jrixn1

Did you remove it in the end? I'm also considering converting my TT5 to passive. I'm happy enough doing any soldering, but I've only ever worked on passive basses. Here's what it looks like inside: And here are the connections (and my guesses): hole 1 (battery?) red → circuit board black → hole 4 * hole 2 (neck pickup?) grey → circuit board (neck pickup signal?) black → screw (neck pickup ground?) hole 3 (bridge + bridge pickup?) large black → circuit board (bridge pickup signal?) medium black → screw (bridge ground wire??) thin black → screw (bridge pickup ground?) hole 4 (jack socket?) black → hole 1 * black → screw (jack socket ground?) white → circuit board (jack socket signal?) In addition, there is a connection between the screw and the circuit board (circuit board ground?) Can someone look over it, and are my guesses (in italics) correct?

The only things I can think of are: if your amp's DI is of particularly low quality - but a sound person would probably have complained to you by now your amp blows up in the middle of the set - with an external DI box, the signal to FOH is preserved. (I did once have an amp die on me, at a wedding gig, during the first dance... 😟 )

In addition, I'd recommend thin superglue, which will wick into the gaps rather than form a blob. I used "ZAP thin CA" which I bought online.

Not sure I agree, as that doubles the pulse to 168bpm. Listen to the drums... you would have the backbeat fall on beat 3?

Bass guitar (and double bass) is notated one octave above how it sounds. Technically, you should use this clef: although no one does - but it might explain why could sound wrong, depending on what Sibelius does when it plays back.

I second Dad's advice. As for the jam track, you need a "one chord" jam/vamp; e.g.

Not quite try before you buy, but to bear in mind you have a statutory right to return mail order goods within 14 days for a full refund including the delivery cost.

Was that with lightweight cabs? @Graham Milton, in terms of exploring all combinations: do you have long speaker cables to hand, and if so are you able to try your Markbass head with your Trace cabs, and vice versa? I know the combo housing means your current Trace head can't practically be used as a head but perhaps it will suggest if a solution like gafbass02's could work for you.

You're describing a Fender Rumble 500.

Also, the K&K has internal pots for gain. Check what they are set to.

Ideally, the DI level should be independent of your stage volume. Typically, the preamp gain will affect the DI level, but the master volume should not. What Hartke amp do you have? I know for example the LH500 is "missing" a gain control. In that case a pedal like MXR M133 would help.

I've been using one for about nine months, and am happy with it. My regular gig is function band, doubling on acoustic upright and bass guitar. I don't want a large or complicated setup; the less, the better. I can EQ and level-balance both instruments independently. Black channel for bass guitar (semi-para mids + overdrive), white channel for upright (bass, treble, semi-para mids with notch option). I previously used digital tone shaping, but decided I prefer having real knobs. Although I don't really change my settings very often, on the occasions when I do need to, it's very quick and intuitive. I use a small amount of warm overdrive on bass guitar; the MicroBass is pretty good and fine for live gigs, although ultimately I prefer my Mojomojo (but not so much that I bother bringing it to gigs). DI to FOH. Whether I'm on in-ears or have a powered speaker on stage, the MicroBass's volume control doesn't affect the DI level. If on in-ears: there's a built-in headphone amp, and an aux input to mix in a monitor feed. Sturdily built, and the muting tuner works well. If you already have a favourite power supply, one thing to bear in mind is that MicroBass requires 750mA. It's not the cheapest option (I paid £319) but for me it's worth it as I do use all its routing and channel/EQ/DI functionality.

There's a case when it can do: if you have "load remote/external images" turned on and the sender included a tracking image.

Another good question 😃 I think in some types of classical music, the repeats are skipped once you have followed the DC instruction. However, if I was handed a pop chart, I'd probably play all the repeats, even the second time round.

Good question. I don't think there's a rule; as ever, do whatever is the clearest (which can be subjective). Also consider the "repeat the last n bars" symbol (not sure of its official name):

Neither notation is more correct than the other - it depends what you're trying to convey. A quaver is simply half as long as a crotchet; apart from that, nothing else changes. Whereas the nuance of staccato is that it is not just shorter, but it should sound detached. It's interpretive, and down to the individual musician e.g. perhaps more intense, or with more attack. What's the question about repeats?

I think you're right about the Chromes, but out of string nerdiness Rotosound also have coloured ball-ends (red, white, and blue). (And Rotosounds flats would be red silks, so it's not those.)

Look like mine, which are 0760M 52-110.

Post a photo? Include both ends of the string, and the ball-ends themselves.

Do you want a growly, coloured sound? If you're not sure, you know an SVT 450 weighs 20kg? For me at least, the only way I'm hauling 20kg amp around is if that's the only possible way to get a tone I know for sure that I absolutely love. Sounds like you sometimes play on shared/other people's gear. Were there any amps you've encountered that you particularly liked/disliked? If you're regularly using gear which isn't your own, a preamp pedal might be better than an amp, as it's a more portable way to get "your sound" wherever you go. For example, SansAmp VT Bass DI was specifically designed to give the character of different Ampegs. If you take the preamp pedal route, then perhaps your own amp head should be as clean/uncoloured as possible (since "your sound" now comes from the pedal).

Precision bass has La Bella DTF, the 1954 Jamerson set. The 5-string Jazz has La Bella Gold flats; haven't had them that long - but they're a nice colour 😃 Previously had Dunlop Flats for years which I really like, and are more versatile than the 1954 La Bellas.

Ah, I see. I never gave it much thought before... but now I'm looking at my headstocks and pondering a bit, and I've concluded I'm glad mine are not red 👍 (both are different shades of blue).

Out of interest, what is the objection to silks?

I previously had a Thumpinator - but having adjustable cut-off frequency is great (essential??) for upright.

I bought it from the marketplace recently. It's an fdeck clone made by 4114 effects. Nice and minimalist 😃 with just frequency selection and a phase switch - they normally also have a volume control and enough room inside for a battery.