Chienmortbb

Yes but amplifiers supply WATTS to an impedance.

This is almost correct. If we assume that both amplifier amd speaker are substantially linear, then the correalation between watts and SPL is also linear. As we approach the limits of either amplifier of speaker the linearity can reduce.

To be useable you need 16 ohm drivers which will off 5.33r ohms to the amplifier. Actually sounds a good idea.

Mackie Tops are also far from ideal. To be fair I am talking about the Thump series and I have not come across a more overated (power wise) or poorly designed product, but then I don't get out much.

The thing is that the impedance is probably the problem. It is likely that the cabinets drop below the minimum impedance that the amp can handle at some of the peaks at some frequencies. I agree that using one channel to each cabinet would almost certainly solve the problem. It would give each channel an easier time.

I had a Sound City 100W head with two 4x12s in my yoof. The sound was glorius. There was a depth too that you cannot get from a diddiy combo. I particularly hate the sound of a Fender Combo with a Telecaster on te bridge pickup.

@JohnDaBassFaital Pro are great drivers but be aware their XMax figures are measured in a different way to most companies giving a more favourable result. You can also over spec a speaker. @stevietold us of a driver he had tested that looked great on paper. Despite modelling well it was not as good as another driver that looked worse on paper.

When you look at @Phil Starr's 6" cab it seesm PJB have missed a trick. Adding a lightweight amo to the PSB6 (Phil Starr Bass 6") woiuld make a real mini monster. Good for home practise and small gigs,

From memory, the DP122 and DP123 make up the P/J set sold as the DiMarzio DP126. I bought a set from @Doodand I love them. I did this with the Di Marzio when I installed it. Seemed to suck ALL the warmth out to me but YMMV

Or both.

I had an old Hofner Guitar that had flats on when I bought it, No string noise, hardly any noise at all. They were used a lot by Jazz guitarists (is that word allowed?).

I cannot see the point of flats on Js or 'rays but then I can't see the point of Js or 'rays. On a serious note, their are two reasons for flats, smoothness of the string and that old school sound. I suppose you could add wear on a fretless. So although less useful on StingJays, they do have some merit.

The box would consist of three speakons, one from the amp and the other two to the speakers. However the cabs would be wired in series, presenting 8 ohms to the cab. That would reduce the power output but adding the second cab might mitigate that.

I have tried them and while not amazing they are perfectly fine and as good or better than some name brands. Made in Korea http://olympiakorea.cafe24.com/wp/?cat=59

Th rear strap pin is the answer. Move it up for neck dive and down otherwise.

Tort as in Law, as in a type of tart or Tortoiseshell? Either way a bass with two single coil pickups is both an abomination and the equivalent of dancing on the grave of St Seth Lover. This is not tghe Den of Iniquity thread.

Yes especially when the bass is sub £300.

Damn you. I was only going to change the machine heads on my new bass but now I must look at a new bridge too.

Now on a serious note, I hate the zingy sound of new rounds and love the smoothness of flats. I don't like extra tension from some flats and found Fender flats in particular to go dead on the E string very quickly. Sadly even with D'Addario making Fender Strings, the flats are still not good. I hate string noise and have a set of Rotosound Nexus about to go on my Aerodyne. I don't know whether the coating will help with the finger noise. I suppose I should try the EB Chromes and some TI Flats at some point but that is close on £100 and almost two cups of Costa Coffee ( OK yes with a panini)

You naughty boy trying to revive the Tonewood wars. Just to help I will add some accelerant. The species of wood is not important.

I have noticed that a lot of boutique guitar makers are now using them too. In my experience the biggest improvementwith the feel of a bass is with the machine heads. When I put Gotohs on my Aerodyne it made a great bass even better. When I put Wilkinsons on my Samick Greg Bennett it was better but not as big an improvement as replacing the stock Fender Machine Heads on the Aerodyne. However the big issue with all machine heads is that the E or B strings were more difficult to get in tune than the higher strings

It can't be money saving as the costs always seem to equal or exceed the cost of a commercial offering. However that feeling it gives you is worth every penny.

The range at Crimson includes oil based fiinishings that are superior to Tru Oil. They also have a number of other options and are made in the UK. Of course that does not help if you are based in Canada.

Beware it Is addictive!

I should probably let @stevieanswer this but I well remember the long and detailed discussions about the benefits of various port configurations. to precis, flat sided ports work less well than round ones and a single large port works better than multiple round ports. Round ports also allow for fine tuning.