rmorris

All good advice on here imo re loctite and bridges etc. But...have you thought about replacing the grub screws themselves ? I'm not certain about grub screw tolerances but with machine screws there are at least three degrees (make your own musically related comments heer 🙂) of tolerance - basically loose / medium / tight. Standard default is the medium but tight may be an option if available. alternatively it could be a loose tolerance thread in the saddle.

Anyone know how the "Classic Chorus" differs from the "Analog Chorus" in the Horse pedals ?

As PaulthePlug says - try the fretrocker thing first to check if the issue is with "Fret Number Three Please". If that's okay then go to the truss rod. Turn it to the left (as you look at it) a tiny bit, leave a few minutes, test, repeat... What bass is it ?

Good deal of truth there. Although I'll add that if a pickup isn't "getting" some frequencies in the first place then that does affect how you can process the signal. Typically you can hear this with a passive "P" pickup vs a passive "J" type, where the "P" type doesn't give you the top end frequencies of the "J". Additionally "hot" pickups - ie more windings, more inductance - will tend to have a more restricted frequency response. Beyond that there is noise immunity (or lack of) to consider. fwiw I put a Warman MM type into an old Ibanez ATK200 where the original pickup had become very microphonic when tapped. Works fine with good tone.

Yes - widely used in bass and guitar amps. Either in terms of jfet input opamps as paul-5 has said. Or as discrete jfets eg classic Trace Elliot preamps (not sure about later stuff) but much of the Clive Button stuff. Apart from the overload / distortion characteristics - they are well suited to passive Hi-Z pickups since they tend to have lower current noise than bipolar solutions - and so develop less noise with the resistance of the Hi-Z pickup. For Hi-Z pickups this is basically more important than the voltage noise where they are worse than bipolar solutions. Unfortunately the lowest noise jfets are now difficult to obtain eg Toshiba SK170 and associated dual jfet are obsolete. Equivalents are manufactured by Linear Systems - LSK170 / LSK389 - but purchasing and availability can be challenging esp for small quantities. fwiw similar applies to the lowest noise bipolar transistors that were originally produced for the mass phono pre-amp market and are now discontinued. On the upside the classic TL07x and LF351 jfet opamps have been superseded in performance by eg OP134 etc.

The thing with ECAD software is that different people like different approaches. And Library Management is a big factor once you get beyond simple circuits with ready made generic 'parts'. KiCad has quite a following including some people doing top quality audio stuff. EasyEDA is worth a look. Cloud based. I know someone who does Arduino utility boards using it and sells on eBay. DesignSpark 'from RS' is also worth a look. Same design house that produces the low cost EasyPC and more professionall Pulsonix. Also Altium Circuitmaker worth a look - note that the default with this is that content is shared with other users although you can have five 'private' projects I believe.

re ECAD software are you looking at freeware/shareware ; low budget ; or 'professional' ?

Or lose the wire wool and go with the lightest duty Scotchbrite ? https://www.3m.co.uk/3M/en_GB/p/d/v000056473/

Do you mean they don't sell Delano - in which case does that matter since you are supplying the pickups yourself. Assuming they offer tech services independent of product purchase ? Or do they simply decline to work with Delano parts for any reason ?

You've left a loose G in there !

On this topic in general. For a 'DI' you really need to define what you are looking to achieve. The use of the term "DI" has expanded to the point where it often refers to a "preamp" with tonal / distortion controls that has a balanced low impedance output. A "Pure DI" typically simply converts a high impedance and/or unbalanced output to a low impedance balanced output. Output level is traditionally 'mic' level but not necessarily if the DI box has active electronics. Bear in mind that using a typical DI into a typical mic input of a desk doesn't give you the same high input Z (eg 1 MegOhm) as many amps and pedals do. So running straight from a passive Hi-Z pickup into a passive DI can be an issue for tone and sustain. But that 'sound' is sometimes favoured.

Not with fx chain pictured in the OP I think. Could do with envelope filters / synths etc... Two different things really - attenuating subsonic "thumps" from the bass itself and clamping down on excessive low frequencies generated in the signal chain. You can use more than one hpf as appropriate. Bear in mind that some amps have a built in hpf at the input and some don't.

Really depends on the compressor. If it reacts to the low / subsonic frequencies that you don't want then you end up with excessive compression and also eat up the dynamic range.

Well sort of. It's not directly the time taken for signal transmission. Primarily the problem with longer cable length is capacitance. The longer the length for a given cable the greater the capacitance. This effectively produces a low pass filter and eventually the USB driver can't drive the cable effectively. In digital comms talk this is related to the "eye pattern". There is a minimum standard for a given USB spec' but in reality a good cable can be used well in excess of it. "Good" in this sense primarily means low capacitance per unit length. A useful approach is eg to use cables rated for USB 3.x even if your running USB 2.x Interference is also a possibility so a better screened cable is an advantage. Some of the cheap thin "giveaway" cables are poor in this regard. A well screened cable is likely to be thicker than one with poor screening and this also points to lower capacitance (as screen is further away from the conductor cores) so it's all good. Termination / Impedance matching and reflections are also technically relevant but that isn't really within user control. And you need to be using really quite long cables for them to be an issue. Just don't fall for the "Megabucks" gold plated connector hype 🙄

Result will depend on whether it's a linear pot or has a taper ?

Note that the Behringer doesn't run off phantom power in case that is a requirement. Apart from that it sounds very much like the "old" Sansamp BDDI (no Mids Control). Like the Sansamp it will 'Scoop Out" some Mids by default. That sounds good to some people whilst others don't want it. If you're into 'DIY' then it's possible to switch this out of the circuit . Similarly with components providing in-built "Cab Simulation". I have both BDDI and BD121. I'd say that it's harder to get what imo is an "unusable" tone on the BD121. Similar circuit but different OpAmps. I'm not a fan of massive "my speaker sounds torn" distortion and wouldn't look at these as "Distortion" boxes. But with moderate "Drive" they give a convincing "Amp Sound".

Reflow/Resolder joints. Clean all connections - I recommend DeOxit followed by IPA (not the beer !) Squeeze any PP3 clip - to ensure a tight fit.

No. The string tension required for a given frequency is proportional to the mass of the string. The mass of strings with the same gauge may differ (albeit slightly) due to different string construction - core size / wraps / material etc. So actual Tensions can be different as well as compliance.

re " I have tried shimming the neck but this resulted in a terrible clank from the strings which was worse. " Something wrong here. What was clanking ie what was the string hitting or interfering with ?

I'm just giving this thread a thumbs up for the title wordplay...and for being from the Brighton 🙂

Out of interest - what is it about the Barts that your friend dislikes ?

I have a "P" version of these. Not yet fitted to a bass. But they are intended for a Westone Thunder bass, They are too big for the cutout but resolved by removing the Entwistle covers and replacing with the covers from original covers all is good mechanically in that respect. Depth remains an issue - that's why not yet fitted.

Good idea. Can you post on this thread when that's available on the site so we don't forget and miss it.

Basically yes. Same sort of thing as when you can get better radio reception by putting your hand near the aerial.

The noise going away indicates that the bass itself IS 'grounded'. But the screening of control cavities etc may not be good enough. A pedal with gain may amplify (literally) the problem. Another possibility is a break in the cable screens or power grounds. It will still 'work' but is likely to be more susceptible to induced noise.