itu

True. And I really get your point. I do have three fx boards, individual pedals, and rack effects among others. But in a case, where fx break for any reason, there's always the possibility to use what you got: amp can be overdriven (at least mine can), eq is there... and your fingers. I am not a soloist. My sound is just one part of the equation, and band mates can help in a case of an equipment failure.

Sometimes I go to rehearsals with some bass, a tuner in the bass bag, and cables. Then I try to make the bass sound different simply with my fingers. Singing, long motes, thumpy short ones. Once I went to a fun gig and the bass had only ON/OFF switch, so I had to play everywhere around the bass to get different sounds. Try it, you'll like it.

This bass was painted: 1) there wasn't a matt black option, but trans red, natural, and there was a third, like trans black, maybe 2) the missing truss rod cover screw holes are painted over Original pickups had similar Status text in them like in the bridge. These do not look like originals. The electronics had a simple treble boost (I think it was a Status circuitry), vol and blend. Centre detent on blend and steps/clicks on vol (and treble, too, I think). The fretboard is phenolic resin. See the waves.

Oleta Adams, Basia Trzetrzelewska, sweet Anita Baker, Vanessa Williams.

Stuart's version of Sonata quasi una fantasia. Original is in C flat minor. Contessa Giulietta Guicciardi is connected to this song, although not by Beethoven himself.

Bass: Tony Campo. Chorus is pretty active.

Very good! I added that note to the end, because I tested a variety of comps (and distortions) a few years ago. An eye-opening exercise and experience! After changing - by accident - a bass to another, I found out that the putput impedance seemed to play a role in the behaviour of the units. I even tried to do some leveling of the signals to rule that out. The level sure has an effect, but so does impedance. I tried a looper to keep levels steady - yes, but looper's output is lo-Z. Bass specific tests showed different behaviour.

It's here again. Lead does not produce those fumes. No. It is the resin. Neither is it healthy, but fumes definitely are not lead. Pb: melting point 327.5 °C boiling point 1749 °C

63/37 is lead tin, and very good to use. I certainly would use that. If you think it's too thick or thin, use accordingly. Save that roll for later use! If your iron is weak, under 25 W, pot casings may be hard. First file some corner to shiny metal and it is slightly easier to solder. I still suggest a +40 W unit to bigger metal parts. (Modern lead-free, like copper based ones need higher temp, and are far harder to use.)

You want to separate them completely from each other, you need an active blend. But vol down sure is enough in band context.

I think you need to test your configuration first. If the comp is the first in line, it will lessen the dynamics and the rest will follow. It's not obviously a bad thing, really depends on your sound, and what do you want from it. If it is the last in line, you can use the dynamics from your fingers, and push all effects before the compression. Some effects like dynamics, like envelope filters. An octaver may love or hate a comp. Once more, this depends on the dynamics and noises created by fingers... check the placement of the comp via trials. (A note: there are hi-Z ["passive"] and lo-Z ["active"] basses. My feel is that comps tend to act differently certain bass outputs. I have boards for hi-Z and lo-Z basses.)

Don't buy anything before reading something about compression basics: what the parametres are and how they affect your sound. I doubt many just buy one and turn those knobs without any idea of what's happening out there. Sound on sound has good articles, and ovnilab is still one great resource.

In short: if it sounds good, don't worry. There are too many useless tonewood discussions already. And to measure the changes, where's the equipment and test environment needed? Exactly: nowhere.

Do you think that changing the screws from mild steel to acid proof or brass would make any difference? After all the sound will use the bolts, too, to transfer the sound from neck to body and backwards. The key thing here is tight connection. Come on, I really would worry about say, climate over a credit card shim.

An interestung double exposure.

Do some trials with an amp, and use a rotary switch for the best sounds. Single or parallel tend to sound pretty close to each other.

Pot is such a simple unit that Alpha may subcontract them from some external factory. But Alpha isn't like plastic track Bourns, or cermet Vishay. Just plain carbon track.

One bassist extraordinaire that plays piccolo basses (among everything else) is Brian Bromberg. I tried a piccolo set in a Kramer Ferrington, and it was actually pretty decent, but so high I sold the bass to a g-word & bass player.

The whole band is something like from 1k to 3k depending on the gig. An established company will be charged more, some small weddings less. I don't think I will (ever) leave my daily work. (Note: Price includes PA and lights.)

Actually I wouldn't care about the amps at all, though here they gave a hint of what's behind. We played unamplified every now and then to find the sound of the bass itself. Delicate stuff. If you already study Simandl, you need a young, but advanced student from some music school, or a seasoned teacher - from the same place. School's office would be the first place to try. They usually know both teachers and students who are interested in external pupils as well as some extra money. Lessons should include playing, theory, maybe even some history to understand what and why. Why do we use scores and notation, and what hindrances there are (starting from sounds). Material doesn't have to be easy - if there's song you do not know, try to get an idea by not listening it from tube or spot. My teacher once gave me a George Duke song I didn't know at all. It became a real mess, but also a good place to check my level of understanding of the paper. And Standing in the shadows of Motown is a great set of book+CDs: rhythms, melodies, feel, sound... if you don't have it, buy one. Some basic stuff: - intervals (relate these to common songs) - major, minor, harmonic, melodic scales - chords (maj, min, dim, ±5, 7, maj7, ±5...) and patterns on the fretboard - circle of fifths - Musescore or similar to write music (can be done by handwriting, too, but you will realize pretty soon all the positive extras of the SW including playback, and transpose)

Sometimes a fretted sounds so much different that I make the choice soundwise. May require different fingering, but as long as there are possibilities...

Fernando Saunders hasn't been mentioned, yet: Lou Reed, Jeff Beck, Jan Hammer, Heart, Pat Benatar, Special EFX...

Yes, please. (Sly & Robbie are one of my all time fave rhythm duos: not all notes, just the right ones in right places.)

I have fixed a few. The biggest problem is those metal stripes that make contact to the plug. That material tends to be soft, and will get loose in time. Slightly more spring like material would work better.