonics) affecting the sound, if they are not tamed with suitable damping material in the walls. Horn or high range driver has usually its own case (or does not need one at all). A box volume limits either from the two: lowest reproducible f, or sensitivity. If the box is small, you can go low, but you need extra power. If the box is big, and you don't have to go so low, you may get a louder unit. A bass cab can be considered as a PA speaker, that doesn't have so neat f response, but can push lots of sound out. A good quality HiFi speaker may not be very efficient (like 0.1 %) whereas a PA speaker may have 2 % efficiency. In power numbers a 100 W amp creates up to 2 watts of sound in PA system, while at home the level is ridiculously low, like 1/10 W. But the response can be pretty straight. Why is a non-linear response OK? Because it is one part of the sound. Besides the response is usually some sort of a band pass filter (BPF), like with bass it could be 60 Hz - 4 kHz that removes over three octaves of the sounds we are able to hear. Ear can sense 10 octaves (some papers claim 16 Hz as the start): 20 - 40 (Hz) 40 - 80 80 - 160 160 - 320 320 - 640 640 - 1250 (yes, you saw the rounding, and understand the reason in the next lines) 1250 - 2500 2500 - 5000 5000 - 10000 10000 - 20000 In a band context there are several other instruments and sounds (drs, keys, g, voc...) that compete with the high end parts of the bass' response. Therefore we could cut quite a lot of the high end without issues. Remember a g-word response starts from 80 Hz, which is only one octave higher compared to bass. It is not even feasible to mix many similar frequencies to create any more mush. In studios the (frequency) bands are limited more or less between instruments to get better overall sound. If this raises any ideas/questions, I may continue. Now that cat tries to reach my keyboard.

30 Hz x 2 = 60 Hz. As I wrote earlier, this 60 Hz is the first harmonic of B. Ear needs this to create the lowest f = 30 Hz. It does not have come out from the speaker. Human hearing is around 20 Hz - 20 kHz. Yes, it is possible to use subwoofers to go lower. Problems: A) How to control the lowest (mush) range? B) Wavelength is quite long at the low end. Is the space big enough that the frequencies are usable? C) Lowest frequencies need a big box and consume LOTS of power. Is the system feasible to carry around? D) The highest f that comes straight out from the neck (24 frets, 4 string in EADG tuning) is around 500 Hz. Put there three harmonics (1 kHz, 2 kHz, 4 kHz) and there you have the upper limit of the need. This is not very easy to push out from a big cone. X-over and a horn?