itu

Can you use a tiny neodymium magnet to anchor the rattler to one place?

One BOSS pedal weighs around 1 lbs. 40 lbs is quite a lot! Your board will be good for heavy weight champions.

Can you describe this a bit more. Is this about amp or pedals or the bass? I do not understand the issue, yet. When you fit the level of the signal, the receiving unit, be it a desk or amp, there are adjustments that you can tweak freely. Some basses have weaker output and some amps not so sensitive input. It is OK to turn the input gain until the channel is "full". What the pot position is, is not important. Same applies with effects. Sure you know this. Do you see overwound pickups a possibility if you are after high output? Lindy Fralin or similar could be your choice. Also adjusting pickups as high as possible gives bigger signal.

EMG has a P pickups in soapbar casings. Just check their pages. I do agree with @Skybone that it might be feasible to check the eq. A HPF might also be in order to clear the sound and give more boost to the limited lower end. Weak output is easily fixed with a simple booster. They are not limited to g-word players.

Standing in the shadows of Motown.

Have you been considering making the bridge from the same body wood? Testing the material would be pretty easy, and the part wouldn't have to be too precise. The main point was simply to test the difference, wasn't it. Actually most of the bridges do perform very well and in a similar way. There are features (top loading, colours, size...) and exotic designs, but the main idea is to anchor the strings firmly to the other end of the body. But if the weight differs from another, it means that the body-bridge system has a different tuning. Try with a metal tube or plate and attach magnets one by one to the other end. Feels and sounds different, doesn't it?

This "character" is exactly about the stiffness and uniformity of the wood. The shape plays a role because as I wrote earlier, the shape has a "character", too. This is one lovely video: https://www.youtube.com/watch?v=OLNFrxgMJ6E The "character" of the sound is directly related to the vibrations affected by the material. Shape of the neck is another. The connection (placement, tightness etc.) between that body and the neck is again one more thing that affects the tuning of the whole system. There are details that usually do not affect the complete picture, but they can ruin the overall sound, too. Just think about a loose bridge saddle. I do want to remind you all, that as the body is pretty thick and heavy (and hopefully stiff, too), it tends to play smaller role than that thin rod named as neck.

Again, back to basics: If the string was bolted to a rock (not vibrating base), you should be able to transfer the string's vibrations to a pickup in its nakedness. The rock won't move at all. There is also the possibility to check how the magnets affect the strings. Now if the string is put to a massive plate (piano, anyone), the plate's mass is tuned very low. It should not affect the vibration very much, but ONLY IF the plate is stiff (not like dough). Let's reduce the instrument weight from 500 lbs to under 10 lbs. Now the neck shape (every shape has its own frequency, if the stiffness enables it) and weight (including frets, tuners etc.) may turn to a vibrating element just like the body. The difference to the piano (heavy) example is that the frequency has risen substantially and may be in the audible area = resonance = dead notes.

You can start from any acoustics book available from the libraries. The maths behind some basic shapes is nearly easy. But, when you start to analyze some more complicated shapes made of wood, which is not uniform, you may have a very strange set of calculations. Chladni patterns (see YT) may interest you. The science of sound is one very basic book made by Tom Rossing.

(Background: 2 x 12" is my favorite construction at the moment...) Cabinets have several possible issues that are not overly simple. I would be surprised if the Hellborg version would be somewhat limited in construction or quality. If possible, test drive it with your favourite amp and feel the quality. Be open to new settings of the amp to find the sounds and the nature of the cab.

Ned Steinberger tried to reduce dead spots in the late 70's or early 80's. He started to remove material from the tuner end, so the headstock. The more he took away, the higher the dead spots rose. "Now here I have this black instrument..." From materials point of view the existing ones are just fine. Some shapes have an effect on the response. CF is a nice material because it is light and so stiff. Some notes: - the instrument has to have some mass to fight against the movement of the string - the instrument has to be stiff so that it does not lose the vibrations to the body and neck deformations - there are resonances in the instrument that can be harmful against the amount of vibration (in other words, there is some dampening because of the shapes) What else...

Once again: if you ever do any adjustments like truss rod, or fine tuning, go to a store and buy a new set of strings first. Old set is already in bad condition and dirty.

Carly Simon - You're so vain, would it fit? Chubby Checker - How low can you go (also by Ludacris)

Here was a discussion about this just a while ago. Some search might find the thread.

A picture of a step attenuator:

Very rough sketch: - flats, like Jamerson - nickel RW, very common, pretty flat response - SS RW, slap friendly smiley response Thickness is up to your preference. 30-90 is the twangy slap set, while the 45 is the basic one. Do not forget BEAD sets if you want to go low.

As @Hellzero said in the beginning of this thread, the answer may be in the setup. I used Rotosound PSD strings years back with no issues. Now my 5-string is strung with GHS tapercore strings. After a meticulous setup, no issues at all. I actually found a problem with the bridge saddles: they were slightly loose in their grooves and caused a little bit of rattling.

I "loaned" my maple Affirma to a friend of mine, and yesterday another friend brought me a blond 1986 unlined fretless Musician. Everything is original, even the HSC. Well, there are GHS groundwound strings, which were not from the factory. I have had a 5006 and an Ashula, both converted to 5-string basses, but sold them in original condition. I like wide fretboards...

Modulus Graphite Revolite. Not exactly a Precision, though.

I am on the same path. Very hard to reach. My first choice to imitation is a Harley Benton Noise gate (grey). It has attack and release! Price: nearly nothing. Some LPF is also a good addition. I use a Daring Audio Phat Beam, which includes a good compressor, too. Schalltechnik has nice kits, that are really cheap. To produce the first echoes in the double bass body is not easy. Boss has this big MD-500 (?) delay, which goes down to 1 ms, but has just one delay, and the adjustability is not fine. I bought a PlethoraX5 and will try that with three or four short delays. One reverb would be just like one delay.

I have built step attenuators to my basses every now and then. Today I happened to find two from my garage. How on earth did they got there?