itu

I am learning Sweet Love from @ChrisDev 's transcription. This video is a good addition. Thank you both.

CF is usually pretty dull looking. If a company like GR wants to use a woven CF, it is most probably used in the surface only. To make CF somewhat cheaper, it can be combined with GF (glass). CF is always black, and white GF can be tinted (CF can be tinted, too, but the results are quite faint). Like others have mentioned, stiff, and damping, and light material would be optimal, but usually two out of these three is possible. Brackets in a plywood cabinet stiffen the system and prevent ringing. With suitable wool/fabric the internal effects can be tamed. Functional bracing requires R&D, and more complex production, which are not cheap. If a box is too soft, the lowest response will be sacrificed. In practise the box "looks smaller" in volume from the speaker's point of view (try putting a speaker to a cardboard box). Therefore the low end rises. Stiffness is important. The low end requires power. 1) If you want to raise power a lot, you need elements that can handle that power: the end result is seen in weight and size. 2) If those elements have good efficiency, and can handle lots of power, fewer are needed, and the system weighs less. 3) If the box is small (and therefore light), lowest end eats watts a lot, because the efficiency of the box will drop. You cannot have a very low end, and very good efficiency in a small box. 4) A big box made of light and soft material is relatively light, but does not offer support for low frequencies without special structures (like bracing). This raises costs, and weight. All in all, a box made out of CF is a good idea but the material itself does not solve problems. A seasoned designer can take the best out of it, but a - 10 lbs. - 2 x 12" - efficient - 129 dB speaker would cost a lot. Elements, and the needed air space for low end require some volume, so a cabinet cannot not be super small. All in all, we still need to carry those big, and cumbersome boxes around. I love neodyme, but I still hope to see some even better solution that could produce earthshaking lows in a size and weight of a one gallon tank. About the health issues: yes, resin and fibers can be really bad to your health in production, but all companies I have seen have had very modern facilities. I do not see this as a problem. A 3D printer produces nano particles, which possible long term problems we know nothing at all. You may have it installed in your bedroom.

You keep me hanging on From the 1967 Supremes album The Supremes sing Holland-Dozier-Holland (recorded in 1966). Bass: James Jamerson Source: Standing in the shadows of Motown, 1989. The book contains the bass score, which is half a page long (29 measures).

1957-1960 JJ played a German upright. Stiff action. Horace "Chili" Ruth persuaded JJ to try his refinished '57 (P) Black Beauty. After buying it, it was soon stolen from the trunk of his car. The same happened to his sunburst P from the early 60's. The Funk Machine was a stock, sunburst '62 P including the bell, the metal centrepiece, and the foam mute. JJ carved the word "Funk" to the heel of the neck. He filled it with blue ink. Neck had a substantial bow. The strings were heavy flat wounds from LaBella. The Funk Machine was stolen few weeks prior his death. JJ tried an 8-string Hagström (stolen in LA), one of the early Fender 5-strings, and a fretless, which he hated. The last one can be heard on Supremes' Someday, we'll be together. He tried fx pedals but did not like them. He had two amp setups. A B-15, sometimes with an extension cab. It was - stolen. For big venues he used a blue padded Kustom amp with two 15" speakers. Family Jamerson still has the Kustom, the upright, and the Fender 5-string. This is an abbreviation from the book: Standing in the shadows of Motown. Copyright 1989.

I have tried one. It is feasible for double bass, or an AEB, like a monitor. Not so big sound, but portable. Because it is relatively small, the low end is weak. Funny looking, I still think it is aimed for g-word players. A small portable unit, I use an old GK 200MB combo. Far better.

I don't. Neither Alpha. As long as it is carbon track, it represents low quality. Check Bourns plastic track, or Vishay cermet, or Alps step attenuators, or something that is specified as quality. A cheapo carbon pot is just rubbish. I have made few step attenuators, like here with metal film resistors. That 3 pos switch is for the humbucker.

Your current B is too short. Try GHS long scale plus, or D'Addario (super) long scale. Should fit at least to 36" scale.

David Inxs...

Have you tried adjusting the pickups higher? Have you adjusted the bridge and raised strings? If the system is working well, there shouldn't be anything wrong with it. If you have hit or demagnetized pickup magnets, the level may have changed. Otherwise some height adjustment is in need.

Once we had a gig in the big corridor just beside the lifts, and one of the singers suggested we should be The Great Elevator Band. We played there some elevator muzak.

From the video I'd say Blue Windows.

In practise all frequecies between DC and 30 Hz are just power eaters. Considering that most of the cabinets start producing something feasible from 60 - 80 Hz area, means that up to DC - 80 Hz could be cut away. @Downunderwonder 's method of setting the f is simply brilliant: use your ears. I expand his idea to other spaces, too. When you go to a new place, the space (room, pub, venue...) is also a new resonator. If it is different in any dimension than the previous one, it has different standing waves. I have a faint vision that the 100 Hz that was mentioned earlier may have had something to do with the room and its dimensions or construction. I love multi band parametric eqs just because any boomy noise can be tamed with one. I am pretty amazed that their use is so limited. It's a HPF + eq in one single package.

By the way, is that 16-35 still necessary, @dave_bass5? No, I can't see it with my phone, but my comp tells me it's **SOLD**.

...and who cares about the resale value when you love it, and fits you like a glove? Very nice project, super execution.

If you know the freq centres and widths of the eq, you can use a full parametric Ibanez PTEQ to do the same. As an extra, the lowest band can be used as a HPF.

...and I answer to myself with the words of our own @TKenrick: B equals blend knob. Thank you Tom. https://freebasstranscriptions.com/dod-fx25-envelope-filter/

If you lose that zing easily, wash your hands thoroughly before playing. Sweat, skin, dirt, tension... these all make the zing die. Life of a string is anything from 3 hours (M. Miller, M. King) to months (myself, 4-6) to years (J. Jamerson). (And if you want to keep the neck in shape, do not loosen strings in between playing sessions. That's not a solution.)

What I remember from some age old papers, and collegial comments (when I was working in a broadcasting company), fuses had these abbreviations from German. I think there were some old norms/standards (DIN = Deutsche Institut für Normung) that were originally DIN and have been later updated to Europäische Norm (EN). That time lag sounds good, and easier to remember than Träge. My colleagues used the term slow blow, although that is probably not a standardized term.

By the way, before I start an active search, is there a big difference between DOD's FX25 and FX25B? Few component level changes or something crucial between those two?

The answer is too short, yes. But to be honest, if there are no trials of different gauges (and materials, and string height, and...), how can the op be sure of what is really functional? I have put quite a lot of money to different string sets just to find optimal sets for my basses: flats, 30-90, BEAD, CFBbEbAb, halfrounds and so on. At the moment I love SS 40-95 (-120) sets on most of my basses, but it does not work everywhere. I like PSD (piano string design), but they are not as common as basic RWs. If I need to change between PSD and ordinary strings, the bridge has to be adjusted for obvious reasons. My strings have a lifetime of around 4-6 months in a bass (exception: DB). Your preferences surely vary from mine. Every suggestion here is subjective. Therefore it is very feasible to suggest trials, too, and find and make personal choices. I wish there was just "one and only" solution for everybody. 45-105 is a good start, but just a start.

Original Affirmas.

T = Träge = slow blow F = Flink = fast These are originally German terms. About the diameter of a cable: Usually it is safer to use slightly larger diameteter than that specified, if the cable is in active use. Here active means gigging round the country (and for some of you: the world). As cables will be bent a lot, at some time the copper will be chipped to smaller pieces and the ability to carry the specified current will be less. I have been amazed pretty often that so many bands have invested to equipment, but not to functional cables. When I joined one band long ago, their cables were just a mess in two or three plastic bags. Some cable was always missing, and the usage was harsh. I asked for a permission to buy new cables and some usable bag for them. The price tag made them thinking that these are serious stuff, and should be treated equally. I also love Velcros, as cables are much easier to handle individually than as a tangled mess.

The neck needs very little bending to make it sharp or flat. If the bass is played in another way than it is stored, the difference may be seen this way. An example: Put the bass to a table and tune it. Take it to your lap and check the tuning again.