itu

A simple bypass on the effects board reveals possible loose cables. Start with the obvious and then travel to the blue ocean. One place to check is the FX loop. Put a cable to the send and return. Very common problem maker.

Any battery operated kit (i.e. low voltage), go ahead. Anything that includes 230 V, beware. If you do not have licences, you are not permitted to sell it, probably not even connect it to live wire. The idea itself is fine. It is still wise to give the ready unit to someone who is able to debug the system, before connecting it to 230. Now I have said it, and I am serious about this.

Sorry: screw terminals and lots of tin... you need help from someone who is able to solder. Pots may die when they are heated so much.

Any company that produces transformers. Cost is probably similar and hunting the exact specs costs some extra.

You need help here, take few photos for the start.

400 women and less than ten men jumping up and down! Quite a gig. Sound at the stage was cloudy, but everywhere else sounded good. Only one "We want more" shouted, before the DJ let us go.

The bridge works in combination with the body, the strings, the neck etc. The change in mass tunes the whole system (a bit). Some say they are able to hear it. From acoustics point of view, the most important thing is to have the bridge - as well as all other parts - tightly screwed. If anything is loose, something is lost. Usually it is sustain, that is affected the most.

How about a HPF in front of the pedal and another LPF in parallel for letting the low end through? This is a X-over.

Yes, my bad, like @Chienmortbb stated, up to around 6 dB more, because of that doubled amount of elements.

Four letters you can trust: SKB. My bass specific case was destroyed last time I was in Switzerland. Next time I will seriously consider an SKB. It is heavy, but the instrument has to survive airport personnel.

This is mostly right, but there are some SS amps that need cab. Rare, but possible. It is always good to connect the cab first, and then plug and turn the power on. Make a habit of this.

Monsieur Paris, Have you been considering contacting the manufacturer? They may be able to help you. Even have some files, maybe? Pardonnez-moi monsieur, je ne parlez pas français bien.

I had serious issues playing a five until I found a bass with 19 mm spacing in the bridge. My hands love that spacing, whether the bass has less or more strings. I am into 5, as the band I am playing in is able to transpose and I love the lows.

IF (and this is one pretty big IF) you are after an extremely well educated muscle memory, the fretted and fretless should be in the same place regarding to your body. This is easy to achieve by having two similar basses from the same manufacturer. It may be so that the issue is meaningful to top players only, but just one thing to consider.

Passion II is actually kind of a setneck, as the neck goes up to the neck pickup, not to the tail. I have had a MG Quantum ('91) that had no truss rod. It was introduced around 1995. What for, I do not know. I do have a Modulus Graphite Genesis ('99), which neck is a graphite skeleton topped with wood. There is a truss rod, but I think it is worthless. The neck is stable, like the other graphite necks I have, or have had.

Reduced maybe a bit, yes, but the volume difference is not so big, around 1 - 3 dB. Wattage tells quite a little about the loudness. dB's are the numbers you should be after, but manufacturers tend to babble about watts and watts only.

A used one is in order, it seems. These pages are a good source. You may check reverb.com and similar, too.

Every parameter counts. If you change the size of a port, you tune the cab.

As there is no such thing as water proof, but water resistant to certain extent, you can only talk about GAS resistance! You can fight, but...

Maiden? The number of the beast? Anyone? Cloud #9... now where is the list of numbers, when someone asks...

Impedance itself is not a steady parameter. It changes over the frequency range. Depending on your cabs' efficiencies, the power is distributed basically according to their impedances. On the other hand the efficiency may level the difference. This can be verified by playing through the cabinets. Maybe the difference is so big that you'll leave the other cab away. But this needs testing. If you drive the head to its extremes, the choice may be more crucial, but if you do not need all headroom, play with both and check the temp of the transformer. That probably gives most tangible result to your question. Cooler is better.

If you do a comparison on similar strings (SS RW as an example), the thickness defines tension. Thicker needs more tension and vice versa. If that 130 is too sloppy, try a 135. Pushing the string is just pushing or bending it over the nut or bridge. There is a difference in sound between SS and nickel strings. You need to try them and find your preference. I play strings that are made in the same factory the name represents: Rotosound, GHS, D'Addario... they are reliable. Many of the brands come from few factories. If your hands sweat alot, you may try coated ones (Elixir etc.).

It took quite some time for me to find out the right B-string for my previous Modulus Graphite. The .125 was The Thing. All other gauges were floppy and sloppy and blobby. She just started to sing with the right gauge. Do some trials, it may be the gauge.