itu

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.

Music tends to combine aesthetics to sound. I think it is very human. And by the way: as facts are and stay facts, we have these forums where can discuss endlessly about taste. More basses, please!

Yes, the paper is good, I remember reading it some years ago. A bass has pretty small amount of string behind the saddle and the bridge. If the string slips a lot and some extra length is coming to play, the string will be out of tune while vibrating. I do not see that the paper gives many tools to discussion on electric bass. If the overlaps would be long, like over 1/4 of the playing string length (over 20 cm or 8"), and the brake angles would be very minute, the tuning and feel could change substantially while playing. During my years playing bass I have heard bigger changes in tune only with very light string sets (30 - 90, double ball end!) and really hard playing. Yes, some change in tuning is there, but I can not see (or hear) that it is that big. If the perceived feel of the same string in two different basses is soft or hard in a blind ABX test, I would love to read such research. Another bass should be with double ball end strings to reduce the overall length to minimum. Perceived feel and psychoacoustics play probably far bigger role here. If it feels good, it is good. Usually this type of stuff is next to impossible to measure, as the details have a lot to do with habits, experience (like muscle memory), and sensations that can not be measured with any measuring machines. It is as hard as to simplify some song or sound to one number. "Prelude a l'apres-midi d'un faune is 8 and Free Bird is 8 and So what is 8." Say what? This is probably the reason why people try to describe many sensations with unscientific and fuzzy words that can be interpreted in many ways: "The taste is round and fruity", so what it actually is?

How is through body stringing affecting string behaviour after it crosses the bridge? How is tuner layout affecting string behaviour after it crosses the saddle, or the finger that presses it to the fretboard? How do you see double ball end strings different compared to our usual suspects?

Two things that have not been mentioned here are the strap and the string between the finger and the saddle (yes, that end of it). Take the strap away, is the rattle still there? Put a rubber band over the strings and play those rattling notes. When the string wears, it may start to hit the frets on the wrong side of the fretting finger.

One thing that might help is to read some notes from the people behind the mixing board. You could get lots of hints from Sound-on-Sound pages, where seasoned people tell about bass and how to eq it. Their search has been powerful with terms like "mixing", "bass", and alike. It is easier to try some known frequencies and how they affect your personal sound. Then it is recommended to do a personal investigation through the frequency spectrum. Remember: you can add and boost some freq, or damp the others. Boost sounds good because the volume was raised, but is the sound something you really were after, if the loudnesses are even? www.soundonsound.com

Yes. No. The pickup always sees some impedance in the circuitry. If not anything else, then the amp input. These pots, V & T, represent impedance to the ground just by being there. As they are in parallel from the pickup point of view, 2 x 250 k means a maximum of 125 k impedance to the ground (there is an analogy with speakers here). When the pots are bigger, the combined impedance is also bigger. You can do trials with 10 k and 1 M pots. Go ahead! The circuitry with the cap (tone) is affecting the higher end of the frequency spectrum, while the vol takes everything towards ground. As the impedances (read: pots) are not infinite, some of the signal is always bled to the ground. No load pots, not a bad idea at all.

Jens Ritter has that kool looking white fretless. There is a green Alembic Essence in Reverb that looked nice and compact. The best Jazz ever has been a seafoam green (?) Pensa-Suhr. A dark brown unlined fretless Wal, was really fab. Atlansia may be a bit 80's, but different altogether. Steinberger, why not, industrial type. I like Overwater Original / C. Affirma is looking good. Oh so many basses, so little time.

Sir S. Mandrel, take a look at the videos, please. Especially the latter.

A very tiny detail: the inserts are upside down. Use a bolt with a nut or a coupling nut for the installation. (A spacer may help screwing the insert to level.) https://www.youtube.com/watch?v=3yBvEtmmCUA https://www.youtube.com/watch?v=tIhEqoKE8Dc