itu

Bourns, Alps... Cheaper quality: CTS, Alpha...

A teacher is in need. Someone like Marlowe DK could be a good start. Basic fingering patterns are certainly a few clicks away, too.

Well, now you have a nice signal generator! Take a rod or ruler, plastic or wooden, and push and move lightly on different components. This may reveal a bad solder or faulty part. Just in case the FX loop is oxidized, put a cable in there first.

I happened to buy that LP in sale maybe some 30 years ago. I am on the same track as you, @Bilbo: compared to Bruford's other works, the music is a strange mixture of Japanese something and kind of happy fusion. It is a bit unclear to me, why Watanabe was so hot at the time. Thanks for the transcription, once again. Interesting choices!

I am using a Meyer Sound webpage as a reference: "With real-world signals at high output, the power consumed is about 25 % of this value over long time periods." This means, that out of that 800 W, the continuous real world high power consumption lies within the ballpark of 200 W. "in UK the average cost of electricity per kWh is 14.37p", says our dear gloglo. To consume 14.37 pence (1 kWh) then equals 5 hours of playing - and playing pretty loud, by the way. If you have two rehearsals every week, you may be able to reach that weekly 1 kWh consumption. £1 is practically 7 times 14.37 p, i.e. you get 7 kWh. With two cancelled rehearsals you play two months for £1. If you play just one rehearsal every week and you use only half of the potential power of the amp, for £1 you can play 28 weeks, which is seven months. Let's do some practical comparison: How long can you play with your <1 kW bass amp with the energy you consume weekly, if your one way travel to work is a 10 km drive with that 100 kW engine car (which theoretically consumes only 5 litres / 100 km)? Do you want to calculate that? Really? OK. Your weekly driving to work and back is 100 km. This 5 litres contains approx. 45 kWh. With that amount of energy you can play your amp for one year after subtracting X-mases and few other holidays from your twice-a-week rehearsal schedule. Able to continue playing electric, or do you have to buy a double bass - and a bicycle?

But I am pretty sure, that the pedal bass notes are meant to play with this.

If you made a calculation of use and cost, you would be amazed. If you took into account the amount of power in RMS you are actually using, you would see, that for £1 you can play pretty long time. Don't worry about the consumption: probably your air conditioner is the bad, when you keep your window open at the same time.

Have you been seeing his amp endorsements? Me neither. I think his vol and eq are in some very big, and very expensive mixing desk.

I have. I do not remember his name, but there was an article in BP years ago of a studio bassist. His P (that's how I faintly remember it) had probably two switches: on/off, and tone, and the output jack. I think he talked about sound quality and simplicity, not forgetting the reliability. I did something similar to my Washburn in the 90's. Functional and simple. A comment on series/parallel/single -switch: one of these three tends to be unnecessary. It is better to leave one off and use the series/parallel or series/single option only. Everyone that has tried this can support the idea. The latter has also output difference (boost, anyone?) that should be taken into account.

My natural Washburn was Korean. It was heavily modified before retiring - the phenolic resin fretboard was beaten and ruined. If the fretboard would be changed... maybe, I have to think about the cost vs. results. And whether I can find the bridge etc. The instrument itself was reasonable, but not exceptional. With the 30-90 set it was twangy! I changed it to a MG Quantum 5 SPi Custom. A very different beast. The string spacing was too tight (17 mm) for me, so now I play a MG Genesis 5 with that cozy 19 mm spacing. I have seen and tried a red and a natural S2000. They were exceptional!

Baron Manfred von Richthofen! Kool!

Actually, I bought three different units from Julian. Very well documented. These have been really easy to assemble, the mini-Vong was done yesterday (without instructions) in just under two hours. I started Vong after the mini version and I completed it just an hour ago. No prints, yet. Omnilooper is still waiting there on the table. Try one, if a HPF is in need. Or anything else from him. Good stuff!

S. Copeland - Rhythmatist. It's been quite some time since I listened to this. ...the Bruford tapes is waiting there...

6! After all these years.

For the DIY people there seems to be a new guy in town (for me, at least): https://schalltechnik04.de/en/ Very clear instructions etc. Have to admit I already ordered three different sets from him.

The thinner the fretwire, the harder the playing. My old bass teacher had a custom bass with mandolin frets, but he decided the benefits were less than the cons. Not that it would be undoable.

The tone and compressor settings have to be studied somewhat. Be creative and turn all settings further than you are used to. One good point is, that to be able to enhance certain area, it may be feasible to reduce others. Boost only may not be your best option. Try to reduce the attack with fast comp setting as a first trial.

Check that travel adaptor, if it has any power restrictions. If not, try the amp with modest volume. I just hate every extra part in between. brown/black is live blue is neutral yellow/green is always earth and nothing else, ever! 220/240 is meaningless, because the voltage with both options is in the limits of the 230 V power line +/- 10 %.

Sounds like a fretless with a talented player in studio. A compressor could help. I would not be able to get that consistent sound without it.

Well, as long as the prices are close to infinity to me, -20 % of it is still very close to infinity. All in all, a nice campaign!

OK, one teacher from my music school had some references: Dolmetsch Online - Music Theory & History The Big Site of Music Notation and Engraving Virginia Tech Multimedia Music Dictionary (see appendix, too) Treblis Software's Music Notation Reference Guide The Major Orchestra Librarians' Association Guidelines for Music Preparation Music-Notation.info links The Method Behind the Music Books: Roemer, Clinton. 1973. The Art of Music Copying: The Preparation of Music for Performance. Sherman Oaks, CA: Roerick Music Co. Gerou, Tom & Linda Lusk. 1996. Essential Dictionary of Musical Notation. Los Angeles: Alfred Publishing Co. Brandt, Carl & Clinton Roemer. 1976. Standardized Chord Symbol Notation. A Uniform System for the Music Profession. Sherman Oaks, CA: Roerick Music Co. Krummel, D.W. & Stanley Sadie (eds.). 1990. Music Printing & Publishing, The Norton/Grove Handbooks in Music. New York: W.W. Norton & Co. Boehm, Laszlo. 1961. Modern Music Notation. New York: G. Schirmer, Inc. Adler, Samuel. 1989. The Study of Orchestration. (2nd ed.) New York: W. W. Norton &Co. Piston, Walter. 1955. Orchestration. New York: W.W.Norton & Company, Inc.