Stub Mandrel

Damn you folks, sent me onto a deep dive where I found this, which is a partial and imperfect answer. https://en.wikipedia.org/wiki/Weber–Fechner_law As a biologist I would say one reason why the ear can cope with both a huge range of sound levels and doesn't respond linearly to volume is that it has tiny muscles that 'tighten up' the system to mitigate damage by 'turning down the volume'. I looked into this in a bit more detail: https://en.wikipedia.org/wiki/Acoustic_reflex The reflex clicks in for sounds over the threshold (which can vary between 70 and 100dB). A sound 20dB above the threshold might be reduced by 15dB. A reduction of up to 20dB is possible. It takes 2-3 seconds to click in (which is why being close to drum hits is just so horrible). There are lots of subtleties. Also, it click in automatically to give ~20dB reduction just before you speak, so if you are expecting sudden bangs, try talking to yourself...

I just looked at the DFSchat forum, and they have a topic called sofas on the bass.

Probably it's urea-formaldehyde glue which can break down if kept damp and give off fumes (including ammonia) that smell like wee.

A related thing is how isolated bass with loads of distortion can sound really loud and evil on its own but disappears or at least sounds much mellower in a band context.

I know a pub with a hard stone floor, roughly 3m ceiling height and a length of wall in front of the band space also 3m from the wall behind. f=speed of sound/wavelength f=330/3 = 110. Oh yes, that room is perfectly tuned to a bass's A string's first harmonic and boy does it resonate...

That grippiness makes them an outstanding solution for neck dive. They also make the heaviest bass light on your shoulders. I have one on both my heaviest fivers.

I was about to suggest this. Bicarb is slightly alkaline and breaks down the oils and greases that make most of the smells.

I think some were jyst held on by hot melt. @Rosie C I can 3d print one for you if you dont mind painting it yourself. This is my design: https://www.thingiverse.com/thing:6675528

And then there was one?

It's partly curiosity but also something to possibly record my acoustic guitar.

If you use thumb plucking down and index finger plucking up alternately to do the octave pairs it's not too hard to keep up.

The pink ones are paisley, not flowers. The originals used wallpaper!

A little while ago I rediscovered a small bag full of components for a microphone. A high quality large diaphragm condenser insert, 1 GR resistor(!) and a FET amongst other parts. The plan was to build them into the rather nice casing for a USB condenser microphone. I never got round to it, but I just was cleaning out my bookmarks and found this: https://www.audioimprov.com/AudioImprov/Mics/Entries/2017/5/7_Schoctava%2C_a_simple_mic_circuit.html Watch this space!

If you don't need a P you haven't experienced a grumpy prostate.

That's all octave skips. Focus on just playing the one pair of notes until you can keep it going smoothly at speed, then start moving the pattern up and down the neck (think South Bank Show theme). That's where I am. My approach would be: Learn the patterns, just staying on the lowest note of each pair. Then put skips and patterns together and try the song.

The Thunder 1 on the right sounds more like a P-bass than my Precisions do.

It's not the issue he's making it out to be. The screws often lightly touch the neck pocket holes, but I've never found one where there was enough interference to stop the screws tightening properly.

Gins and Roses.

Just s thought... if you want to transfer vibration a single point contact is best, not an area, I think. An area contact damps vibrations.

P-lite

That horse boltedfiftybyears ago...

Elf literally fits in a (big) pocket. I found the speaker jack socket a bit too deep... I had a poorly engaged jack pop out twice, which is not good. Easily fixed by trimming it with a craft knife, but I suggest you check it to avoid warranty issues.

Nice amps, what inspired me to get a Terror. I've used it with an acoustic at a couple of 'wooden music' open mics.

Enjoy!

Who can forget Carol Black?