itu

I play actively in a group of 13 people. There are lots of arrangements, and songs to learn. I have relatively good timing, my ear is good enough for double bass and fretless. But it has been more than eye opening, when young pro players come to a gig after two rehearsals! OK, most have been winds, but their way of working has been very professional: only important questions, no unnecessary playing (octaves back and forth or similar), good sound, and they are always in time. Some young pro bassist would be far better than I am. But band is also chemistry. I have my supportive place in this band. And I love playing with them.

Playing SMs need quite a reach. Strap is attached to approx 16th fret in model 1 and even further away in the model 2. Not the most ergonomic approach for a half position player. Surely nice for a soloist.

OK, the ground is connected to output jack only by relying on screws. Wouldn't be my choice. You see the not connected eyelet: there should be a wire to the closest pot for reliability.

Could you please take one more picture of the jack? Does it have the ground wire soldered, or is your bass relying on screws only?

Al, Ti, Be, and C among few other materials are used for speakers, because they are light. I see lots of marketing jargon available, if any material is used instead of paper. But none is superior to others. The most important thing in speaker design is the designer, and the result. Everything else is more or less marketing. To find a good speaker requires listening, and finding the unit that pleases your own ears. If you need to look popular, then the brand that pleases your eyes is the one.

Use two frontwo/men, and they keep the competing, or quarreling.

But it totally lacks the fun of making music. I love to go to rehearsals!

Without knowing what fx are used, it is pretty hard to suggest, could you really left someting out from the board for those Town gigs. Like if you need a comp every now and then, a tiny Spectra would surely do the job.

There was a test in an acoustic lab, when I studied, so this was long ago. There was a set of hifi stuff, one CD, and three sets of speaker grilles: black, brown, and white. The listeners had a short break between "changing speakers", while only the grilles were changed. Guess what? White was slightly aggressive, brown pretty dull, and black most balanced. Aluminium! Shiny aluminium! Therefore Hartke has to be aggressive, and what were their words in the advertisements? Transient attack! (The question remains, what does it mean?)

Niels-Henning Ørsted-Pedersen (while listening to him, from the name you may believe there are two persons - jazz) Stanley Clarke (I started listening to him as a youngster, and his playing led me to play bass seriously, well, sort of) Mark King (slapping fun) Pekka Pohjola (composer) Jeff Berlin (attitude) Tom Kennedy (what a sideman!) Abraham Laboriel (sessions) Tommy Shannon (lays down that feel) James Jamerson (The Sideman) g-word players... Barney Kessel (jazz) Paco de Lucia (flamenco, incredible!) Allan Holdsworth (different) Al Di Meola (flashy) Wayne Krantz (jazz) Oz Noy (jazz and effects)

This started a while ago. A guy named "MPU" had built a headless/fretless for himself. He got bored with it, and decided to sell. I happened to see the bass and suggested that he should put frets to it. He did - and I was sold. This bass had VBT which I didn't like. I was considering making the circuitry myself (and got some very interesting ideas from these pages, thank you!), but because of my earlier experience with Mixpot, and a certain urge to get this ready right now, I contacted Mr. Noll. body: cherry neck: alder + CF HW: brass, custom made pickups: side by side humbucking Status singlecoils electronics: vol + Noll Mixpot + 2 band pre & a custom eq pot I did not want to make more holes to the bass. I asked Mr. Noll to use one double pot for B&T tilt adjustment. He actually went much further: the pot has a switch. In normal mode turning the pot CW bass is boosted and treble is cut. Pulling up the pot, both B&T are boosted for smiley eq. 80's, welcome back.

I bought my SCF in the early 90's, and it was already a second hand unit. Still going strong. The reason for low noise is that it has a compander circuitry in it: the input signal is compressed before the processing, and expanded after. Noise floor is super low. And everything is analog. The input is also special, because it can handle a raw piezo easily.

Please take a look at the prices of quality double basses and bows. Expecting to hear about you soon.

One of my all time favourites is Flamenco by Carlos Saura. 100 minutes of incredible music and musicians.

But... wasn't that a rockumentary?

I think the biggest thing here is to make people doubt, and that easily leads to nonsense, and conspiracy theories = theories created by the uneducated people. Here uneducated means someone who does not know the area s/he tries to explain.

If I lived closer, I'd be happy to check the circuitry. If only the pots, and 9 V lines are defect, the repairing takes maybe two, three hours: removing the preamp, some analysis, soldering... As said, this bass is special and should be fixed to its glory.

This guy wrote BS about time, but one single part of the western tuning is pretty well documented there. Many tuners have 415 Hz as an option, because it has been thought as a Baroque A. Several bands that play old music tend to tune higher (like 441 - 445 Hz) to sound "clearer". As you can see from the history, absolute hearing is learnt from the music heard around us. It is not (and cannot be) something truly absolute. Some people just have a better memory of pitches. 432 Hz is as good as 442 Hz. Eastern music may divide an octave to, say 31 pitches, which leads us to understand, that pitches, and their relative distances are just an agreement.

You can record something and then play it faster to reach 440. It sounds different. It is pretty hard to add an acoustic piano to your band.

If the bass is nice, electronics should be replaceable. Do you think Rob would help you with 300-series electronics, maybe?

I make mistakes quite often. If (and only if) I remember to check my faults at home, my right hand fingering is the main reason for mistakes. Even relatively slow song become much better (read: tighter) sounding when my plucking hand does less unnecessary movements. 1-2, 2-1, 1-2 is usually much worse than 1-2, 1-2, 1-2 even while doing string hopping.

If strange is in need, in a 1986 GP magazine Billy Gibbons is playing one very different creation. I do not remember the luthier's name.

A mail to Carey might be helpful, no?

Silicon grease? But not to the carbon track. Use some deoxit or similar, but nothing silicon based.