itu

Blend solutions from oldest to newest: I: V + V and 1 - 2 T pots, passive. Microphones and pots have influence on each other. Hi-Z out. II: Passive blend pot, master volume. The idea is that the two carbons run only to halfway of the 270 degree turn. This way the mic is full on after 135 degrees and the other mic starts to go to -infinity. Hi-Z out. III: Volume and passive blend pot (or V + V) and an active preamp. Mics and pots have influence on each other. Low-Z out. IV: Preamp with two active inputs. Mics go to separate active buffered inputs before blend and volume. This way the mics or other electronics do not affect each other. Low-Z out.

Good quality silicon cable, Neutrik and shrink tube if needed. A cable tie is a must for every single instrument cable. https://shop.velcro.co.uk/collections/velcro-brand-cable-ties Hicon angled plugs and HQ silicon cable between effects.

I stepped few steps away from my monitor and the repair lines disappeared. I would say that she looks good. And an old way of hiding something is to put something flashy just beside it. Special knob(s), maybe?

Just take a look on the other side, too: http://alembic.com/info/fcvault.html

No worries, mate. Remember to play with the grains.

Do you know how violin tuners are fixed after the largest pegs turn loose? Could you do something similar here? Fill the hole (and maybe put a veneer underside for extra support?) with the same wood and glue it to its place. Sand to the same level. No one sees it anymore, if not you. You still have some wood left, don't you?

Sir Bridgehouse: my choice would be unlined. Those fretboards do not look so good with lines and even worse with the dots. And as Mr. Happy Jack said, you can't even see them. Why bother? (But glow in the dark side dots help.) By the way, your fourstringer looks fabulous, just like the fivestringer up there somewhere. My life with a five string bass did not start very well. It took quite a lot of time - probably around six months - but then those "oh dear, instead of C I played G" stopped. It just took time. Now I can change basses because I anchor my fingers (mentally) starting from the highest string, so G. A while ago I tried to play a four string tuned HEAD but this did not work for me. Reading notes and not looking the fretboard just does not happen. Old dog does not even learn old tricks anymore...

Hellzero: And I used to have 3 Alfa 33. Heard once, that this is the car that you can hear rust while driving in rain. Sad but true... I knew that my answer may raise eyebrows. I just pointed out that the ultimate unit is related to its time, too. I do like Clevinger, the Finnish handmade fretless, and both Vigier Passions. And every now and then some others.

Lovely question! I want to take a historical perspective on this issue. First of all, bass has not so much to do with violin, NO! It predates from the gamba family. They are fretted or fretless, several strings, can be played with fingers and bow. Their size became bigger, while these bigger bands were founded. Symphony bands, that is. Double bass or contra bass is the big thing that may have frets (yes, there are fretted instruments, there) but the most common are big, fretless boxes with 4 or 5 strings. You can find a double bass with 3 strings or 6. During 20th century we were given lots of electricity and that drove people to create electric stuff - and basses. Paul Tutmarc, Leo Fender et al. did a great job. So if we take a quick look in inventions on electric ones, I would like to point out few specialities or inventions (at their time): Tutmarc's instrument was probably one of the very first commercial trials, although his success among few others was less than modest. So in 1951 Leo F. came out with his Precision. I do remind you, that his instrument was so new, that it took around ten years to build a solid market. Many players still relied on double bass - or its electrified version with an Ampeg mic (amplified peg). So at that time if you wanted to be in the forefront, the best option was a Fender, also because competitors had very similar basses. Another reminder: the Precision was relatively cheap, as the parts were well thought out (i.e. simple and easy to fit together) and could be done in big series. For example Rickenbacker has a through-neck that is far more complicated to produce. Model 4000 had a price tag of U$D 280 which was U$D 60 more than a P. That was nearly 30 % more expensive in 1957! A Volkswagen Beetle cost U$D 1500. So if a brand new Ford Fiasco today costs approx. £ 14 000, this would equal that a Ric would cost around £ 2600 (Thomann: £ 1800) and a P £ 1900. A new Squier P costs under £ 200 and this way the bass is practically available to anyone. During the sweet 60's choices were somewhat limited but you could buy a 6-string bass - maybe it would be called a baritone guitar today. There were semi acoustics, a Thunderbird and a Fender V but still the selection was pretty limited. 1970's changed a lot: rock trios wanted more! And people wanted to be in rock bands. This meant that many players wanted instruments and some of them wanted something different. Dan Armstrong made their plexi glass thing, Alembic started the active era, G. Gould played with graphite. And before the decade turned to furry animals, Stan and Jaco came to town. You should not forget studio aces that wanted more, like Jimmy Johnson who was one of the first bassists that wanted a low B. The eighties were filled with hair. Oh dear! If you needed a special shape to your bass, you probably could find it. Some of those instruments can be seen every now and then but I think that they belong to 80's. Because more was the thing at that time, luthiers produced more of those beautiful wood creations - with more strings. It was time for the 6th string to become a standard. On the other hand, while aluminum and carbon fiber were introduce during the previous decade, the designer Ned Steinberger draw this minimalist L-2. It was ready in the late 70's but manufacturing started in 1981. No head at all! After those 1970's "incredible" innovations and 1980's multi-string creations, there were still things like a working MIDI bass (thanks Steve Chick), acoustic bass guitars, and different scale lengths. So lots of opportunities, far wider selection than ever before. To raise one specific area outside the actual instrument during 21st century is the (relatively) low cost digital music production. New players along with youtube and other world wide wait stuff have given people lots of possibilities to find their own bass sound. May it be a keyboard or a 10-string exotic wood smörgåsbord, a pad or "just an ordinary P". My favorite and best instrument is bass. Simple or exotic, it's my choice. I drive an Alfa 33, 1990. It is black.

Usually I try to set the gain as high as possible without distortion to fill the channel and lessen the noise. If overdriven sound is needed my amp (Soul) can make that happen, too but I use a fuzz or a tube OD for that. Very low preamp and high power amp level is the key to produce excessive noise that I find unnecessary. Active does not equal louder by definition. My active single coils (Benedetti) are not as loud as passive humbuckers (Delano, Q-tuner). But the big difference is the impedance: active is low Z and passive is high Z. This has a lot to do how the first pedal (or in case of just cable, the first amp stage) behaves. And this is the reason why an OD or fuzz has different sound with different electronics. Nowadays I have one pedal board for passive basses and another for active ones. Amptweaker tight bass fuzz for low Z and Spruce effects Old growth fuzz for passive. Other effects that seem to be pretty Z-dependent are compressors. Side-by-side comparison showed so many issues that now I have tce Hypergravity (for low Z), Daring Audio Phat beam and Fairfield Accountor. Especially these passive bass compressors are not transparent but that is something I just happen to like. I try to set (pedal) gains so that the levels are all the same.

I have no idea, how is the box constructed BUT if it is just one space for all four speakers, some issues may be realized. If you have two amps, both like to drive one set of speakers. Fine. If your enclosure has two individual spaces, there should be no problems. If these speaker sets are in one enclosure and in one space, they will interact and start to drive each other. This means that one amp pushes energy to a speaker set that starts to push energy to another set. This power is then transferred to the second amp. I have seen few amps that do not like this setup. If you can separate this one bigger space to two air tight spaces, I see no problem at all. Neither do the amps.

Even though our band is using separate guitar and bass amps, the new (well, used) PA might work well with them, too. We bought a slightly used pair of JBL PRX735 for a good price. Tons of headroom, so they are loud if needed but also very clean. These speakers are big. Not heavy but big. So if you need to carry them around, you need to find a suitable car or rather a van for them. But they do not need a sub with them. Our mixer is a 24-channel digital Soundcraft. Mixing live can be done with a mobile phone... From your point of view I would recommend a slightly used active pair (good price and performance) and some mixer that is reasonable. This depends on the amount of channels needed. A 12 ch digital Soundcraft costs maybe 250 £. A pair of speakers is then the rest. Well, quality cables cost something, which is often omitted. I would take 500 W / side or more, woofer 12" or 15", not less, not more. I have heard good comments on these pillars, like Bose but their prices vary a lot, so I would recommend testing them before buying.

Years back I used Rotosound. Some strings broke but I think the quality became better and breaks stopped. Their PSD (piano string design) was lovely. A 35" fiver took me to GHS super steels (long scale plus; 40-102 and then something for the B). They work well for me and I still have few sets somewhere, I think. Lately my last ten or twenty sets have been D'Addario EFX220 (40-95). It seems that they are now obsolete, so I have to try to find something similar, like EPS220 or then this tried-and-true GHS. All my strings are stainless steel roundwounds, on fretless and fretted.

7 - 10 weeks?! Sounds really bad. Aren't there any substitutes?

Then a bigger store might be a better choice: http://www.digikey.co.uk http://uk.farnell.com is another big one.

...a 6m lead from bass to pedalboard, and another one from pedalboard to amp. These are pretty long but shouldn't be that bad - hopefully both are in good order. First check point. Chain: Tuner (Tomsline TA-07) Octave (MarkBass) 3x overdrives (Caline Orange Burst -> EBS Multidrive -> Joyo Ultimate Drive / EBS Metal Drive) wah (G-Labs wowee wah) Phaser (EHX Small stone) Compressor (EBS Multicomp - always on) DI (DSM OmniCabSim DeLuxe - always on, but using the 'through' output to the amp, reserving the processed signal to send to FOH) The exact chain looks good. Now, there are a few units, there which means that it is reasonable to estimate the power consumption. TA-07: 24 mA Octave: this was hard, no results, but similar units consume 50 - 130 mA (*) Burst: 30 mA Multidrive: 30 mA Ultimate Dr: 6 mA Metal Dr: 25 mA wowee: 30 mA Small Stone: 100 mA (*) Multicomp: 35 mA DI: 40 / 100 mA (with headphones) (*) In total we have something between 370 and 510 mA. Not a lot for the power block. But those marked with an asterisk (*) should be tested in the high power outputs, one at a time and then together. http://www.voodoolab.com/pedalpower_2.htm Q2: Cables. The patch cables I use have been accumulated over the years. ...there are lots of patch cables advertised everywhere, some with pretty amazing claims (of course) so it's hard to decide which ones are really good and which ones are just exaggerating: which patch cables would people here recommend for a pedalboard the size of mine? Usually if the cables do not move a lot or get bent all the time, they should last for years. If there is any abuse, they should be inspected if something seems to change. These patch cables tend to be so short, their performance should be near excellent. My personal preference is to solder all cables from high quality silicone cables (Cordial, Gotham...) to reasonable lengths. Neutrik or thinner angled metal plugs. I plan to test systematically the board removing one pedal at a time, to see if the effect is mostly due to a single pedal... This excluding approach is a very good way. Remember to change the order of cables and pedals within your test. Because all pedals are active, I do not expect to hear losses on or off. Only if there is a defect or power loss, of course.

My two cents... To buy a custom instrument made from scratch may not be a simple task. I have had some more or less nice instruments within the last 3 decades. I have done some modifications to my basses during these years but just two years ago I got in contact with a young guy that knows wood. He made me a fretless that is just downright incredible. But to be honest, I could not have been able to talk about details or specifications before this. Now, I have had around too many basses (according to my surroundings...) and tried quite a few brands like Rickenbacker (my first love), Washburn, Ibanez (including Ashula and a very good Affirma among others), Guild, Modulus (neck could be wider), Status necked basses (lovely), Kramer (cold Al neck), Vigier (my main instruments), Tobias (lots of good ideas), Wal (hard and heavy and very interesting), Spector (but not for me), Warwick (see: Spector), MTD, Pedulla (has that design), 7ender (see: Spector), G&L (better than the 7-word), Hamer, Ken Smith, Music Man (yes, no), Alembic (how much?!), Sadowsky (pretty light), tune (so 80's), Tokai (still only a copy), Status (maybe some day), Steinberger (far too thick necks), Neuser, Aria, Nash (see: 7ender), Guild, Jaydee (a bit strange), Kubicki, Mayones (see: 7ender), Limelight (all necks had terrific feel), Dingwall (it's not modern, but I am old), Pensa-Suhr (plain incredible), Zon... so I think I have some perspective to my wanting. A very special instrument may have some tiny detail which just makes you hate it. Downright hate it. It can be a fret end or a neck profile or anything. Even one bad gig. I love your comments here that tell these "but sound was too #¤%oiglk" or "neck diving was &=%¤ing". But it may be so that the particular bass isn't the one and the reason will be found from that detail, reasonable sounding or not. So talk to the luthier - and do it again. It is feasible to bring one dear instrument with you to the maker. It is much easier to discuss about details if there is some reference, there. To point out weight or balance or a sharp bridge corner, anything. And prepare some kind of approximate wishlist before the first visit (color scheme, shape, weight, parts, music style, overall looks, strings, electronics, reference pictures, bands...). Everybody probably knows the bicycle thing: you have to buy three. The first is the one that you learn, what it is (Wasn't so cheap, nice paint!). The second has all the bells and whistles (Derailleur has ceramic bearings!) and the third is the one that really suits you (I have started to break my personal records on a monthly basis and it fits like a glove...). So my suggestion to a custom is: II: discussion I test drive :II repeat ad lib.

This Maruscxz&cz¤%xcx#zxc¤zyk so much reminds me of Alusonic's Django Deluxe.

http://www.resistorguide.com/potentiometer/#Marking_codes They may be year codes, so manufacturing dates or similar, too.

Mad Professor, bjfe, Katanasound, Chunk systems... are you after the brown noise?

...and you thought that one Shuker costs an arm and a leg? https://www.modulusgraphite.com/revolite/ Starting at U$D 4599 street price...

Oil dripping is pretty good an idea. But that kind of black is not very tough. Sorry, this is somewhat long post, but this may be of help to understand some properties of materials. Basics: PVD (physical vapor deposition) surface is THE super thin black color layer you can see on a strap button, a tuning machine head, or a knob. All these parts are made of pretty soft materials, like steel or brass. To make a long story short, the colour needs support underneath which means that the colour PVD should be put on top of a very hard surface. Otherwise you can almost blow or at least scratch the colour away. There are powder steels and hardened ones that are truly hard but basic stainless or hi-tensile is not. But they are good materials to machine. So if we need a fretwire that can be tinted, we need one VERY hard (and brittle) material type - that is also really hard to machine. If you know anything about hardness scales, here is something to consider: - plastics are less than 100 HV (hardness in Vickers scale) - aluminium and pure titanium (grade 2) are around 100 HV depending on a mixture - stainless steel and Ti grade 5 are around 300 HV - hardened steels start from around 600 HV - ceramics (PVDs, too) 800 - 2 000 HV - diamond 10 000 HV Now these ballpark numbers start to make sense, when I tell you that this 600 HV is the minimum reasonable support for a PVD surface. So if you wanted to use such hard a material you would need much harder tools = expensive ceramics. And quite some time to finish those shiny fret ends or high frets that cannot be bent. I hear someone shouting: where is this carbon-like-diamond, oops, sorry, it is DLC. Well, it behaves just like PVD and it needs support, too. If you put a micrometer thick layer of diamond on top of a cheese, you can cut the cheese with a knife or slicer or whatever. The ultra thin layer just is not tough enough by itself. But together with a hard support they become a very tough and durable combination.

Very nice looks, I especially like that the fretboard has no dots and the colour scheme is unified. A beauty.