itu

Iron Ether Nimbus is a bass specific reverb with functional eq. You can exclude frequencies that do not need the processing = no mud.

You do can mix and match an amp and a cab. Consider portability (weight as well as size), dBs (sensitivity + wattage = loudness), and versatility (from jazz to metal and anything in between). Amp = adjustments and the driving power. Cab = sound. If you will be a gigging bassist, the amp power output might be 300 - 1000 W. Cab is very personal, but two elements (or two similar cabs) is better than one and 4 can be considered (4 x 10") if the size is not an issue (yes, an 8 x 10" exists, but...). Of course if your gigs were with a folk band, a single 12" can be enough. My preference has evolved from 15" to 2 x 10" to 2 x 12". And few others in between. But I like the power and the sound of two elements. Still the box is reasonable in size. 10" and 12" are flexible, 15" is a bit too dark for me. Your music suggests a 4 x 10". If the loudness is not enough, buy two similar. Remember to cut the lowest frequencies to get that power efficient and loud scream out feom your system. Very low freqs (<50 Hz) are truly power hungry stuff.

Iron Ether has the Divaricator in a small pedal format, and KMA has the Tyler, which is a bit bigger. I have both and they are in two different pedal boards. Especially chorus/flanger and fuzz can be turned close to insanity through those X-overs.

Six strings and such a short scale... aren't these called something like, erm, guitars, maybe?

Would there be a place to share that HB in mscz-format, Mr. @stewblack? By the way, it looks a bit like that Maruszc¥xz$cts#xcz luthier had its own file type.

Me neither. It would be two rests and that's it. But notes over the bar lines, many.

I think this comes from the same direction:

How about the raw material choices? How about the modern technology, that can produce a balanced set, if needed? D'Addario has a book of strings, where tensions are listed to certain tunings. It is of interest, please study it a bit. You can buy a ready set, or build your own, just do some research which suits you best. http://www.daddario.com/upload/tension_chart_13934.pdf

https://www.skinnerinc.com/auctions/3007B/lots/34 This was the bass of the late Victor Bailey. Sold for 10455 U$D.

Bailey's original was sold in auction for lot$ of dollar$. These are like hen's teeth, the price may be $ubstantial.

Congratulations, sir Q!

How about the separate knob versions? And every pot is not a must to connect and use, isn't it?

How about John East? Too many knobs?

When I have been in contact with local luthiers, they have had local timber in their storage which certainly is not under any restriction. Local wood is one choice of making something different. (And not producing one more J/P copy is another.) While the player tries to find her/his sound, it is up to you to find yours in instrument making. Please consider something novel instead of a "Jazz with figured flafla and a cultivated blabla and how-many-times-i've-read-the-same-since-1950's-boring-boring".

...and one more, if you have a three position or a rotary switch: you can have a bypass, where the pots are excluded from the circuitry. Clearer tone, more highs. Good for studio work, where the desk can be your preamp.

Vol - blend - 2 tone switches for each pu. Vol - blend - tone switch - series/parallel switch. Tone switch has the cap, but also a trimmer. Adjust the sound with the trimmer. You can find blend pots from Bourns. Type is dual 250k or 500k MN.

The worst that happens, is when I should start a song and I get a total blackout in a middle of the set. Not only in wrong key or wrong song start, but nothing at all. The seconds feel extremely long. My song memory is quite good, but I do not remember the keys, or the names of the songs. A tab with a library of songs has been a dream come true. I used to write set lists with keys, and with what note the bass starts.

Hey sir, would you share your score for a tweak? Maybe then someone would continue to give us both few new ideas.

Another thing is the rhythm in reading. It is easier to read bars, if they are divided to 2, 4 or 8 per row. Five is somewhat tricky. The score should help the player, not confuse one. Let's say you take a look at the fretboard, can you catch the sheet right away? By the way, was this made with Musescore? If so, check this one I did few years ago. The intro is four bars per row, and the verse is two. Yes, there is one row that has 5 bars, and another with three, but I think the places were reasonable to bend the rules a little. What would you say about the legibility of this one? No, I am not very good at transcription, but I have had few teachers to tell me some basics. If the score is tidy, it just looks different. Adele - I'll be waiting.mscz

Mobilesheets pro. Functional, understands many formats, reads .csv based contents (you can do them by yourself) of pdf scorebooks (forum helps). Set lists are a breeze to create and they can be archived. Cost, something like under £15. Worth the price. My gigs and rehearsals have changed drastically. I do can carry all my notes with me! Oh, I bought that Dragonfly pedal, that works with BT. No need to use hands to turn the page. Times change.

The first question is, why you would not put low impedance pickups to a guitar? If the answer is based on a feel, keep the lo-Z pickups out from your bass, too. You are a guitarist by heart, and you are not able to try anything newer than what was done in 1950's. Keep it that way. A pickup itself is a simple high impedance unit: a coil and a magnet. You can change the impedance of the coil by using a battery operated preamp. Now the placement of the preamp is just a bit different with EMGs, as they put the preamp inside the pickup. (I use the word lo-Z to describe these so called "active" pickups, because it tells more about the behaviour of the transducer, than "active". "Passive" is hi-Z.) You can buy an Artec preamp for 15 quid or a Sadowsky for 300 and connect it in the control cavity, but the idea of the preamp stays the same: you change the output Z from hi to lo. It does not matter whether your pickups are barts or S. Duncans, the output will be lo-Z if there is any battery powered preamp after them. The impedance also changes to low, when you use a pedal after your bass or that 6-string thing. It is not dangerous, just technically a bit different. Every signal turns to lo-Z latest in the amp. Can you live with that? Soundwise you need to try to find your own path. It is possible to sound very dark with a 4 band eq in the instrument and vice versa. If you need lots of versatility, try an EMG system with their preamp (BTS?), or buy a John East and turn the knobs until dawn. If you do not need any settings, take all pots away and use only the amp's eq (or a desk in the studio) to sculpt the sound of your fingers. The choice is yours and yours only. There are many options. No technology equals certain sound per se. And "naturalness" is just an adjective with no relation to technical acoustics.

volume - lowest reproducible freq - sensitivity You change one, and one or two others will change, too. Like with photography: ISO - aperture - time.

Take a look at this: http://www.vigierguitars.com/html/Description_US/strap.html

Earlier I wrote something like 31.5 Hz / 1 kW. Probably someone noticed that the numbers are only faintly related to loudness, so yes, it was a bad joke.