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I think I’d go with a passive P5 (possibly with flats), an active/ passive J5, and a nice fretless 5. If you play upright, maybe you could get away with ditching the fretless, but I’d prefer both. It’s certainly nice to have more, but I’d honestly be able to do any gig with these.

Assuming swing/ traditional material as opposed to more beat oriented, a 12 or 15 inch combo would be more than enough IME. Don’t sweat this too much.

TIs are wonderful on my Stingray 5. Takes away the brittleness of the 3-band EQ. The low B is a .136 and matches up nicely with the .100 E. I do substitute the stock .070 A for their extra long scale .072 though. A subtle difference, but well worth it to me. I had retired this bass from "main...

I didn’t read the whole thread, but I’ll give you the definitive answer anyway. The bass is what it is. Physics. The string at a given pitch, at a given scale length does what it wants to do. If we assume that you know the basics of a setup (hint: near flat relief, minimum string height 1/16 G...

Looked into the LTFs now. I guess they could work for a four string, but the low B is far too light. This is one thing that TI got right. The Jazz Flats low B is very well balanced to the rest of the set.

I’m sure the LTFs are a great string, but I must say that the TIs feel and sound fantastic for me now. I couldn’t have used them with the stock A, though. This is for my Stingray 5. Maybe I’ll check out the LTFs on a P bass.

I guess one could weigh the two different strings to see if there’s indeed more metal in one of them, but I’m not that crazy ... ;-)

Two things: The 36» scale thing is irrelevant as far as I can see. I’m substituting a 070 for a 072 at the same scale (34»). I don’t have the formulas in front of me but there is a difference. About two pounds or so IIRC. If You’re attuned to these things that actually matters. There’s also a...

I’ll see if I can make a measurement, but like I say it fits a standard F style instrument just fine. Tone is far more even with the other strings and the feel is almost there. I’d say a couple of pounds more tension than the 070 A. I think a 074 or so would be even better, but the 072 is pretty...

No, not really. :-) The only thing is that the silk on the headstock end becomes a little shorter on that string compared to the others. I could possibly see an issue with a 3/8» tuning peg, but with the Fender size it works great.

Since all shows have been cancelled indefinetely due to the Corona virus, I have a lot of free time on my hands ... I have had an issue with the otherwise fantastic Thomastik Jazz flats. The A string is very unbalanced with the other strings IMO. Both in terms of tone and feel. The somewhat...

They are phenomenal.

I did this exact thing today. 34» scale Spector Coda 5 with my custom Newtone string set. (A 142 exposed core low B). Worked wonderfully. If I was keeping the bass tuned that way permanently, I’d up the gauge a bit more. I highly reccomend Newtone strings, but I’m sure a set of D’Addario...

Jon, thanks for responding. I understand what you’re saying from a marketing standpoint. Physics is physics, however, and I honestly feel that you’re implementing the correct mechanics G-E but stopping short on the B. Offering a heavier option as a single, even if it doesn’t sell particularly...

May I ask, and this is with the best intentions so please take it as such! What is the thought process behind this? I mean, you have gone to great lenghts to make what I expect to be a PERFECTLY balanced 4 string set; you’ve even tweaked the formula of the G. Why would you stop short of the low...

A 135 B is (barely) sufficient for standard G-B tuning, I kinda agree. 140-142 though, assuming a well made string is a lot better. I’ve had custom sets made for a while now, and absolutely no problems with the B going dead prematurely. With some of the «factory made balanced tension sets» I’ve...

Any chance that we could coax you into offering a heavier B-string @Jon Moody ? A 140 or so? I’d be happy to buy it as a single. :-)

It’s quite OK if you don’t get it. It really is. :-) Strings etc. are things that a gigging player is expected to bring. One of these adapters or adapter cables is not, and a simple redesign to follow conventional wisdom would make it unneccessary.

I absolutely love my BB800, and even though it’s not ideal to have the XLR out post master volume, in real life it’s less of an issue than one would think. For me. Let’s say that the amp has two quirks: Post master volume DI out, and only one Speakon out. For some people one will matter more...

Try bypassing all blocks on the AX8, and see where that gets you. Then add one at a time to figure out which one cuts your lows. If the Fractal still lacks low bass, something must be wrong.

The 28 will definetely keep up with a conventional 4x10. No question about it IME.

What curious argumentation! Noone is discussing whether 40 Hz is faster on one speaker or the other. As you well know, that is impossible. We’re talking cone control. Motor strength vs. mass. Pretty simple, really. As for you being content with a used 1990s 4x10: Great! It’s absolutely a valid...

Last night I did a corporate event. The loudest drummer I play with. As in really good, and really loud. This was in a long concrete bar/ club. You know the kinda room that swallows up some bass frequencies, and accentuate others to make a boomy but still kinda thin mess ... Two MAS 1x8 cabs...

I’ve searched the web, but can’t seem to find an answer to this: Which of the current Bart PJ sets is the closest to what you’d get if you bought a Bart set in the early 80s? Also, I’ve read several places now that in the original series set, the 8s P-pickup is the one to choose for the best...

And a nps roundcore too, for that matter ;-)

@ApexStrings Would you please consider making balanced tension sets? It’s the only way to fly ... :-) A SR2000ish string in balanced gauges all the way down to the low B ... Take my money!!

Get 2, possibly 3 MAS 1x8 cabs from Mike Arnopol. No, seriously.

I’m heavily into the balanced tension thing, and like this a lot. I just don’t understand why GHS stopped the balancing at the E string. The low B is far too light with these sets. (About 10 lbs lighter tension IIRC) This just doesn’t make any sense to me.

I might be wrong, but I think I hear a tiny bit of resonance at the LPFs corner freq. meaning that it kinda lets thru a little more low treble than you'd think from the specs alone. Very usable, and with a little treble boost gives me a top end that reminds me of a vintage Acoustic rig. For...

This was my concern before buying the pedal too. I'll say this: I still feel that at 45Hz a steeper slope would make more sense for bass, but the HPF actually works anyway. The LPF is really great, it gets you into old school territory instantly. Is there room for improvement? Sure, but on the...

OK guys, would you try this: boost the hi mid band all the way. Can you hear a difference between 7 and 8 o' clock on the frequency pot?

I'll update this and say that it worked great. I play a weekly gig at a small/ medium club. The house amp is a Markbass 12" combo. We run into a quite high end PA, and the stage sound is pretty well augmented by the subs. I've never had the stage amp sound this good before. I bypassed the...

I could measure it if you'd like. I'll see if I can find some time thursday. I'd be surprised if I'm wrong, but it's not the first time either ... Anyway, good job on the EQ. I'm on my way out to a gig. I'll try running into the house rig's FX return, and DI to FOH.

I bought one, and have put it through it's paces for a couple of hours. It's well thought out, and the Q values are musical. The fidelity is good, it's noiseless and works as expected. So far so good. I noticed that the frequency knobs for the two mid sweeps don't really do anything between 7...

I know! I use your DE-CL. :-)

Excactly my point. 20-24 dB of compression in the same instance, almost never sounds good or natural. Yet that kind of GR is not at all uncommon. The result can sound quite open and pleasing anyway, done right.

No, convincing people to do the test is not the problem. Validity, methodology and accountability of such a test are. Those of us who have studied a little bit of scientific theory know that. You can disagree all you want, and claim a scientific viewpoint, but there just isn't anything to...

There is nothing unusual about a two compressor setup. Very common, in fact. Series, parallell, multiband, all have their merits. A lot of this is more useful in the studio than a live bass rig, but it can work great there too. Try it!

To go about this "scientifically" as you say, is a lot more complex than you might seem to think. I agree with Frank, who knows a good bit about the subject I might add, and really have no interest in such a test. I know the answer already. I'll just mention a couple of other things that seem to...

There's no way I know of to get a vocal to pop out of a modern radio mix without using several compressors in series. Perhaps even a multiband on the vox buss. Parallell compression helps too, sometimes. I always track bass with a little compression, and add more (usually in the box, but not...