itu

An addition. Big orchestras love to tune higher for the sound. 415 - 445 Hz in just few centuries.

Is it starting from the basics of two beat, four beat and walking? Or is it about refining harmonic (most probably rhythmic, too) approach to walking? I learned the basics of walking starting from two beat. Then it was pretty easy to turn to four beat. These and the theory of chords pushed me towards walking in very short time. My rhythmic and melodic abilities are mediocre at best, so following this with great interest.

Anyone able to make threads will fix this to you under an hour. Find a local that has the tools.

Nice production, very well done! Kool!

...and Vigier Passion. By the way, where was that Overwater Artisan for sale?

I consider myself as a player. I would like to be a musician (like to be able to arrange and compose), if not an artist. The choices made earlier in my life prevent me from being a musician or more.

Cheapo Chickenbackers from China. No thank you.

Noooo... I have loved your comments. Knowledge of yours is something that should not be forgotten. (And you have lots of nice equipment.) Keep in touch with the BC. We need you here.

X-over that I have had (KMA) or use (IE) is set to around 400 Hz. I checked the fundamental frequencies over the fretboard, and decided to try to keep these frequencies intact. This led me to around 400 Hz. It seems to work fine, and I can push practically any effect to their limits without losing the clear low end. BUT the possibility to push effects to their limits means that there can easily be far too much effect. Not only OD/fuzz/dist, but flanger, chorus et al. Not good: it is easy to get too excited of the possibility.

Solder ground to output. Don't rely on the screw contact on a metal plate. Pot cases should be soldered, too. Use a file to scratch the surface for easier soldering. When assembling the harness to the bass, check that none of the wires or parts touch the body. You should paint (conductive) or use copper tape to shield the cavities and ground them to the harness.

EMG makes P pickups in a DC (dual coil) case. I also remember that Ibanez and few other manufacturers in the 80's had P pickups in a humbucker case. I think @Bassassin could list all of them. (EMG widths, as everybody knows, are 3.5" - 4.5".)

Less volume, here you mean less wattage? Loudness will not be reduced a lot, that depends on the sensitivity of the cabs. Of course there other specs like weight that may affect your choice, but you have most likely far better after sales and support with Ashdown.

Next step is to buy a Sony PCM-3324, or -3348, a digital r2r. I have seen one, once.

https://en.wikipedia.org/wiki/Tommy_Tedesco wrote in GP that a producer wanted a certain sound. The g-word sound wasn't right and the producer wanted a mandolin. Well, Tommy adjusted his instrument a bit as well as his playing technique and played a new take. Producer was happy with the mandolin sound. But it was exactly the same instrument. I find it funny that the P would be the answer to everything in the studio. I want to play my favourite instruments. It is my technique and ability to adjust the sound to reach something that others want. It is not about the instrument. I use the bass that I feel is suitable to the task according to the specs. (I do not own a P, neither do I want one.)

Everybody should listen to works of the Domenico Dragonetti. Gary Karr is just great player. I read from a newspaper that the writer thought Niels-Henning Ørsted-Pedersen was two persons... Edgar Meyer - Dreams of flight was an eye opener for me. This first song has some backing stuff there but his work is tremendous.