beans-on-toast

I make my own. Vinyl is available at a fabric store. A number of companies make custom covers or find an upholsterer.

Ask yourself, do you really want a tweeter. It can reveal hiss in your signal and that can be annoying. Try the tweeter and crossover with the 12” cab before cutting a hole and mounting it. As part of the design, I would include a LPad to control the level, or at the very least an [off]-[pad]-[fully on] switch.

Depending on the finish that is on now, you might need to strip it before painting. If you are applying a compatible finish, the old one can be lightly sanded and sprayed on top. While at it, you might need to shield the cavities. That can be done with metal tape or a special paint. As a reference: https://www.stewmac.com/SiteSearch/?search=painting&facet=&tabs=2

The B-15T brochure is here. https://www.talkbass.com/attachments/b15t-literature-pdf.740051/

Wow, how good is that!

It’s a good thing that Chrysler doesn’t make amps.

Yes, always use Neutrik, not a knockoff. People are tempted to buy longer cables as the cost is not that much more. Stick with the length that you need.

Shops always claim to inspect and perform setup. A proper setup takes time, typically an hour and involves consulting with the client. Everyone has their own version of the truth. If you aren’t set up to do it, have a good tech set up your instrument after the purchase.

I have an old short scale Cort headless. The stock pickups are not the best and should be changed. It uses a zero fret as opposed to a proper nut, some like these, others don't. I don't have a matching case so I use a soft gigbag, the bass can take a beating. It requires double ball end strings, a limiting factor in terms of options available. I've never changed my strings because of this. It's very light which is a plus. An alternative bass would be a Hofner 500/1.

Same mRNA technology is used for AIDS treatment. It’s proved beneficial.

The Pfizer CEO said today that people will require a booster 12 months after their second shot and yearly will be likely. So your comments Bill, are spot on. I wear a mask in public indoor spaces such as grocery stores and when near crowds outdoors. Unfortunately, I don’t know if that will ever change. No vaccine has proven to be 100% effective.

Hi Paul, hope that all is well. I see that the GTA is having a difficult time of it with the third wave, a high rate of infections. Family have moved from Toronto to a smaller city. I have my vaccines. Today the CEO’s are saying that a booster will be needed in 12 months and probably annually. This thing ain’t going away any time soon. Take care of yourself and your lady wife.

It might help to enquire here. https://www.lautsprechershop.de/intro/suche_stichwort_en.htm I’ve used DHL for shipping items from Germany to North America.

Out of interest, what is the speaker that you can’t buy in the US. Their policy is not unusual. Some products have restriction put on them where they can only be sold within a region. This protects regional distributors and deals with warranty issues.

I see many festivals have been cancelled through this year. The question is, will they he cancelled again next year. If they aren’t, will folks be willing to risk attending. There’s another worldwide surge going on now. Covid isn’t going away, even with vaccinations. Let’s hope for the best.

This inspires me to use a looper.

Deep Purple’s Smoke On The Water is often played wrong. Here’s the isolated bass.

The Beatles song I Will had a vocal bass that was sung, no bass guitar. When MACCA plays it live, he does a faster version but some folks do try to sing the bass.

See 7:22 in for an exercise to help align and stretch your fingers.

This fretless from them is very cool.

This is how the Flashback Delay works. It's a limitation in their design. If they had a mix pot that balances the dry/looped signals it wouldn't be an issue. The Ditto doesn't have this problem as the knob sets the looper level. Here's is a log winded explanation from TC: "This has to do with the analog-dry-through feature and true bypass: Basically Flashback is never true bypass when you select looper. The reason why, is that we want it to be "armed" and ready to record as soon as you select the looper. If it was true bypass you'd have to first turn the looper on to active the effect, then turn the recorder on, to actually start recording. Obviously we couldn't be using one press on the footswitch to do both these actions, so we'd have to come up with some way of controlling "looper on" AND "record/stop" using to different footswitch "commands" (for example "press footswitch once to activate looper" and "press and hold to record"), which I hope you'll agree would be very annoying and not very intuitive. So the bottom line is that no matter how you set the dip switch on the back of the pedal, Flashback will always be in buffer mode when you select the looper. If you have Flashback in TB mode, it'll of course automatically jump back to TB when you select one of the delay types... you should actually be able to hear the relay clicking when you switch between the looper and delays. The reason why the looper controls the volume of the entire signal in loop mode is because of the analog-dry-through feature. The FX Level pot is an analog pot that mixes the wet signal with the dry AFTER the wet signal has been converted back to analog. In other words, we can't do any clever digital trickery to the wet signal (i.e.turn it all the way up when in loop mode), because the pot is analog. Because the looper is 100% wet and no dry as explained above, this means that the FX level pot controls the overall output of the entire signal."

http://www.pitbullguitars.com in Australia. They sell kits. Nice Hofner 500/1 type. They offer a telecaster kit that looks like a good value.

Thanks, I fixed that. I'm dyslexic and get things backwards when I type faster than I think. 😥

In North America, in my first band the mics, bass, and guitar went into one amp. Standup bass, acoustic guitars, and even pianos, were mic'ed into separate amps. Amps served as the PA. It was common to play in theaters, they commonly had Voice of The Theatre speaker cabinets that worked well in that sized venues. An advantage of old theaters is that they were designed to project unamplified sound into the audience. Bands with more money would use theatre systems on the road. They could be scaled up by adding amps and speakers. That was the best technology available. Woodstock really did kick off the need for large systems. That triggered developement of big systems. Even in the early 70's there were some pretty large PA's with cabinets stacked on each side of the stage, Acoustic was one make. At smaller venues, Shure columns were common. But large venues, both indoor and outdoor became the norm. High school danses could easily have 1000+ attendees. By the mid 80's I was using a tube preamp and a 1400W Peavey SMPS PA amp and EV speakers. Things were kind of nuts back then, much more civil now.

Best investment is a high pass filter (aka low cut) pedal. This limits low end energy and actually makes the bass louder in the mix. If you use a tube amp, you might like a treble boost. It saturates the input tube and provides a creamy distortion that you can weave in and out of as you dig in. I find this to be a good thing. Compression can be handy. I use a tuner pedal but I usually play out of tune anyway. Then there's building your own pedal from a kit. Many options there.