itu

This seems to be the amp that has all the most important things, like - preamp with eq on/off, and a fully adjustable parametric (for notch) - power amp with plenty of oomph, no, plain power to 8 / 4 / 2 / -5 ohm for maximum loudness (oh dear...) - chromatic tuner for the 13-string subcontrapiccolo monster - flat frequency responce 15 Hz - 22 kHz - wireless transmitter and receiver, no latency (naturally) - lightweight... tube amp! (yes, I had to) - DI out including IR etc. - mic stand (like guitarists... maybe not) - some kind of an emulator to change the bass sound with a flick of a switch (fretless, double bass, SR, J, P...) - basic effects (OD, fuzz, envelope, chorus, octaver, comp, etc.), and some extra - three pots for simplicity - £300

If your instrument is nice, is there a need for something totally different? What is you do not get out of your current bass? - electronics (pickups, eq...) - neck (5th string, 24 frets...) - body (weight, shape...) - design elements like colour Now, every reason to buy one is as good, because the right amount of basses is +1, as everybody knows. Sit down and take a good look at your bass. What else is in need?

www.ovnilab.com Electric equipment ages a little bit over time, but I would not consider that an issue. Maybe tubes/valves and speaker elements have a shorter lifetime than most of the other components. An instrument or an amp can easily be 30 - 50 years old and still be in very good shape. When a unit is broken, you usually hear it. Or don't hear anything at all. If you count the hours any of your musical unit is on, you could see that the amounts are still very small compared to let's say, a refrigerator.

No lines, glow-in-the-dark side dots at the frets.

Maybe a Status inspired Bendwell?

Maybe it is easier to start with the original country, Serbia. 150 000 Serbian dinars is around £1100. Sounds reasonable, doesn't it?

I think that the mixing will change somewhat. But is it a big / meaningful change, that is up to you and your ears.

This is very common signal path: blend - vol - eq - output, where blend and volume are hi-Z, but eq and output are low. To build a mixer is a bit more complicated than just use (cheap) passive alternatives. John East and Audere have active blends. MN = balance pot, where the tracks are cut at the center detent. If you change the 50k to 250k, you probably hear the change close to the center (the other pickup is fading faster) or in the ends. You can try both if you have time to tinker.

Ha! You have learned the same as I have. Colour coding was very helpful in the broadcasting studios. Today there are no people claiming my high quality silicone cables their's as the colours are different, like green, red, yellow, and pink! Now I know you will make it happen.

As @Dan Dare wrote, start with the budget. Think about the other details, too. Here are some: - cables - they cost a bit more than you thought, and reliability is not free (Neutrik, anyone?) - good looking and reliable stands (speaker, mic, note) are more important than you may think, after all you want to be heard and seen - do you have a car where everything fits? - if the system is complicated (like tons of cables), who is able to put it together when in a hurry and lights are still off? - cables should be marked (they are yours, aren't they?) and you can find your personal ones in the crowded and awfully dark stage (this also includes power, line and mp3 player cables; I downright love colours) - buy lots of velcros and learn to wrap your cables - one cable broke or is missing, do you have any spares? - do you carry the important stuff in decent carrying cases - or in dirty and thin plastic bags? "Oh, it seems to rain... well, let's carry those to my new car, one by one, from that muddy road." (Depending on your mileage, you may add some colourful words to these sentences.) - did I mention cables? Our 12 person band has a pair of JBL PRX735 active speakers. They are BIG, but not a single member has anything to say about the sound quality or loudness (up to 133 dB). They are for singers (4), kick, piano&keys, woodwinds (3) and sometimes the guitar. Our mixer is a 24 ch remote controlled Soundcraft. IEMs we have already bought, but the learning process has only started.

G D A E B F# (major) e b f# c# g# d# (minor) F Bb Eb Ab Dd Gb d g c f bb eb (If I could move the minors a bit forward, you could see, that sharps start from the fourth major, and flats from the fifth.) Now, when you see the first bar of the score and there are 4 crosses, you know immediately, that it has to be in E major, or c# minor. If there are 3 b, the score is in Eb major or c minor. f# c# g# d# a# e# b# ...and the same backwards: bb eb ab db gb cb fb These are the sharps and flats in this order in the score. Don't you think this is important? If not, you probably play without chord and note information.

One more thing, just my personal finding: Compressor acts quite like a fuzz. Some work better with lo-Z ("active") basses, some with hi-Z ("passive"). I would try the possible contender with both types, if your arsenal has both. If your systems has a few pedals and the comp is the last in line, it probably plays no role.

And one more point, to be clear: I like and value high your way of using different headphones to get the best out of them, dear @Lunatique

Both of your comments have interesting details, that I point out: - different headphones (microphones, speakers...) for different situations - many members of head-fi... sorry, I still rely on my ears The first is important, as different tasks require different equipment. Those professional soundengineers told me that Genelec is an excellent monitor for studio, but they would not use them at home. Yes, it was a rough comment, but it opened my eyes to understand the difference of tools. HiFi is one thing, studio another. There are lots of people making analysis on different stuff. As long as we discuss about basses and studio work, I am a bit careful mixing HiFi in. Yes, my equipment is HiFi, because I do not have a studio. But I would certainly check the offerings if I was sitting there. My idea here is that there is a point, where we need to change our listening habits according to the place, material, and surroundings. Then only our own ears can help us to hear the stuff that is important.

Quite many people have given their recommendations, but not very objective ones. Basics: the ear canal grows through life. It changes somewhat during a 5 year timeline. (This also means that molded ear plugs should be updated every now and then.) Ear in total is different with every person. You might say, that everybody hears things in a slightly different way. This is the reason why all hearing parameters are statistically analyzed and are a bunch of averaged numbers. OK, so the size of the ear may differ a lot. How well certain model fits an individual should be tested. How well certain model sounds to an individual should be tested, too. There is no single, or universal solution for you. This is why I suggest to test at least few units side by side. Volume has to be compensated. Testing only one pair without a reference is simply silly. Ear tends to accommodate to the media, and after a pretty short time the new pair of headphones is "the best I ever had". This simply sounds like BS. I used to work in a broadcasting company where soundengineers did yearly tests on equipment. The results were surprising every now and then, as the "standards" were challenged. The good thing was, that the test group was pretty big, and they published the results to those interested. A single guy in a single studio is not able to do comparisons like those. In reality the budget is the first limitation with any small studio. Test and compare, and you will be satisfied with a suitable product to your specific needs. Yes, I understand that a place with tens of pairs of headphones (studio monitors, microphone, you name it) is not always possible. Still I have to emphasize the importance of comparison. Believe what you hear.

www.ovnilab.com Maybe the simplest multiband unit is the tce Spectracomp. If you are afraid of not finding certain sound again, this UI may be of help. Do not think the unit is a one trick pony, that one knob adjusts several parameters.

Lovely story of a reborn bass. Wow, now she needs playing, lots of playing! Thanks for the story and good pics.

4558 is a low quality dual. Try TL072, NE5532... there are lots of alternatives. But, as there are sounds and options, there are also few things to look at: power consumption. 5532 sounds so good, and you can hear it from the battery, too. 072 is a good one and consumes less. OP-series is high end, but so is the price. I still recommend you to try, as the cost is very reasonable.

I did some work with Finale and was in a group that published modern (complex classical) music. Musescore can not produce that, but I do not see it as a hindrance. Finale is a far larger and far harder toolbox for practically anything. But that amount of possibilities made the SW awkward and really complicated to use. Compared to Encore, they were like night and an orange. Encore is quite like Musescore, but Finale, oh dear. I used four of its manuals all the time during that few years of active use. Musescore, I do not use manuals, although there are few hidden and needed features there.

I would put it this way: these songs have widened my understanding a lot, although I am not able to ever reach their level. My point of view to bass is probably a bit too technical (in terms of technology), although I love my instrument and her sound. 9 bass players anything from Domenico Dragonetti anything from Niels-Henning Ørstedt-Pedersen anything from CAB4 Victor Bailey - Round midnight Fernando Saunders - Sussan Pekka Pohjola - How about today Edgar Meyer - Webbed feet Jamaaladeen Tacuma - Kimono queen Wendy & Lisa - Waterfall 11 something else Jeff Beck - Come dancing Suzanne Vega - The queen and the soldier Pan sonic - About insects Linton Kwesi Johnson - Bass culture Kraftwerk - Computer world (the original German version) Florence Foster-Jenkins - Die Zauberflöte Basia - cruising for bruising Jackson Browne - Nothing but time King Sunny Ade and his African Beats - Ma jaiye oni Paco de Lucia - Alta mar (Live... One summer night.) Gene Krupa big band - Slow down (vocals Anita O'Day)

Yes, this should be here: https://www.basschat.co.uk/topic/409666-challenge-post-a-picture-of-the-most-ridiculous-bass-you-can-find-just-one-picture-per-person/

With white the pickups come out better... but the most important is the dark fretboard! Good instrument is always a good choice. I just do not get that everybody should start with toys. Tool is a tool, and it is good to start with a functional one. Enjoy!

If the tracks are alive, yes. Well, if the gliders are also well. Then some contact cleaner and lots of turning. Sometimes you have to open the cases and tighten the gliders. Not a job someone else would do, as it takes time (= money) but is very simple task.