itu

Envelope loves full frequency response. Mine didn't work so well in the X-over loop. Now I keep it as the first unit in chain. Maybe you could try it after a comp where you can control the amount of signal the envelope receives? Octaver on the other hand does not like a signal that is changing a lot. And fuzz, some of them behave in a different way from bass to bass, and whether they are the first in line (crunching bass' signal) or after some other fx (eating lo-Z signal). Your question is the same that I have tried to tame for some time. My solution has been that envelope is the first, fuzz the second in a X-over loop (flanger, too), and then the rest. Octaver (or SY-1) has been travelling here and there. I can only suggest brave trials to find what works best for your setup and preferred sound.

First of all the tool you use has to be a quality one. If it does not fit, don't even try. Put quite some more that oil there. Keep the bass up so that the oil can get to the thread. Start to turn a bit. Any direction is good. Then back. And forth and back. Even a fraction of degree helps the oil to penetrate between the nut and the rod and a possible washer. Do this as long as the thread starts to turn bit by bit. Keep the tool in one place. Then you can keep the tension constant. When the thread is working, adjust the rod in 1/8 or 1/4 of a turn at a time. Let the neck stabilize for an hour and check the action. As I wrote elsewhere, write down everything you do. This way you can reverse your attempts. Keep the bass in tune before and after adjustments. You may have to fine tune the bridge.

Ooh, the lovely Anita Baker! And from the pen of our incredibly productive @ChrisDev, thank you.

There's a small and lightweight Axstar for sale in the classifieds...

One Schaller strap lock, or a Neutrik jack. No, wait... my colleague gave me a hint... it has to be a football or the air to one.

Some tips: - paper and pen to write down everything you do: easier to come back - good, accurate tools - good light - plenty of time When you touch action, it is done after changing fresh strings. Adjust the truss rod only a little, like 1/8 or 1/4 of a turn. Write now down what and how you did this. Tune the bass and wait for an hour or two. If the direction was right, but the result was not enough, turn 1/8 more. Leave it there for another hour after tuning the bass. Check bridge and fine tuning by using an electronic tuner. Adjust height, if needed. Tune. Play. If the truss rod nut is stuck, drop some oil to the thread/nut. By using the tool, move the screw back and forth little by little. If the fine oil lubricates that thread, the nut should start to turn. No excessive force needed. If this sounds complicated, do as @Dad3353 said: visit someone that has the experience needed.

I don't get it. Why wouldn't it work? Lo-Z signal it cannot be, levels are practically the same as with hi-Z. Sounds strange.

A X-over is the way to really tweak the high end (*) while keeping low end clear and functional. After trying many OD/fuzz/dist pedals, X-over made many of them functional if the full band sound was miserable (like they so often tended to be). Flanger/chorus is the same, you can adjust all parametres freely, and the low end stays intact. (*) To me high end here means frequencies over 400 Hz. Your cross over f may vary.

Sorry, @SamIAm, I am late just like @cdog. Have posted this elsewhere, too. These chords are played with three strings only (it's easy to move or expand these across the fretboard). Play and listen to the chord voices. May help you to find some interesting sounds and possibilities. Sorry for funny coding of the four first triads: v = diminished, m = minor, d = major, y = augmented; I did this with a matrix printer maybe +30 years ago. Cross on a dot means the root note. To compare these, start the pattern from the same root note, like E (played from the seventh fret of the string A). You need to move your hand every now and then to keep the one-finger-per-fret idea through the chords. Concentrate first to the minor and major triads, then study 6, m7, 7, mMaj7, and Maj7. The rest is jazz. Where's my coat? One easy approach in playing is not to go to the next note from the direction you are coming from: say from A string third fret C to D string third fret F via D string first fret Eb. Then play that same C and approach the F from D string's 5th fret G. In other words starting from the beginning of the Smoke on the water: C - Eb - F or C - Eb - E - F (or C - Eb - Gb - F, or the now funny sounding major version C - E - F, and C - E - G - F, and so on) How about this, then: C - G - F or C - G - Gb - F (and C - Gb - Eb - F, or C - Gb - E - F etc.) You end up to the same place but they all sound very different. If you use four notes instead of three, you need to rethink the phrasing, the rhythm.

Something Scandinavian: - Bass Buddha (Denmark) - These go to eleven (Sweden) - Kitarapaja (Finland) I think there was some shop in Estonia, too, but I've forgotten the name. One list should include links to local forums, like zikinf (France), bassic (Germany), etc.

Consider scaling the body to 95 % or so a bit like Rhonda Smith. You can't see it, but it's there. If there are any ergonomic issues, this is the place to act.

Have to say that although the text is a rough simplification (all details are not too accurate), it gives an idea of what's going on. That plastic printing is probably the easiest to misunderstand: first the plastic of the printed parts is removed. There you have a mesh. Then that mesh is put to a sintering oven. Not your Whirlpool: that requires special atmosphere, and high temp among others. The end result is far more smaller than the printed part. How to get a good, usable part depends on the parametres of design, printing, shapes, and sintering. A note: last time I checked: a set of 600 units was cheaper that a mold, but if more units were needed the mold became cheaper. Here the volume of the part was smaller than a hand. Machining is still a very good choice, if the part is doable with traditional techniques.

AM (additive manufacturing) requires lots of money or a visit to a shop that has a printer. Last time I made calculations of a machine (250 x 250 x 250 mm printing volume), and the system cost was something like £500 000. This included all premises and a storage as well as other tools needed. [Smallest machines were meant for jewelery, or dentistry (printing area Ø 90 mm), and were under £80 000. Machines I studied were from EOS, SLM, Matsuura and alike.] The big issue with printers few years back was not the price of the printer, but the quality of the result. Every part needed quite a lot of post processing. I suppose this hasn't changed that much in six years. If you can use any other method than AM, like machining, use that. Plastic printing is really different beast compared to AM in terms of a system price, the need for post processing, and cost of materials.

For me it's the neck: thickness, width, scale length... and definitely not with a maple fretboard! Then the playability (ergonomics) of the whole instrument. If there are nice details but the instrument itself sounds dull (with my preferred strings, of course), I cannot go with one. To buy without test drive... complicated. But I have succeeded twice.

That black one with a rat and five cheese balls. Second row from the bottom, beside the Heliotropic.

Even a small monitor may be your friend (it doesn't have to be bass specific). Put it to a mic stand close to you, and you'll hear a lot at low volume.

Those boards look lovely! Although I have an itch on IE, tce, and Cog, there's one rat and cheese down there, which looks totally fab! What it is? That mini board looks very playful, too. I think I could find lots of sounds from every board you have built. Obviously with passion.

Definitely not! They sound so different compared to those two I mentioned earlier: full, and authoritative. The price you have to pay is that external box.

First impressions. + very decent price €129 / £109 + the box is on the heavy side in a good way + size if the unit is decent, it does a lot, and there's space enough to tweak it + the bar on top of the footswitch is necessary + nothing special with the sound, i.e. transparent in band context + accurate and powerful, yesterday I cut the lowest end (30 Hz, high Q, -10 dB), and boosted the low end (80 Hz, middle Q, +6 dB) with success +/- consumes 96 mA (ON) +/- can be used with a battery, but not long (see previous) +/- ON/OFF can be seen from the sliders: blue is ON - overall level adjustment needs a Stompshield - the Q pots are completely black: I used a silver paint pen to get the tiny notches visible - if the unit loses power while ON, it becomes dead quiet: there's no relay in the signal path Have to try extreme adjustments to understand noise levels and so on. I just love the possibilities of parametric eqs. tce 1140 may leave this house...

I don't recall the actual numbers, but this is the ballpark: 741 consumes around 1 mA, TL071 practically the same. NE5534 some 5 mA, and an Alembic has several of them. A 9 V battery has a capacity of approx. 500 mAh. 20 playing hours means that the circuitry consumes maybe 20-25 mA. It would be only 4-5 opamps.

I am considering tce SCF to the same loop. Fretless, some flanger, slight amount of fuzz, and that's it.

antikythera and PTEQ. Have to say that I love parametric eqs: powerful and specific.

Let's see... Those specific noise gates can control attack and release. That means, they work like BOSS Slow Gear SG-1. I had one in each board, but do not need those everywhere anymore. Yes, IE Divaricator is controlling Alpha Dog (I think it is a RAT clone of some kind). The X-over frequency is around 400 Hz. Works like a dream. The cream one is a sound/noise maker: there's no real scale there, just different frequencies. So a noise maker. (Deepspace Devices - antikythera). I think the least common devices here are: - Spruce Effects - Old Growth Fuzz (under the Amptweaker) - Rochambeau Musical Apparatus - Crustacean (fuzz; under the previous one) - Onkart Gromt - Funky Fellow (under the Future Compact) - Audiospektri - PGV (under the Subdecay Proteus) - Daring Audio - Phat Beam (compressor and more; hi-Z fretless loves this one; under those noise gates)

I was thinking that the new Ibanez Pentatone should go to one of my boards, and... I thought that I collect the fx I could find quickly to check if any board modification is in need. This looks like some cleaning is a must. (SWR Interstellar and tce 1140 are elsewhere. The MIDI volume pedal [Edison?] is somewhere else, too.)