itu

This could turn to "The best books you have bought/loaned/read/stolen/copied/whatever". These are the first three that I remember: Standing in the shadows of Motown Slap it! by Tony Oppenheim Bass line encyclopedia by Tim Ferguson

Playing is not the same ability as instructing. A good teacher does not have to be a brilliant player. Many excellent players are not so flashy teachers. In other words, a teacher (a pedagog) is able to describe you how to play something. A musician can create music, but may be unable to turn the music to talk. "How many drummers does it take to change a light bulb? One hundred and one. Steve Gadd does it and one hundred others start a lifelong discussion about how he did it." A professional player can practically play anywhere and in any circumstance. Mortals, like me, have to do a lot to get reasonable output in complex surroundings. A funny amp, or a boomy place, or a loaned instrument: "I know I should be able to make it happen, but that pro just walked in and did it."

There are some books I have gone through, but only few are interesting. An idea here or there. Some score books have gotten a new meaning because I carry them to rehearsals: I bought a 10" tablet and the software for notes (Mobile sheets pro), and the situation changed. I have scanned few of my books. When I carry them around, they get attention. Bookshelf, yes, it's an archive.

Exactly! And I should have pointed out, that we laughed ourselves silly after his comment.

"You can slide, and you can find", was a comment from my teacher, while we discussed about the notes in tune...

Ok, few more words. My hard playing and style overall differs from yours. Because of that your pickup height is different than mine. If you need to adjust the balance between the pickups, height adjustment is your friend, too.

I put them so high, that they touch the strings, when playing. Then turn the screws until the strings do not hit the pickups any more. Simple as that.

Duracell started to pack their cells with a different technology, and was able to produce more energy to the same volume. Their batteries were very close to standard sizes, but some other companies have made bigger packages.

I had a Kramer Ferrington. Bulky, small sound. Without piezo and amp, the sound was too faint with any other player. Because the amp was a must, I decided to sell the Kramer and use an electric instead. At home the sound was decent. Setting the instrument up was a bit complicated, because there is no 3D bridge.

Agree. 9 volts is so low, and the effect is only in the tip of your tongue. Let's say that far over 30 volts through your body, and the story changes. I do admit that because of the tongue is so unprecise, I carry a tiny DMM in my bass cases to gigs. It is helpful if something seems broken.

Take it easy, I think fretless is a different beast. I have done gigs with the fretless only, but still feel she is best when playing less. I like that singing sound. Quick stuff is doable. Slides, use sparingly. It took maybe nearly a year, before I felt at home with her. Yes, something can be done nearly right away, but just play so much, that you are comfortable with her. It just takes some time. At least for an old fart like me. A flanger, a fuzz, and a comp are my favorite effects with her. I put the fuzz and the flanger through a x-over (IE Divaricator), and Cog built me a small sized octaver which works well after the comp. I use SS roundwounds only (40-95). Pretty same feel with every bass. "Play til your fingers bleed, and then play some more" (do not remember who said that).

Duracell. The sizes are slightly different, this is a known truth. Because of the "capacity war", manufacturers have been manipulating sizes a little bit.

From the electronics point of view the sound will change, if you put anything to the existing circuitry. Another thing is, if this change is too big for you. You want to mix them, the passive option is the Bourns 250k or 500k MN blend pot. Active mixing: use Noll Mixpot. Active preamp with active mixing, use Audere, or John East. Most tone capsules do not offer active mixing.

Battery lifetime depends on the preamp and its components. This may be anything from 200 - 1500 hours. As a 9 volt battery has approximately 500 mAh capacity, this equals a consumption of around 0.3 - 2 mA. If the consumption is bigger, the voltage drop in the end is faster. Then all the capacity of the battery can not be used. I have measured a bit over 7 volts, before the preamp was not working well anymore. Usually the level is 8 something. I write the change date to every battery. It is reasonable to remove the battery, if the bass is any longer time in her case. It is also good to check the situation once a year, be it midsummer or new year. Or 9. 9. if that time reminds of the voltage and the batteries. Alembic uses (at least has been using) opamps of type NE5534. It is a low impedance opamp and consumes lots of energy. Few of those and a battery would cry for help. That is the reason for an external power source.

Free - Mr. Big The book with CDs: Standing in the shadows of Motown. If you like progressive, CAB (Brunel, MacAlpine, Chambers, Auger) is interesting, if a bit complicated. These are really pop, but who cares: Peter Gabriel - So. ABC - The lexicon of love ...and all those transcriptions here in basschat, lots of interesting stuff.

The first pictures shows your fingers, some vitamin B would be in order. The third shows the capacitor which is a bit too close to the cover. Previous comments about corrosion are probably on the right path. Use a plug to put it in several times to the jack. Battery contact, brush it. If you have a DMM (digital multimeter), check cables, too. A battery and a lamp is a cheap and simple tester.

Probably so. I have a Glockenklang Soul amp with a switchable eq. When the eq is bypassed, it does not have to be flat, but rather the adjustments are bypassed. Even hifi units have some tweaks, and still the manufacturers claim flat response.

We had lots of connectivity issues with the Ui24. A guy from another band asked how far are the IEMs? We just moved the IEMs further away and the unit works well. It is very good, that the unit keeps all settings after power off or if there is no unit connected to it. Powerful, yet simple enough. Presets for instruments and vocals, effects, comp... and 8 AUX. Did I say it's lightweight and compact?

Just few pages to check: https://www.zikinf.com/ http://www.bassic.de/kleinanzeigen/ This is a shop: https://www.todobajos.com/en/ For DIY people: https://schalltechnik04.de/en/home

My first bass teacher said, that the reliable cable is one part of my instrument. I have used Neutrik plugs (and XLRs) and silicone cables since late 80's. They just work. Build once, use always. I have had zero issues with them. Many of my playing or singing friends have asked me to build cables for them, too. Cable does not have to cost a fortune, but the parts have to be top notch.

If the settings are in the middle, it does not automatically equal flat. If your volume/master is set at 12 o'clock, it does not mean that 50% of the power is in use. Our equipment is not measurement stuff, far from it.

I bought a used Rick 4001 for £400 in 1986 from Rose-Morris. I think £3.5k was astronomical price at that time.

OK, fine. My modest opinion is that it is a very good, although not a simple unit. I am using multiband compressing, my choice is Hypergravity. All pots and parameters can be tweaked, which means that the unit is a bit complicated to program. After that it is easy to adjust the settings quickly on stage (like attack and release). Empress is fine unit if you need one sound or have the time to adjust it.