Stub Mandrel

I struggle with flats. I lije to be able to feel the frets under the strings withou needing a grip like Jeff Capes.

Most excellent!

This is absolutely true. The thing with musical instruments is that aesthetics are given great weight when they (unlike ergonomics, for example) have no practical significance. I would note that my comment on the Badass II's had nothing to do with it's benefits (I'm sceptical, especially as more sustain than I need possibly also means more susceptibility to sympathtic resonances) and simply to to question of how it can deliver more energy to the body from the string and yet rather than damping the string, it makes it vibrate longer.

40th anniversary p-bass?

On Facebook you get fed what Meta think you want. You actually have to keep rejecting things to stop them, and it will often find other ways to serve you the content.

If they increase sustain, it can only be by reducing the transfer of energy to the body. Perhaps this is why you don't find high-mass bridges on acoustic guitars, violins and double basses.

The original Badass II high mass bridge claims: 1 Extremely high wood energy transfer. 2 Longer sustain. Is there a physicist who could explain the mechanism by which transfering more energy from a vibrating string to the body of a bass guitar causes it to keep vibrating for longer?

I didn't even associate Sapko with an accent, In my head he was American... No, it was his "prompt a reaction" videos on Facebook in a style I find irritating regardless of the subject matter.

I don't doubt your honesty, but a friend who imports machinery has many examples of 'unused' features that must have been broken or wrong when the item was sold years before... 12 months is a fair time for people to be certain a product works. That said, it should be possible to explain this to an upset or frustrated customer and remain polite.

Possibly meant to indicate the level in dB? But relative to what... plus a true dB volume control is not silent at zero...

He's even more irritating than Davey 504!

My comment was light-hearted, in particular bass speakers are usually made with fidelity in mind. Guitar speakers are expected to 'break up' or at least strongly colour the sound when driven hard.

Yes, but tell that to a guitar player...

Check out his profile on Soundcloud, it's examples of his session work. Not flash, just very accomplished. You can criticise his YouTube if you wish, but don't assume he can't do what we try to do.

I think we should (1) be clear that @jazzyvee is very much a pro and (2) his post was a reaction to a response to his rig when he posted it on Facebook, he already concluded the port would be 'devoid of many frequencies' and wondered why anyone would want to mike it up.

Yes and yes. He's in at least two gigging bands, unlike many YT 'influencers'.

There can't be a right answer, because of different genres, playing techniques and styles, different basses and simple personal preferences. For me, my Orange Terror suits the music I play, and must score high on practicality, but I can see it not being other people's cup of tea.

I'm easy with either option! Have we ever considered setting aside an hour for an 'open mike' style session? Do wd have a drummist/guitarist...?

There's no reason to put up with a pirima donna, especially as there are decent guitarists desperate for a gig.

Did you play 'at the hop'? I'll get my coat...

This is a very interesting thread. Reality is, so many gigs are not on nice stages facing out into spacious auditoriums... We have a situation where pa is the BL's dad's hobby. So we get lots of PA in tiny venues. We don't get told to turn down and generally the feedback on sound quality is good. I don't know settings used. The PA is @Bill Fitzmaurice' pet nightmare - mackie with tops on sticks out of the subs. (High end mackie not 'thump'). Personally, I think we would be better without subs in pub gigs, actually I wouldn't di my bass as I have to keep my volume right down so the PA has some function... similarly the guitarist has a power soak on his 50W Marshall and effectively runs it at a handful of watts. He has tried going ampless, but wasn't happy with it. For his style overdriven vales are the way. In the pic below I could barely move around and with my cab up on a bench seat behind me and a cab by my head I had some very odd intermodulation effects that had me convinced I was in the wrong key a couple of times. I would bring a tiny hybrid 50W head to gigs like this but it has no di out. The alternative is to go ampless and just use a di box, but I would still need a monitor which is all my rig is functioning as in this situation. Larger gigs, my rig basically provides missing top end as I usually get a bass heavy pa sound that doesn't suit a three piece... If I'd have been setting up the PA, it would gave been two tops with vocals (there would have been space for me to gave a mic) and also snare and kick. It's almost always worth miking these even for small gigs if you want people to dance. Contrast with my other band. Similar size venue but more space for the band. Four vocals through the tops, nothing else. Everyone happy with the soundalthough I felt drums and vocals were a touch loud.

Very interesting. Below about 40Hz the driver would appear to be acting against the port, presumably due to the phase shift. Thinking about it that would be expected...