itu

https://www.youtube.com/watch?v=g_TxIBJ7T0M Allan Holdsworth - Metal fatigue Metal string loses its flexibility over time. If the string is taken off from a bass, it will get some of its flexibility back, but that tiny amount will be lost pretty fast after the reinstallation.

You want a good one and a cheap one. Do you think you should buy both? There is also a great opportunity to get that market. We are waiting to see your fair offer in the near future.

It is very common way of thinking that the sound comes from the amp, and the amp only. Yes, naturally it is one part of the mix. And an amp has nice bells and whistles. Knobs and switches. The cab is just a simple looking heavy box. No adjustments. But it is the cab that translates that power to sound - and it has to do it well. A cheap cab sound can not be fixed with an expensive amp. I think that this complicated looks of an amp is just - complicated. My amp (Soul II) has an EQ override that is usually on. Most of the time my amp is set to certain power level. Almost no need to adjust it. A simple amp front could be a gain, a vol and a power switch. And maybe that power switch could be omitted, too. If the base sound is good, I am after adequate power (300 W - 1 kW / 8 ohm) and that's it. But the cab... My choice is a pair of 10" or 12" speakers in a well designed box. Enough of power, enough of air moving. Listen to a few alternatives and find your sound.

The previous picture was pretty nice but these new ones are kool! I think that dark fretboards are the koolest there are and unlined has the best looks.

This topic seems to be a bit like what should the bass be, just the other way around. I have hated most of my basses, so they have gone. Now I have the best the most suitable four stringers there are: Vigier Passion II and a hand made fretless 4. All other lack something like the Modulus 5 does not have a 19 mm string spacing. After playing bass for quite a long time, I now have specs for my dream basses (fretted and fretless). It may be, that some day some of my dear instruments have to go and I get an allrounder or two. But before that I need to play with my ten basses (or something) that have some exceptional details.

Plain hi cut.

You want an active sound, you need an active preamp. Most of the preamps can be bypassed for no battery use. If you need a very versatile and functional unit, John East is a bit pricey (around £200) but studio quality. Of course you may just use an active tone shaping unit. Prices vary a lot, like £20 - £300. You can mix lo-Z (or "active") or hi-Z (or "passive") pickups with preamps / tone capsules. Pickups, there are lots of option but some basics: - active pickups are made by MEC and EMG and they need batteries as the buffers are built in to the pickup cases - single coil (so called Jazz) is bright and a bit thin - humbucker (dual coil) has darker and a bit more powerful sound - a Precision and a Music Man pickup is similar Depending on the pickup position (neck darker, bridge brighter) you can adjust the sound. If you use humbuckers with coil taps, you can have very many options from J-type single coil sounds to MM and P sounds. I have a bass that has two bartolini humbuckers with coil taps. Practical options are normal humbuckers and single coils. So called parallel humbucker has not so useful sound.

G-word? It is a so called instrument that has six thin strings and... and the F-word has something to do with certain Leo.

And I downright HATE narrow fretboards. Just sold my Status J neck only because it was so narrow. Everything under 19 mm @ the bridge is for g-word players, and narrow saddle is the same. I even have a 36" fretless that is a joy to play, so my fretted wonderbass would be... 5-string with aforementioned specs. And lightweight.

After testing quite a few instruments side by side, the exotic (read: hard) top's acoustic sound is slightly sharper or brighter, but when amplified the difference is negligible. If the body has only the top, the woods may bend the body. I have seen this happen in a high end instrument. One seasoned carpenter told me that it is reasonable to put top and bottom from the same wood. My neck through fretless is made of birch that is oiled. Works well, feels nice. Picture is somewhere here in the BC.

If you have time, please read these. Sound on sound is a very good source of knowledge. https://www.soundonsound.com/techniques/whats-frequency https://www.soundonsound.com/techniques/using-equalisation Here are few reasonable comments to study: https://www.izotope.com/en/blog/mixing/principles-of-equalization.html

If you have to desolder it anyway, you can make a graph with a pen and a paper and a DMM. The graph shows you the track type. The degree and the resistance... https://www.electronics-tutorials.ws/resistor/potentiometer.html

https://vidweb.aws.marketlive.com/jimdunlop_vid/text/content/pdp/manuals/M300.pdf I could not find any setting to adjust the frequency. M300 has a tone but not an HPF.

Vishay or similar? You can replace it with any other pot. There seems to be quite a lot of space. If the lugs are not compatible, just use wires from lugs to the PCBA.

If your budget, or your ability to use the set is limited, this probably is true. I still think this is a bit of a generalization. There are many ways of setting up any other monitoring in such a way, that someone's ears may be damaged or one player just gets poor response from the other musicians. I had no chance to find that particular article, but I wish he offered some alternatives, too.

Iron Ether Nimbus. It has a two filters for tweaking the frequency, where the reverb is working. So you can cut the low end (with an HPF) to keep the fundamentals unaffected (uneffected?) as well as the high end (with an LPF). https://ironether.com/pedals/nimbus/

If your bass is hi-Z ("passive") AND the vol pedal is after the bass, your choice is a hi-Z pedal (250 k or similar). If the volume pedal is after some fx pedal, so later in the chain, you may use a lo-Z unit, no matter the bass output. If you have a lo-Z bass (so called "active"), go for a lo-Z.

Oh dear, this certainly is among harder tasks! Please study the ADSR in greater detail. Usually the A (attack) has a lot to do with the sound recognition. If you can tackle the attack, the rest is more or less details. If you are after real saxophone sound, a sax or a synth may be your other option.

Well, it really is smaller than the Shift-Line, but lacks connectors, and an external rotary encoder. Might be possible to build it inside some other effect, though. Consumes 110 mA @ 9 V which is quite a lot.

Keep out from their space and fill yours. Especially keys may get very close to you, at least by accident. It may be somewhat tight, there in between drs and keys.

Well, this sounds like a well thought plan and execution. A photo might be a nice addition. Long soldering times (excess heat) may ruin the pots, but other than that and grouding there should not be any major problematic places. bartolini even provides reasonably legible schemas.

Check if the battery contact is soldered the right way (grounds are connected after the plug is put in). Is there any DC going to the amp input? Should not. Clicks and pops may be a hint of faulty grounding. Is the bridge wire and all other grounds connected well (sort of electrically "tight") together? Check with a DMM. Everything (like any string to the output ground) should be less than 1 ohm.