itu

Yeah, pickups are basic hi-Z, balance is basic hi-Z. You can use higher values if you want. If the blend is "active", lower values are common and feasible. Here it's not. The lo-Z tone stack follows blend and vol (and here these pots act as hi cuts in the circuitry).

200k - 1M. Logarithmic taper. The higher the resistance, the clearer the high end.

No, but I think Chase Bliss are. I mixed the brands, getting so damn old.

But Source Audios are analogue with digital interface, no?

I think Rickenbacker had the first through neck bass.

I think there's a place for another theme and variations:

Well, here's Prince, and two takes of The look of love.

Where's Prince?

Love my Glockenklang Soul head from the Soul combo. It sounded excellent, but that weight, nearly 85 lbs. (38.5 kg). I didn't have any friends on gigs. The Soul head itself is 24 lbs. (11 kg) and alusonic 2 x 12" is under 40 lbs. (18 kg). Easy to carry one after the other. I don't need a modern light weight head. (That Blue bird sure looks good...)

I have a bass with BEAD nut, works like a dream with EADG tuning. I didn't touch the truss rod, but it works perfectly. Secret? Different gauge, different tuning, same tension.

True. And I really get your point. I do have three fx boards, individual pedals, and rack effects among others. But in a case, where fx break for any reason, there's always the possibility to use what you got: amp can be overdriven (at least mine can), eq is there... and your fingers. I am not a soloist. My sound is just one part of the equation, and band mates can help in a case of an equipment failure.

Sometimes I go to rehearsals with some bass, a tuner in the bass bag, and cables. Then I try to make the bass sound different simply with my fingers. Singing, long motes, thumpy short ones. Once I went to a fun gig and the bass had only ON/OFF switch, so I had to play everywhere around the bass to get different sounds. Try it, you'll like it.

This bass was painted: 1) there wasn't a matt black option, but trans red, natural, and there was a third, like trans black, maybe 2) the missing truss rod cover screw holes are painted over Original pickups had similar Status text in them like in the bridge. These do not look like originals. The electronics had a simple treble boost (I think it was a Status circuitry), vol and blend. Centre detent on blend and steps/clicks on vol (and treble, too, I think). The fretboard is phenolic resin. See the waves.

Oleta Adams, Basia Trzetrzelewska, sweet Anita Baker, Vanessa Williams.

Stuart's version of Sonata quasi una fantasia. Original is in C flat minor. Contessa Giulietta Guicciardi is connected to this song, although not by Beethoven himself.

Bass: Tony Campo. Chorus is pretty active.

Very good! I added that note to the end, because I tested a variety of comps (and distortions) a few years ago. An eye-opening exercise and experience! After changing - by accident - a bass to another, I found out that the putput impedance seemed to play a role in the behaviour of the units. I even tried to do some leveling of the signals to rule that out. The level sure has an effect, but so does impedance. I tried a looper to keep levels steady - yes, but looper's output is lo-Z. Bass specific tests showed different behaviour.

It's here again. Lead does not produce those fumes. No. It is the resin. Neither is it healthy, but fumes definitely are not lead. Pb: melting point 327.5 °C boiling point 1749 °C

63/37 is lead tin, and very good to use. I certainly would use that. If you think it's too thick or thin, use accordingly. Save that roll for later use! If your iron is weak, under 25 W, pot casings may be hard. First file some corner to shiny metal and it is slightly easier to solder. I still suggest a +40 W unit to bigger metal parts. (Modern lead-free, like copper based ones need higher temp, and are far harder to use.)

You want to separate them completely from each other, you need an active blend. But vol down sure is enough in band context.

I think you need to test your configuration first. If the comp is the first in line, it will lessen the dynamics and the rest will follow. It's not obviously a bad thing, really depends on your sound, and what do you want from it. If it is the last in line, you can use the dynamics from your fingers, and push all effects before the compression. Some effects like dynamics, like envelope filters. An octaver may love or hate a comp. Once more, this depends on the dynamics and noises created by fingers... check the placement of the comp via trials. (A note: there are hi-Z ["passive"] and lo-Z ["active"] basses. My feel is that comps tend to act differently certain bass outputs. I have boards for hi-Z and lo-Z basses.)

Don't buy anything before reading something about compression basics: what the parametres are and how they affect your sound. I doubt many just buy one and turn those knobs without any idea of what's happening out there. Sound on sound has good articles, and ovnilab is still one great resource.

In short: if it sounds good, don't worry. There are too many useless tonewood discussions already. And to measure the changes, where's the equipment and test environment needed? Exactly: nowhere.