itu

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.

I asked this text a page or two ago, but I decided to write it down myself. The language may not be correct, but try to understand the meaning, please. To produce loud sound, the player needs the instrument and cables, as well as 1) a pre amplifier, 2) a power amplifier and 3) a speaker cabinet with elements (here: cabinet). The amount of sound that comes out from the package depends on 1) the ability of the preamp to drive the power amp; 2) The ability of the power amp to drive the cabinet; and 3) the cabinet's ability to convert electricity into sound. The played signal is converted in the preamp (eq, levels, etc.) to a suitable / desired signal for the power amp. An important thing in the power amp is the ability to apply power to different loads (the cabinet impedance among few other parameters). Many people look after a low-impedance cabinet (4 or even 2 ohms) to gain more of those famous watts. But very little load (read: impedance) is usually difficult for the amplifier and the amplifier may not be capable of pushing those desired watts to the amp. Usually a hard load equals more amperes which means more heat. If the "fit" between the amplifier and the cabinet is good, the next thing that affects the loudness is the cabinet efficiency or sensitivity. A reading of 101 dB / 1 W / 1 m on the side of the cabinet means, that the cabinet is capable of producing 101 decibels to the distance of one meter from 1 W coming from the power amp. Thus, 2 W gives 104 dB, and 4 W produces 107 dB, etc. If the sensitivity is low, say 89 dB / 1 W / 1 m, then only 89 dB will be heard with 1 W. The difference between these two cabinets is 12 dB with the same watt! The 12 dB difference gives perspective when looking at the power requirements of the two cabinets outputting the same loudness. - version 101 dB / 1 W / 1 m will produce 101 dB. - the same amplifier pushes the latter cabinet: 89 dB / 1 W 92 dB / 2 W 95 dB / 4 W 98 dB / 8 W 101 dB / 16 W that is, a modest 16x power. If the power amp pushes its full 500 W, the less sensitive box will produce 116 dB. A more sensitive cabinet gives 12 dB more, or 128 dB. That's the difference you will certainly hear even further away! Watt is a good thing for a bass player, but it doesn't tell you much about the loudness. Sensitivity and the "fit" of the amplifier and the cabinet are very important. Because of their comparable importance, manufacturers prefer to blur things down to poor watts. You probably noticed that nobody was interested in impedance, while calculating loudness in the previous chapter... the matching was presumed as perfect. And let's be careful out there: watts or sensitivity tell us nothing about the sound quality.

A side note: one of the best names of a tribute band is Björn again. Their keyboard was rebadged as YAHAYA, if I remember correctly.

2.5 mm2 cable is able to carry (230 V x 16 A) 3.7 kW RMS easily, while a 4 mm2 cable can carry (230 V x 20 A) 4.6 kW RMS. Someone may say, that the numbers are low, but the whole cable includes connectors and connections, too, so these wattages are on the safe side. Ultimate powers for the cable only would be around 8 and 10 kW @ 230 V.

Please try piccolo strings on your instrument.

You're right, I meant that the pot itself does not have.

Sorry, they do not have the indents. Would be a nice touch, though. It would be possible to make a step attenuator with a rotary switch, but that would need some tweaking, as there is not too much space between the box and the PCBA.

The issue exists as long as you use that SHound. Polarity change may equal that you need to isolate the signals, too. Transformer would be a good choice. Neutrik has had parts to build a very small isolator, but there has to be others, too.

If I remember right, Gunnarsson's neck through was sometimes doubled with keys. By the way, it is interesting to listen to the drums: try to find fills. Björn & Benny wanted the drums to sound like a machine.