itu

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.

A DPDT switch, a trimmer, and a capacitor. Simple as that.

PRS has this simple switch that controls tone on/off. You could do a bit similar with a capacitor and a trimmer (Smith may have had a coil in the circuitry, too). When the switch connects the components to the signal line, you get a preset tone you want, as you can adjust the trimmer to your preference. When the switch is off, the parts are not in the signal route.

alusonic makes 1 x 12" and 2 x 12" units made out of aluminum. The bigger weighs 18 kg. Yes, I do have that 2 x 12" + tweeter unit.

I have to say that I do not disagree: most of the stuff that I should be able to produce, can be done with the bass and me. There is a lot of stuff that is done in the studio and some of the stuff includes reverb, compression, distortion, envelope filtering and so on. As the stomp effects are pretty reasonably priced today, I see no reason not to use them. The big thing is, which ones work with the instrument. I have few fx boards. One is for my hi-Z fretless. One is for my lo-Z basses and one for experimenting (synth etc.). I did not think about effects so much, except that OC-2 when Mr. Palladino came out with Paul Young. But later on I have started to think that they are just tools, so why not to use them? As I have some background in acoustics and broadcasting, I looked for a X-over and they are probably the best thing related to fx. When the effected signal does not touch the low frequencies, there is a possibility to drive the effects further. And now effects are more fun than ever before. Try it, you'll like it.

Weight saving is possible, but the box has to be rigid. It can be done with supports from around the center of the opposite panels. Remember to tighten the screws after a month or so, and use a good material to seal every single seam. Leaks weaken especially the bass response. Element needs a gasket to prevent air leaks, which would also equal weak bass response. You can easily test this by trying to play (with a low volume) with the element only, and then put it to a whichever box or tube. The difference is drastic. If you know something about photography, then the ISO-aperture-time -triangle is familiar to you. The same in bass is: efficiency-cabinet volume-lowest reproducible frequency. Do not hunt for 20 or 30 Hz. 50 - 60 Hz is already very good, because ear works in a bit funny way.

A PRS-type tone switch?

...one more a** here... www.ovnilab.com My personal experience is that a comp is a lot like a distortion. The instrument and the placement in the signal chain have an effect on the performance. I do have three compressors: Hypergravity multi-band for lo-Z basses, Phat Beam for my hi-Z fretless and Constrictor for effects behaviour. The last one is definitely not transparent. Quite a lot of the performance is also user dependent. Learn, how the unit works and it is your friend. Sound on sound has good tutorials.