itu

But Mick Karn's was something uncommon, wait... tulip. Wasn't his bass a one off, because of that wood?

I downright love that wood!

I have old Js in my 5-string. Dark, full sound, which I really like. If you are after some zing and snappy slap sound, try something different.

I have to say, that most of the basses mentioned here weren't good for me. Biggest issue were those necks. A neck has to be wide for me (19 mm spacing). MTD is kool, and Kingstons are affordable. Mine is an MG Genesis, but from the same Michael's drawing board. Could be a tad lighter, but a stable neck that is wide enough was the thing. I also like humbuckers, but 2xJ is OK.

I would suggest an An ABY*, that is. Two signals in, one out. Mechanical switch. Some have LEDs, too. I think prices start from £20 or so. *An ABY box, or an abyssinian cat

@tubbybloke68, is there any chance to get a picture of that fretless? That top looks good.

OK guys, was it Buzz or the new ID7 Tourer?

Once we were asked to play in a flat. No worries, we loaded cars and drove to unload our stuff to a living room (which was modern, and quite big). That eve we were 3 singers and 8 players, and we (and them) had some very good time. Afterwards they told our keyboardist that they were amazed of so many people carrying PA and other stuff, because they expected to see a trio.

Most of the covers are made of GBP (good black plastic), use any file or sandpaper. Glossy surface requires very fine paper and some polishing, if necessary. Matt is most likely OK.

Do it with four beat first. Walking is much easier after that.

Should the RSD be March 3rd for LPs? Optionally February 2nd, and 14th for singles. For older music March 19th? (33th, 45th, and 78th day of the year. Yes, I excluded 16 rpm records, as they are so rare.)

Dear @Bilbo, Your work is super, and sharing it is very generous. Thank you very much.

34" Quantums have 26 frets. They do exist but are rare just like wide neck 5s with 19 mm or 21.5 mm string spacing. TBX = through body experimentals are even rarer.

Was it 1818X that had 10" and 18" elements in a box that was downright impossible to carry? Not only was it heavy, but the handles were in awkward places. A friend of mine had one for a very short time, like few weeks, and few gigs.

What are good books/lectures about piezos that are hopefully available, too? I understand basics, but a deeper dive would be of interest.

Have to say you are brave to heat the magnet, but as the temp was low, all good. After the Curie temperature the material loses its magnetic force. This varies a lot from material to another, but usually several hundred degrees Celsius in iron based magnets.

Why wouldn't it? Yes, it works.

We had a wedding gig on an island. Long story short - this was before mobile phones - band mates figured out what had happened and called all islands with restaurants nearby. A boat came to catch me, and I just managed to be in time on stage.

That ramp may be a good place to mark pickup heights. I do not use those, but if that helps someone, go ahead.

Peruchin, Esquivel... older recordings from say 30's, 40's, 50's.

Broken English.

1) True in a closed box. The problem is that if you want to produce reasonable loudness, you have to push the eq to reach lower frequencies. That equals lots of power and driver excursion, both of which are always limited to some extent. 2) Not true in a reflex box. The cabinet cuts lower frequencies very effectively after the tuning f. The driver simply cannot produce any feasible loudness under that. The element acts like it had no cabinet around itself. A HPF (high pass filter that cuts lower f) is your friend. You have better power reserve behind you, and handling noises are limited. Win-win. ±3 dB is very strict, and suitable for HiFi stuff. I might use ±6, or even ±9 dB limits when we talk about PA systems. HiFi is about flat response, PA is about power. (That's why I hate the term FRFR, which is somewhere between flat response and power, but I think closer to power.)

A lesson maybe just too strict word here. First of all, we all learn stuff that was played and performed before us. In our learning phase we listened to the others and tried to imitate something that already existed, "standing in the shoulders of giants". To me this "lessons affect you and your creativity" is - sorry you all - pure BS. A teacher can offer you tools. It is true that if your tools are limited, your style will be limited, too. But - and this has been here many times - learning to use your tools gives you more possibilities to express yourself. I have met very few people who can create original music. No matter what I can still hear the giants behind them, because we use the same scales and tunings after all these centuries. Listening to modern music or very old music can open up ears to understand the evolution of music. I'd say original choices are very rare. But listening to the music in a scale of centuries gives good understanding, why we play today like we play. (And no, bass is not a g-word, or violin, and its predecessors have had many strings, and frets and so on. That "Jaco needed four strings" nonsense is just BS. And Dragonetti needed three.) After being in music schools for two decades since the age of 5 years, I still struggle with bass. My technique is far from perfect, my speed comes from Mediocrates, theory I know basics and a bit more, AND I feel my limited abilities to learn anything anymore is frightening. In the bands I play, I try to join the community, and give the best I can to the music. Every song gives me the opportunity to learn something new. Once again: In terms of expression, those tools help me to make that song mine.

There are even slap frets up there.

20 Hz - 20 kHz is the average. I heard about a person who has reached 37 kHz in tests. Like @Bolo said, an old fart like me may have issues reaching 10 kHz. Small venues and loud drummers have done lots of harm to my hearing. But: far more serious is to lose the 1 - 5 kHz area, because that is the critical area of speech recognition.