itu

...like J. Jamerson jr.

Ken Smith, Michael V. Pedulla, Joe Zon... there certainly are many. How about Rob Green, John Diggins...?

There is a picture in the Bass book (Barry Moorhouse) of an Original with frets. The idea is nice, my custom fretless 4 has 36" scale, and the current project (fl 5) will probably be 36", although both will be tuned (B)EADG.

Hi-Z and lo-Z basses act differently with certain effects, or the other way around: especially OD/fuzz/dist and compressors behave differently depending on the bass' output circuitry. It does not seem to be so much about the level than the impedance. This is verified by changing the order of the effects in the chain. So I have two fx boards.

Humbucker may be a double coil with a 1coil tap. Then it can be switched to a series/parallel humbucker or a single coil. The output level can be whatever, so the discussion about levels is a bit complicated. (If you have a switchable humbucker, I would suggest ser/par, or ser/single setting. Single/par are not so different from each other.) Yes, different pickups sound different, but as there is so big variety of pickups available, sounds can be described in a basic level only. Details have to be studied individually. There are already so many J's that sound very different from each other, and some of them are actually humbuckers (stacked, parallel etc.). You can also adjust the sound with preamps, but maybe the biggest advantage is the bucking of the hum.

Esperanza Spalding Kate Davis

Oleta Adams - Pino is on Circle of one album, check Woman in chains live with Tears for fears, too Anastacia, although she's not my kind of girl Basia (Trzetrzelewska) Barbi Benton and quite many other country singers Yma Sumac has strange voice Carly Simon and that Bond tune Suzanne Vega, Nina Hagen, Julie London, Whitney Houston, des'ree, Macy Gray...

This is also a valid point, but this is very rare. Can you stand beside Mr. Legg, or the late Mr. de Lucia and think yourself at similar level? There are people that can create or make new without nearly any formal training. Still most of us get advantage when learning formally from the pros.

I remember this Prince bassist Rhonda (Smith?) having a smaller sized body on her bass. But I do not recall the manufacturer, could have been some luthier. A call to some local wood magician could be in order?

Very important point. Tools. As long as people mystify music, there will be contradictional comments on creativity and education. I call this mystification BS. Stop it. Now. If you do not want to learn, or simply don't have time, that's fine. But you should say it out loud instead of giving outrageous and comical comments on education. My formal musical education in my youth (I started at the age of 5 and quit the second school when I was 24; I sang in a few choirs from 10 to 31 years of age) has helped me far more than any single lick, video, or some gadget. Continuous learning, singing, transposing, transcribing, playing etc. are what I do to keep up. To be honest, I am the big and ugly guy in the dark back row able to play simple meat and potatoes. I am anything but flashy. And I would not be able to play even basics in time without my teachers who were very patient with me. Creativity is just one side of making music. One is improvising. One is playing from notes, and there are several others. I try to put my energy in reproducing the stuff some skilled players and composers have created. I am happy with that. But again: without the tools I was given through education, I would be really bad. Now I am probably one in the middle class, but also proud to belong to this big and varied group of bassists.

Why not? You can put an extra support to the top of the amp, but if you handle the rack well, I see no issues with the idea.

Awesome and awesome, I have had experiences with several systems and units. The issues with audio clips is the possibility to record one, and then describe the difference with some other choice. Without any comparison, one clip can be meaningless. It is true my text is far less than audio, but my possibilities to make a reasonable recording are simply limited.

A friend of mine (classical player) fixes his nails with superglue and glass fibres. This mixture makes his nails really like plectras.

Which Carvin combo? If that is the output cable, why is there a blue and another white cable, there? Another element, perhaps? Logic says, that the white is ground, but you can check it with a bass and the amp: Connect your bass and take a screwdriver. Hit the pickup with the screwdriver and check which way the cone goes first. If outwards, your element is in correct phase. If there are two elements, both have to have similar function.

Although high priced, the SWR Interstellar Overdrive is in my favourite list. There is also one small black tube amp, which would work. German brand, just a sec, yes, H&K, and their half rack Cream Machine. There were also other models like Blues, Crunch, and Metal Master.

As @BigRedX said, configuration tells you about configuration, and maybe something about the possible size. Nothing else. I tried several cabs before buying my current alusonic 2 x 12". Aguilar 1 x 12" was said to be very good, while I found it simply bad. Remember, this is subjective! I cannot say that the alusonic is super - another cab I have is a Glockenklang 2 x 10". But it weighs a ton, and the 2 x 12" 18 kg... Neither is super: size, sound, weight, freq response... parametres are endless. Trust your ears and try several to find the most suitable for you. Sound is always subjective, because a person, the listener is involved.

We need new designs, please!

CW has a Misa Kitara "glued" to the Status. 8, or less, many of those were pretty hard.

Then buy some cheapo stuff and understand, why are there some better quality tools available. Or buy good and you do not have to ever buy two sets.

What I remember from that combo there is no decent box for the amp itself, so some woodworking may be in order. The switching output was optimized for a 4 ohm load. The output leads were just two wires with Abigo type connectors. Do not push your TE too much and the set may be functional. This comment is a bit weak, as many bassists tend to drive their equipment to the limits depending on circumstances like "I was a bit drunk", and "the others were noisy and I turned a bit more"...

I use distortion quite sparingly, but I like it every now and then. Tried several (read: many!) units, but when I found pedal x-overs, my understanding changed drastically. I have an IE Divaricator and had a KMA Tyler. When the x-over frequency is low enough (mine is at around 400 Hz), the lows keep coming through but there is space for quite some distortion. Even some famous but pretty bad sounding (to my ears, that is) units became useful. And I need the lows to my sound. X-over gives new dimensions to other effects, too. Chorus, flanger...

Cocacola, sorry, cocobolo belongs to rosewoods, namely it is Dalbergia Retusa. It is cultivated to instruments, although the wood is endangered in its natural habitat, somewhere in Amazon. You can get it, but the price is high. Not all woods are the same, Honduran mahogany and certain ebony is endangered, but not all. If you have a factory and start to build instruments from something illegal, the production is quickly turned down. Customs may cut the import/export to zero in no time.

Now! So this is the reason I have earned so little while playing bass.