itu

Start with a good cartridge. I prefer MM, as you can change stylus. If the turntable is steady runnin', you need think about the options: - speeds 16/33/45/78 - automatics (record size [7/10/12"], end stop, fully automatic...) - pitch adjustment is sometimes nice if you play along with records in standard tuning If your collection is LP/EP/singles, a simple 33/45 turntable with end stop would most probably work very well. Buy a good antistatic carbon brush! And I hate dust covers without decent hinges. 78 rpm records would benefit from a special needle and cartridge.

OK, I studied acoustics and electronics in the university. Worked in a broadcasting company. Did a digital audio and video testing handbook to the service personnel in the company with some help from BBC, as well as wrote a short handbook about MPEG-2 in the 90's while very few of you had even heard about audio coding or audio codecs, like MPEG-1 layer 3 (MP3) which is included in the MPEG-2. I may understand sound and perception a little bit, thank you.

Vigier Passion with: - carbon neck - 5 string wide neck (the same spacing as the 4) - 4 string size body - lightweight (as I already own a 4 string Passion, double these with Delta metal fretlesses)

Let's put it this way: 1) I want to change volume and volume only. Not tone. 2) I want to change treble and keep it that way, no matter at which volume, or blend setting. List goes on. If any adjustment affects other adjustments, it does not work right. Tonal flexibility means that I can rely on what is happening when I dial my sound from the bass. Would you buy a mixer where changes in level and balance make changes to the equalizer? [If "passive" means £5 parts (excluding pickups), and "active" means £10 tone stack and a £2 battery holder to the bass, me want more. A. Jackson removed all sound degrading components between the pickup and the studio board for reason.]

Beautiful hands!

Paint pen, nail lacquer... extra resistor in series with the LED. A trimmer would let you dial in the right amount of light.

The point is that with the buffered mixing you get the sound of individual pickups, not their electrical interaction. No matter in which position the pots are. I see too many variables in hi-Z blend+vol, and the tone on top of that. EMG has a few circuits of which the cheapest are just pots. But their systems include active mixing, too.

As long as the blend and vol are hi-Z, they act as tones, because of their nature. That's why I love Noll Mixpot which has buffers and level adjustments for both channels. Pickup sound doesn't change.

Usually only some part of the electronics is battery powered, like the tone stack. Therefore the only "active" part of the system is the tone, while everything else, pickups, vol, and blend is hi-Z. There are very few systems that are active from pickups to the output. As an example, systems that have an active mixing instead of plain blend pot are very few: John East, some EMG sets, Noll...

pickup - blend - vol - tone stack - output 1) remove the blend 2) connect the pickup to vol where blend output was 3) put back a stereo output jack and wire it like: Tip - output from tone stack Ring - battery -9 VDC (black wire?) Sleeve - gnd

I have a Status MM4 neck that Rob and his team customized the nut to accommodate BEAD tuning. I couldn't play it that well. Just changed the set to an ordinary EADG set and the bass plays like a dream. Try a thinner set first. If you meet any issues, see a luthier.

FX loop, connectors, cables, dirty pots... if all of these are fine (try different cables), then take the amp to a technician.

Toss those g-words, and you have plenty of room for a DB. You shouldn't play them anyway.

You may have an idea of how you sound, but a looper is very good tool to reveal details from your playing. Instant playback, cheap units are really cheap.

Remember that "settings at noon" is everything but flat. This is true with nearly every amp. For some reason people believe that the "noon" setting is really flat. You need to explore the possibilities as well as the limits of your amp by turning the pots bravely to their limits. BEWARE: you may find new and interesting sounds from your machine.

Yoy could even add another J pickup to the bridge position. Talk about supercharge.

The next question is: Who will take care of the BassChat to the next generations?

Fixed.

Lindt chocolate. Also found a box of effects from my garage. Most probably will sell some of them as well as my misa Tri-Bass.

True. I added similar bearings to my "Status", and the feel and accuracy became a lot better.

It seems that the answer here is Fender. Just in case you would consider something similar, but from another brand: - blade, Bacchus, Tokai, and ESP are decent Japanese alternatives - Limelight, one of the best feel J necks I've tried, nearly bought my first J - Modulus Graphite BassStar J was an excellent fretless - Pensa-Suhr, no wonder Victor Bailey played one - Sadowsky is a heavy contender in good sounding lightweight basses - you could source Warmoth or similar parts to a self-made J (with a @Kiwi neck?) - the extra special that is bubbling under: a local luthier that is able to tweak every tiny detail to your specs

https://bourns.com/products/proaudio/products

Not only suitable for, but it is metal!

Where's you ser/par switch? Push/pull pot?