itu

Very good discussion, the community shows its power again. I do admit that some of my choices were slightly odd. After listening to the song and reviewing the score, there are funnies, yes. Dotted notes were notationally (nearly) correct, but playing would have been, umm, "classical". My bad. The reason for many rests in the beginning is doublefold: the software plays longer set of rest bars right (and I am only not able to make such a short and tidy notation), although that looks complex without chords etc. When I do a bass score and something is happening without bass, I try to include details (lyrics, chords, melody lines...) to help following the reading. 8 bars here may seem crowded, but as I said earlier, this score is not overly complex. Usually this type of song is learned quickly and then the paper is just an extra support. It is true, that the legibility is another thing. As I use a tablet for my notes nowadays, and not paper anymore, this would drive the notation to three pages. No repeats, no segnos... and a bluetooth page turning device, which is really helpful. Thanks for your comments!

Status has 18 mm in 5-string basses. Ibanez BTB, broadneck Warwicks, and Modulus Quantum 5W have 19 - 21.5 mm etc.

Dear @stewblack, Let me put it this way: You have done the raw work of transcribing the song. I did some slight changes to legibility, now it is time to listen to @TKenrick et al. to get their thoughts about the score in detail. Kind regards.

This is my take of the same score. No, I did not listen to the track. It could have changed the layout somewhat (with those double bar lines etc.). This was just a 10 minute re-mapping of few notes and so on. Good base, have to say. As the honorable sir @TKenrick said, the 2/4/8 works usually very well. Here the start is looking a bit funny with long pauses, and some harder rhythmic figures, but then I changed the layout mostly to 8 bars. The line is not too hard to read, so 8 is still legible. Probably some changes would appear if I listened the song. Bars 43 and 44 were a bit odd to read, so I changed the first 16th and pause to a staccato 8th. Maybe not exact, but easier to perceive. In 44 the rests and notes were different, I divided all rests and notes to a steady 8th pulse. From 73 there were two quarter rests that I changed to a half. The half takes half of the bar, so again a bit easier to perceive. All in all, the basic work was very good. These tweaks were tiny after all. The "chorus" texts started to wander around: choose the first note of the chorus, go to the TEXT and there is that boxed B1 or Swing. You'll get the part text that you can change by clicking that B1 or Swing, whichever you choose to use. These texts then move with the bars and layout. Last but not least is the lowest left box of the software. It includes those bar and page changes, that help you to make the layout neat and according to your preference. Sometimes 2/4/8/16 bars is fine, but there are so many places where 3/9/something is the only reasonable choice. As there were so many bars, I divided them almost evenly to two pages for legibility. Again: the content here is approximately the same, but layout may help you a bit to read it on a gig, if the "chorus' first bar is always in the same column" on the paper. It_Must_Be_Love.mscz It_Must_Be_Love.pdf

He had a three string MM, factory built. His studio burned. Bass Player had an extensive article about him years back. Motorcycling and nappies included. Funk fingers.

Mine has serial 43 (like the Level 42 song), there are not too many of them, yet. Buy yours thru Reverb.com.

The original bridge was Schaller. The adjustable nut had some name like just-a-nut, didn't it?

Sizewise this is probably out of question, but my choice for fretless: Daring Audio's Phat Beam. Compressor included... ACG preamp built in to a pedal?

I know that shorter notes and rests exist, but they are not used here, no. If you find something shorter than a 16th, you know something is wrong, or then it is a jazz solo...

I changed the knobs once more, and put the FI as the second in line. Now the FunkyFellow works better.

No, there are not 32th rests or notes, no. How about trr-rip-le three four?

Particular and particular. Modern preamps have so high input impedance that they eat nearly anything from piezo to buffered lo Z pickups. Sounds a bit like marketing to separate the preamps to "active" and "passive" versions. If the preamp has output level trimmer glued to the side, it certainly works for both impedances. Even if it did not have the trimmer. Shame on you Seymour Duncan.

For some reason Fodera, and that simplfied version of Ned Steinberger's Spector NS-1 and -2. No curved body, ugly headstock and controls, astronomical price, what else not to like? Every singlecut. Spender "updates" that do not exist. Spender copycats. "New" instruments with common electronics, pickups and strings with "very special piano like tone" and something "very extra new" that was actually old before the company was founded. Tonewoods discussion. Maple necks, front dots, LEDs included. Carbon track pots which have some shiny brand name and still are just inferior carbon track pots. Some 60 year old Spender in superior condition named as some holy grail, when in real life there has been some reason not to play an instrument. Unplayable? And not playing is not good to any instrument. Ask any pro double bassist.

Power chord usually omits third. Works well over a major or a minor. As bass goes so low, third may not sound very good especially in the low end. Anything beyond 12th fret is another story. A fifth is usually the first functional double stop. If you write C/E, it means that your colleague is playing a C chord and your work is to play the note E under the chord.

This is one very nice video:

At least EMG produces pickups with built-in preamps, or rather, buffers. This way the output of the pickup is low impedance (lo Z). The basic pickup has a high impedance (hi Z) output. Impedance is the AC resistance (depends on frequency), compared to pure DC resistance. Impedance here has not very much to do with output level, although on a hi Z system the higher Z usually equals more output. Practically any pickup can be mated with hi Z adjustments (vol, tone, blend). It is also possible to add lo Z adjustments (i.e. replace hi Z tone adjustments), which may include things like bass, treble, middle, and in some rare cases, blend and volume (check Audere and especially John East). A lo Z system needs external power, which is usually a 9 V battery or few. So in practice nearly any preamp can be connected to you pickups. It is up to you to make the choice. An Artec costs £20 and a Sadowsky £300. Their difference is not so much in parts, but design. Preamps are based on operational amplifiers (tiny ICs) or discrete components, like transistors and FETs that consume very little power. To modify your instrument, you need a preamp and a battery and after doing few connections, your bass has new adjustments. Check that there is enough space for all the stuff you want to add.

It is very common to talk about parametric and semiparametric in the same sentence as one single solution. And yes, they are close to each other, parametric goes just one knob further in tweaking the sound. Quite many are still happy without Q.

Nöll is a semi-parametric. I do not recall any on-board preamp with full parametric eq, but there are quite a few without Q (BW). Status Paramatrix has two semiparametric eqs! Here are few full PEQs in pedal format, semiparametric units are left out: AER pocket tools dual para eq Alix Grace Aria PE-10 Arion SPE-1 Artec SE-PEQ Broughton Audio BYOC PEQ Carlsbro PEQ (call this vintage) Chasebliss Condor Correct sound PEQ Empress Para EQ Fishman dual parametric DI Guyatone PS-008 Ibanez PPE1 Ibanez PQL JPG the tweaker KHDK Paranormal KORG PEQ Onkart Gromt Turbotore Orange BaxBangeetar Pearl PE-10 Pettyjohn Filter Revival electric metric Sine effects microPara, MiniPara, and MegaPara Stone deaf effects PDF-1(X), and -2 tc electronic Dual PE, Sustain+ PE, and Classic Sustain+ PE WMD utility PEQ Yerasov SCS PQ-10B

I do not use my amp's eq (it can be switched on/off), if the bass has eq and other adjustments. But as I have basses with no adjustments, then the amp comes to play. PEQ is powerful in gigs, where some frequencies try to ruin playing. I have been in few places, where playing without parametric would have been nearly impossible. Key thing was to understand its functionality and then learn how and where to use it. I need, I can, and I use it. If a tool is not for you, fine, I will survive. tc electronic produced a parametric pedal with two bands. Price is steep, a used one can be found at around £300. There are few modern versions in pedal format, Artec being the cheapest.

This is probably easiest to understand by looking inside one amp. Preamp is the part where you can tweak the sound (gain, eq etc.). It also prepares the signal to the power amp. The power amp raises the voltage level so, that the speaker cones start to move. Because the valve/tube amp output impedance (Z) is very different from transistor amp, the impedance has to be matched with the speaker. That is done with a power amp transformer. This particular component is not the same as the power line transformer, although the basic principle is very much the same: to transform one signal form to another. The tube power amp output Z is not good for the speaker, so this big amount of iron and copper changes the output Z to 2/4/8/16/32 ohm output. It is often said, that the tube amp output Z has to be exactly the same as the speaker input Z. This is especially important if the power amp is driven close to its maximum. Otherwise this Z mismatch may kill the output transformer: when the mismatch heats the coils, they may eventually melt. Output transformer is one big component that costs quite some. Melting may also kill other parts from the power amp. Expensive failure. On the other hand, if the power levels are like playing at home (1 - 2 watts, not that maximum of 100 W or whatever it is), I can not see any restrictions why you could not use the set. Impedance itself is not one constant, as it changes over the frequency range. The given number is just an estimation and the transformer can understand some mismatch with low power levels that is probably 1/10 of the max output power. A rough estimation: if you can play with a band, find a matching cab. Another thing is that using an amp without any load is far more dangerous than with any load.

Minimal: https://atlansiaguitars.com/Bass-Guitar.php?line=Stealth

Yes, I studied acoustics in a university, music (electric bass) in a music school, and have been working with pro and consumer electronics for 30+ years. And while I play, I am also interested in the technology. True, I may not be your average customer, but we exist.

As this is very true, it is not too flattering to read specs from manufacturers' pages that has very little to do with real world. As an example: try to find max SPL, or sensitivity, or -3 dB freq range from cab makers? No chance. But you certainly get wattage! Thanks a lot.

Once again: - dishwasher (corrected) - ultrasonic cleaner - a kettle (that old one, as @hooky_lowdown just said) - try different liquids that may help, like alcohol based stuff (may be hard to find these days), and good old Fairy Dry well, use a day or two and then go to a shop to buy a new set.