DolganoFF

To be frank, it isn't my best sounding bass, but the comfort of the shorter 32" and slimmer neck is worth it. And it is "mine"

I've built this bass 11 years ago (out of raw wood! ), then modified it at least couple of times. Still is my main bass (that is when I don't play upright)! All the 138 photos : https://www.flickr.com/photos/dolganoff/sets/72157605372018406/

If one day I find a reasonably priced 1500, and happen to have the money, I'll snatch it and do the same mod.

It's a 1500, heavily customized (added neck pickup, changed electronics.) I personally find this pickup configuration better than the 2000's, the bridge pup in stingray position makes it really useful by itself and it blends perfectly with the neck pup too. Wish it were mine

This is one G&L you won't see often (or ever!)

I've said to myself: you cannot just stare at this bass in awe indefinitely, started rehearsing sinse March, and gigged it first time last week (twice)

[quote name='BassBus' timestamp='1442595437' post='2868136'] Ouch! I wish I had a friend like that. Quite splendid! [/quote] Hey, he's cheating, these photos are 7 years old!!! I know because I am that friend

In this pile there are PCBs for two band and three band preamps and a variable frequency crossover. I've seen your topic on Talkbass with the Stingray preamps in the past, great work

Beauty! Made by Oshpark, right? I have my fair share of the "purple pcbs" too like

I buy 90% of my components from Mouser because their parts are guaranteed to be genuine, the catalog is huge (and inventory shown is up to date) and the prices are good too. They have a minimum order requirement for free shipping though (60€), but I always order enough from them to get it.

I've gone as far as ordering custom 100 log / 1meg rev log concentric pots from Omeg UK (they ask for 10 units minimum order though)!

Yep, good remark on stability, to avoid the problems I've chosen only between the "unity-gain stable" opamps, they help to stay stable even with low gains. I'll have separate volumes on the outputs so not having signal going to 0 is allright here (due to not referenced to ground gain pot). You're right on transient analysis, putting ideal caps in parallel with ideal voltage sources may be tricky to analyze for simulation software (because of infinite current at the start). As far as my experiments go, I didn't have problems with this in LTSpice yet, but I'll try to remember your advice if this thing pops up some day!

I never mind comments, anybody more than welcome C3 and C4 aren't needed for simulation, for sure, but will be with real power supply. I include them for consistency with the later production schematics... The gain pot wiring is correct (but I may reconsider if one day I'll want to be able to mute it) , the gain of inverting amplifiers can be set this way too... by the way, the design is based on state variable filter topology, widely used in synths but not so much in other instruments or preamps: [url="http://en.wikipedia.org/wiki/State_variable_filter"]http://en.wikipedia....variable_filter[/url] The output buffering will be needed only if the load impedance goes low enough to compete with output impedance of the opamps (which is reasonably low), and in the real world the load shouldn't go below the 10K (typical line input), so should be fine without dedicated buffers[b][color=#ff0000] in theory[/color][/b]. In practice - maybe not, that's what are prototypes for

To revive the thread a little The Warmoth Jazz build I traded years ago (to Warwick of all things). This bass had two incarnations, first one with Fender rosewood neck, and the second with beautiful Warmoth maple neck. The body is swamp ash with spalted ash cap.

Yep, it saves a lot of time otherways spent on fiddling with prototypes, and helps to better understand what changes when you adjust this or that component's values. What I like it the most for, is the frequency responce analysis. One exemple here (sorry, my blog is in French, too lazy to translate everything ) : [url="http://www.dolganoff.com/fr/pedale-de-crossover-variable-schema/"]http://www.dolganoff.com/fr/pedale-de-crossover-variable-schema/[/url]

I am actively using LTSpice for my circuit simulations. The learning curve can be a little steep but once mastered it becomes a great tool (and it is free)!

Maybe sand the LED a little with fine sandpaper and make it matte? This is not reversible though, I guess...

You still have three wires coming to "color" pins, just put three resistors there.

Why couldn't you?

Common anode doesn't mean you cannot have separate resistors!

Yeah, passive boxes work well enough with much less things to go wrong. I occasionnaly work as live sound engineer (you know, one of those sound guys every musician hates ). I only use passive DIs, don't see any reason to bother with en active...

Some lower-priced interfaces don't provide full 48V of fantom power (it can be as low as 18V at times). Usually not a problem with modern condenser mikes, but could be with older mikes and DI boxes, indeed. You'd have better luck with passive box...

Hello everybody Having built few rather sofisticated instruments before (fancy wood singlecuts with complicated electronics...), I wanted to go for something more simple this time. Being big fan of older G&L 1000K, I decided to build myself one (or reasonably close to). Here we go. The center of this project is a mid-90s 4 string G&L MFD pickup, I've bought two of these second hand. The body will be two-piece Moabi, furniture oil finish. The neck: I have it already, a fender-like maple fretless (bought new from EYParts in China) Chrome hardware, shaller ultralight tuners Electronics: passive, didn't decide what kind yet. So forth, I've glued the body halves and cut the contour, now waiting for free time and inpiration to continue [url="http://www.flickr.com/photos/dolganoff/12755291023/"][/url] [url="http://www.flickr.com/photos/dolganoff/12851926574/"][/url] [url="http://www.flickr.com/photos/dolganoff/12851518435/"][/url] (white goo is the glue trace, it will disapear after the sanding)