Lfalex v1.1

I'm inclined to think that it's more dependent on the neck profile (in terms of thickness), the type and number of truss-rods, any other reinforcing and stabilising rods, and the cut and type of wood used. Then maybe the laminations, if any. The only exception I can think of is if no one wooden material dominates- like say, an Alembic comprised of Maple, Walnut, Purple Heart etc. The stiffest bass neck I've owned was on a Streamer LX6. That was a 7- piece Wenge item (with reinforcing bars, I think) That wasn't going anywhere, ever. Conversely, my Ibanez loves to go for a wander if it gets cold. That's one piece maple under the paint. That said, it's running a crazy low action and only just enough relief. De-tune it even a smidge and it'll start to buzz.

I thought that was a Rolling Stones bassist..

^ I'll buy that as the reason that the Chapman stick sustains for ages. That and the 36" scale.

(On a more serious note than my previous post!) There's more to sustain than just the quantity (duration) there's the quality, too.

As per the title, divided up loosely into technique, theory and other musings. As stated by the individuals in question. I found it quite an interesting exercise in self-analysis. https://www-guitarworld-com.cdn.ampproject.org/v/s/www.guitarworld.com/amp/features/12-mind-blowing-guitarists-reveal-the-techniques-they-struggled-to-master-and-how-you-can-improve-your-guitar-playing-faster?amp_js_v=a6&amp_gsa=1#referrer=https%3A%2F%2Fwww.google.com&amp_tf=From %1%24s&ampshare=https%3A%2F%2Fwww.guitarworld.com%2Ffeatures%2F12-mind-blowing-guitarists-reveal-the-techniques-they-struggled-to-master-and-how-you-can-improve-your-guitar-playing-faster

That's why I carry Viagra. I find that definitely increases my sustain.

You don't have to put the head atop the cabinet/s. I used to try to stand mine vertically alongside the cab. Still accessible, but it can't fall or be pulled off, and hopefully it's subject to less vibration than if its on a cabinet.

And available very cheaply from many hotels.😉

I had positive results from putting a BadassII on a Squier 70s VMJazz. Sustain and playability were definitely better. That said, I set it up to within an inch of its life after fitting the new bridge. I marked, cut and filed each saddle using the string as a guide, then did neck relief, action and intonation. Any of the adjustments might have also improved the sustain and playability as well.

That looks interesting...

And other musicians is why I no longer play in bands...

I'd ensure I was running a good degree of compression from the helix. Domestic "hifi" drivers do not take kindly to the kind of "abuse" that instrument amp drivers and PA / Monitors regularly endure. You may need some strange EQ too, to get the sound that you want.

It wasn't that bad, actually. I prioritised tracks and titles that weren't otherwise available. Once set up, it only takes as long as playing the LP, and modern DAW software would probably allow you to record an entire side and then cut & copy it into individual tracks, level-match the outputs and even remove some of the surface noise.

I did mine (back in the day) thus; Turntable 》Hifi preamp with phono stage》out via "tape out" 》8 track hdd recorder》digital out to 》standalone Philips CD recorder. These days, I'd go; Turntable》preamp》stereo audio USB interface》laptop running DAW》WAV or MP3 to memory card or HDD/NAS drive as required》

Oddly, All I do have left of my various hifi misadventures are cables for varying applications and a couple of mains conditioners/ purifiers. The better one, a Lynwood Mega, is still doing good service in front of my TV and Blu-ray player. Glad I kept that. It once managed to quell an attack of the buzzes from which my Ampeg preamp was suffering. The guys in the studio looked amazed when I dragged out a hefty black box and a bright green XLO mains cable. It worked, though.

Hmmm. So, the Bolivians; Would they be able to discern that (for example) two A (440hz) were not out of tune with each other, and that if one were to gently de-tune one and not the other, they'd notice that, too. Extend that to an 880hz A and a 440hz A played that simultaneously. I guess they'd realise that the two were in tune, even if not what the (synthetic musical) relationship between the two tones was.

I've had a difficult relationship with hifi. Once, I lived and died for it and bought the best I could afford at any given point. That fostered an interest in music. So; Music 》Hifi 》"Music" 》Bass 》 Bands, rehearsals, gigs 》no more time for dedicated listening 》No more Hifi.

I suppose it should really be an amalgam of the bassline, the player's approach to the instrument and the line, their choice of equipment and settings and how these all conspire to serve the song. However, I'll contribute. Just about anything from the Joe Jackson albums "Look Sharp" or "I'm the Man" Graham Maby has it nailed. And he's well up in the mix.

I've owned a red bass with a white plate (Fender Jazz- Sunset Translucent over Ash with a W/B/W plate) I also have a bass with a logo on the body. Fortunately they weren't the same instrument. There's very little that'd put me off. Something poorly made, something that irreparably badly, plays badly or doesn't sound good (to my ears). Anything that's damaged (rather than used or relic'd) would be out, too.

I liked the one on my old ME-8b You could use the tap tempo to keep it in time, and set a value from (IIRC) ¼notes upto an entire bar. Had to keep the signal fairly wet if you were using it slowly or it'd get lost in the mix. Don't know what the equivalent stand- alone Boss unit wood be, or if it had all the features, though.

*Cheaper Ritters are available.

I was considering purchasing a left-handed bass to improve my right- hand dexterity/fluidity (by using it for fretting) The Stick has definitely helped with that, and it's improved my ability to anticipate what I need to do next as I really have to think about what I'm doing. When I switch back to bass, it really all just falls into place.

I wholeheartedly agree. My old 1990 Stingray 5 had an Alnico pickup as it was made before the change to ceramic. Lovely instrument. But being fretless didn't seem to suit it.

At a slight tangent to Bill's post, concentrating mainly on old school low Xmax drivers' performance explains many of the older bass cab form factors. Low Xmax? reasonable power handling per driver? Stick 8 of them in a box and you have potentially huge power handling, good sensitivity, and the ability to shift a lot of air due to the sheer driven area of the 8 cones, in spite of the low Xmax. Modern enclosures are heading back the other way, with fewer drivers, but similar or better performance and smaller, lighter enclosures.

If that were all there was to it, then yes. However, I'd guess that other variables (system sensitivity and whether or not the enclosure is ported (and if that targets excursion control over ultimate low-end output)) would also alter driver behaviour. To wit; its no good having the available xmax to shift a lot of air if you end up needing so much power to achieve it that you fry the voice coils. Power handling is still of some importance.