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eniac · Jul 17, 2026

That thing needs a Tinder or Hinge account, preferably both.

Wasnex · Jul 17, 2026

galore said:
But then both versions are DB 680 which leads to think that Aguilar wanted to continue with the essence of it rather than make it much different.

Not unusual for a model's tone to evolve a bit over successive generations.

johnh89 · Jul 17, 2026

I have had Roto 88 tapes on my JCB since the day after I bought it 8 years ago . Also with a supertone bridge . They will never be changed . It is the go to bass in my studio for recording . Occasionally take it out to play but its home is in the studio .

Bob_Ross · Jul 17, 2026

Tiny Tim used to carry his ukulele in a paper shopping bag; *any* gig bag would be an improvement.

tshapiro · Jul 17, 2026

hieronymous said:
Set the bar high why dont'cha?!!! Have you seen this? So cool hearing it from the master!

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I get the feeling he doesn't hit super hard. And I just love this video!

I love his message on the vid about timing. I always tell newer players that missing the pocket timing is like playing out of tune. “Play in tune, play in time”

JimmyM · Jul 17, 2026

Mastermold said:
I don’t know how I missed this thread until today, but glad I saw it Jimmy!!

Me too Ron! Thx!

Hobobob · Jul 17, 2026

NOLA Bass said:
Good luck. I could not get an answer on a refund request, nor did my credit card company. They refunded the charge.

Yup I have sent half a dozen emails to every email I can find for Kalium and have received Zero response whatsoever.

Green Knight · Jul 17, 2026

Green Knight said:
View attachment 7537477 View attachment 7537478 View attachment 7537478 View attachment 7537479E1 not B1 — NBD: due to recent neuropathy woes, I have found myself gravitating towards sub-short-scale basses … 23". The first Fingybass—pictured, second —was a real revelation: it fit me like a glove, sounded thumpy and funky, and almost never needed tuning. The second Fingybass— pictured, first — nearly never needed tuning. The second Fingybass didn’t do it for me ergonomically, and with two guitarists my band didn’t need more upper range. So I rolled the dice on this Merlos, thinking the preamp would add sustain, depth, and a certain richness to the proceedings. It really does sound like a standard bass; you wouldn’t believe it. My buddy spotted the odd fretboard sloppiness, but I can’t really tell; there’s no buzzing, and the frets are sunk agreeably into the board so that they feel really thin like in Dingwall (and not super tall as in Landing, an otherwise fave of mine). This Merlos bass sounds huge but is easily tamed so that you’re not just getting a blast of stereo vibrations. Between the retro thump of the Fingybass and the modern tones of the Merlos, I’m happy being a member of the sub-shorts. I’m selling the black Fingybass (and an absolutely beastly Serek, for those interested). I was lucky to find the Fingi in used condition, which is rare as hen's teeth, because they all tie up to three months build time and generally cannot be found in the great Classifieds sections of the world. If you're very small, which I'm not, or if you have impediments to performing a full range of motion, which I do, then this bass is worth a look: Merlos is the closest I've seen in terms of fidelity to full-size

Green Knight said:

Forgot 6-string Fingybass!

tshapiro · Jul 17, 2026

From mixing station, main mixer screen (sliders), click 3 dots in upper right. Select Scribble Strip. Adjust colors. That will adjust channel label colors and channel color.

Guitalia · Jul 17, 2026

ColBuckwalter said:
I don't agree, respectfully of course. Everything, as far as pots, capacitors, wiring, is all based on the average human ear.

You've heard great bass tones, bad bass tones, flat bass tones, really zingy stuff you play on a Ric. This is all be logical extention, what you ear hears. You may hate my tone, I might like yours, and we both might have mixed feelings about some else's. Why?

We perceive sounds differently. The ear is attuned to different frequencies at birth. Various things, as well.as the 'ol DNA, degrades that hearing over time. There are various 'drop out' points. So this is a big long near technical sort of thing is that your ear isn't mine, mine ain't his, and his isnt the next guy's.

Another point being old Fender basses. Ever hear a vintage one, stock, that just did nothin'?

Tell me why. Caps perhaps?

So painting with a broad brush, ok. But the devil, or the tone is in the details. And don't even get me started on 9 volts!

The tone capacitor, regardless of how expensive or cheap it is, is not in the guitar's signal path. All it does is bleed treble frequencies to ground. You won't find an electronics engineer who argues otherwise.

Here's a blind test. I suggest listening with an open mind. Draw your own conclusions.

Of course, there's no down side to using expensive capacitors, and, as pointed out in the video, they're sometimes more reliable with respect to offering tight tolerances. But, wide open, they'll sound the same as any other capacitor.

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SJan3 · Jul 17, 2026

Jazzdogg said:
An Acoustic Image Focus, which has spoiled me so much that I will not consider an amp that does not have a built-in variable high-pass filter; it's typically the first control I reach for to accommodate venue acoustics after I position my amp on stage.

Since Acoustic Image is no longer in business, I am looking at Mesa's Subway amps and a few Genzler amps.

Class D amps can make abundant power so affordable that I am not concerned about having more power than I need. When it comes to amplifier power, one of my primary concerns is the ability to drive a 2-Ohm load because the cabs I use present a 2.67-Ohm load to the amp.

I typically plug into a tuner, and then directly to my amp. Before I bought my Focus, I used FDeck's HPF/Pre, which performed so well that it made having "one more pedal" a non-issue.

Good luck in your quest!

I have a Subway D350. HPF is fixed at 35hz. It won't handle a 2.67 ohm load but it is a lovely amp and can get very loud with a 4ohm load.
You'll need one of the 800 watt Subways or the new Magellan 800+. It's all good stuff!
I also have a Tonehammer 350 which uses a Drive circuit that actually functions as a variable HPF/LPF . You could go with a Tonehammer 500 or 700 to get that function. Just a thought..

jglunt · Jul 17, 2026

I read most of the posts in this thread -- just skimmed the long ones

-- but didn't see anything about this question: Is there a way of looping in an extra pedal? I know there is no effects loop per se, but is there a work around to make this happen? I like my Transit B, but I'd like it even more if it was possible to do this. :bassist:

MindinAction · Jul 17, 2026

Wow, major flash on The Andalusian Dog (Un Chien Andalou).

winston · Jul 17, 2026

It's been a hot minute since I gigged on DB, but for a while I had an LR Baggs Para DI, Fishman Platinum Pro Bass DI, and Sansamp BDDI or ParaDriver.
I thought the Baggs had the best overall tone, I can only describe it as "euphonic" - everything I plugged into it sounded a bit better than through the Fishman or SansAmps. I played with a fabulous multi-instrumentalist (who spent many years in David Grisman's band) who swore by the Baggs, and the Gypsy jazz guitarist I sold mine to just loved it.

However the Fishman's adjustable HPF and compressor made it more useful for DB/doubling gigs when I had to send a signal to the house and control feedback. I like the SansAmps for smoothing out arco tone/volume more than always on for DB. This was with an original Realist, original Upton RevSolo, K&K BassMax, Underwood, and Fishman Full Circle piezo pickups, and a Schertler Stat-B.

I know I'm talking about the versions from 20 years ago, but the new Baggs and Fishman boxes are bigger and more expensive.

winston · Jul 17, 2026

A very kind soul on TB was giving one away for free locally a few months ago, I was lucky to get it and really enjoy it as my bedroom reference amp!
Haven't had a chance to try with DB yet but sounds great with my Ps, Js, Pedulla, Lakland and F-Bass!

GIBrat51 · Jul 17, 2026

Bounced Czech said:
Hi all!

Longtime former TBer here... finally got back into bass more seriously after life got in the way, only to find that I'd been locked out of the teenage throwaway email linked to my TB account (RIP Sasquatch Dude). Anyway, I've been really enjoying going through my old flatwound catalog, and thought I'd share some side-by-side soundbites using the venerable LaBella 760FLs as a sort of control. Running an '84 Fender P (with a period Jazz bridge pup mod) DI with totally flat EQ; all levels the identical; P pickup only unless indicated otherwise.

First round here is 760FL 43-105 vs. DR Legend 450-105. These are all fully broken in strings – the LaBellas are probably 12+ years old, the DRs closer to 5; all kept strung and played for years at a time. I added a SoundCloud comment on each track to mark where the switch happens.

LaBella: glossy, mirror-like finish, brick-red silks. Super easy to slide across the fretboard. Tension very manageable, perhaps moreso than you'd even expect from a medium(ish) gauge set. Tonally, it's 100% Stax and Motown... which, if IME you can ignore the fact it sounds like Stax or Motown, actually works in a staggeringly wide range of genres from country to 80s pop. Incredible string-to-string balance in tension as well as tone. Burpy, purring low-mids across all four strings, with a surprisingly crisp, glassy top end.

DR: satin finish, blonde silks. Wraps are possibly even tighter than the LaBellas, but the microtextured finish sort of alters the smoothness aspect. Tension doesn't feel vastly different from the LaBellas, but the round cores add a certain unique suppleness – I kinda dig that. Balance wise, it's a whole different game. The D and G are noticeably brighter, with sort of an airy top end, while the E and A are absolute thud city – I was surprised how noticeable that became on the pick track with The Chain lick. Overall fine strings if you're looking for a dry, woodier tone along the lines of the old stock Fender flats of the 60s and 70s, but arguably less tonally versatile than the LaBellas IMO.

Next up, I'm fixing to dig out my old Sadowsky Black Labels (the classic LaBella-made spec from 10+ years back!) I recall those being similar to the 760FL, but with the midrange bump focused a little higher up, creating more bite and growl.

Fingerstyle, P pickup, no mute

Fingerstyle, P pickup, foam mute at bridge

Picked, P pickup, no mute

Picked, P pickup, foam mute at bridge

Fingerstyle, P+J, no mute

LaBella
View attachment 7475775

DR
View attachment 7475776

Yeah, I use these flats, too. They've been on their respective basses for... well, a pretty long time.
- DR Legends. I acquired an '82-ish Kramer "The Duke" Special (with the Schaller "Twin-J" pickup) around 2010. Headless, aluminum neck, 31" scale. It came to me wearing an old - a very old - set of 50-108 GHS Bass Boomers. I loved the tone, but my damaged fingers did not like the feel. I played the snot out of the thing anyway... When they finally died a couple of years later, my fingers insisted that there would be no more rounds on that bass, so... after some experimentation? I settled on the DR SFL Legends. They're flats; my fingers like them - a lot; and, best of all? They sound an awful lot like the old Boomers did. As for them not lasting very long? Mine are roughly 13 years old, now; still going strong. And, the Duke still gets played - a Lot...
- La Bella 760 FL's. I have La Bella flats on 6 of my 33 basses, but only 2 of them wear 760FL's - and they're both short scale basses. One bass - a very cheap, late '90s Chinese Starfire violin bass - wears the FL's, primarily because they turned out to be the only strings that that verkakte thing will even begin to intonate with. Gotta say, though; they do make that stupid thing sound pretty darn good... The other bass is a 30" scale Warmoth Mini-Precision Bass, that I had made in 2015. It wore DR Sunbeams originally; they did sound very good, and they stayed on that bass until they really did die. I'd have replaced them with the extra set I had, but... that finger pain thing, again. So, I put my extra set of short scale 760FL's on it in 2017... I've been happy ever since. I've thought about replacing them with a set of light gauge GHS Precision Flats (which 4 of my other basses wear), but... nah. I just can't justify it. The 760FL's sound ... well, like a P-Bass should. They feel great; and at 8 years old.? Just... nicely broken in...
As for Sadowsky Flats? I tried a set of the Black Labels - the 1st gen ones - on my '06 Carvin LB-20, quite a while ago. Nice strings, but... sadly, not for me. The Blue Label Flats, OTOH... just what my ears wanted to hear. That 1st gen set came off the Carvin last year (replaced with Optima 4099L "Chromes"- long story), and went on my '25 Birdsong Fusion II. They sound even better on that thing, so... that's where they will stay...

smeet · Jul 17, 2026

mikeswals said:
Smeet, have you always been in WA? I thought you were in Cal.

Lived in CA for about 30 years. We moved to WA a bit over a year ago. Enjoyed CA, but loving WA!

toastw · Jul 17, 2026

That pic when you're holding it in the sun. Are those cracks just in the finish? Or is the body cracked?

vvvmmm · Jul 17, 2026

I got the "verify you are a human" pop-up, and then it worked.

Metal Sombreros · Jul 17, 2026

StevieJukeJoint said:
Any idea what bass Strzelecki used on Waylon Jennings' 1966 recording of "Stop The World And Let Me Off"?

I am pretty sure the bass on that record is upright

Metal Sombreros · Jul 17, 2026

Looks like a quality build thats been played

Metal Sombreros · Jul 17, 2026

I had a 2014 mapleglow with the binding. Neck was a fat jazz that didnt get much bigger up the neck. Really loved the feel

Stan_da_man · Jul 17, 2026

NateThompson said:
I know this is a very old thread now, but I just did this comparison and thought I'd add my thoughts.

I threw the Super Brights on my precision bass and absolutely loved the tone, although they did feel quite floppy. I love the tone however and feel like I could get used to the feel.

I put a set of the pure blues on to do a direct comparison, and they just sound so dull and lifeless. They don't give you that punch or grit or grind or anything. Just sound dead and dull. I really thought I enjoyed all DR strings the most but these dunlops might have changed everything.

I'm now about to do a comparison with daddario NYXL as well. I can add thoughts if anyone is interested.

You should try the SB Steels. The SB Nickels were not as bright as I was expecting. I tried the SB Steels and there was the brightness I was looking for.

Les Fret · Jul 17, 2026

Sorry for the late reply and thank for your audio file. Sounds good! Since this week i also converted a bass to piccolo bass. It's cool, but I prefer tenor tuning. Piccolo is much more guitar-like than bass-like. Since I play guitar a lot too I don't really need it, but it's still fun.

My EvH is a signature but it has two 3-way Q switches instead of the usual 2-way that signatures have. Also a switch for muting the preamp to save batteries.

Just posted it at the Alembic club. Here is the link: New Alembic EvH bass (with video)

BassHole1 · Jul 17, 2026

Nice body! What color PG are you thinkin'?

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