itu

Probably the most common "music wire" is ASTM A228. This is the name of the core. It is cold drawn, has around 1 % of carbon (C) and around 0.5 % of manganese (Mn). The rest is iron (Fe). This is used in pianos as well as in violins and everything in between. The winding may be bronze, nylon, steel... The steel widing can be nickel coated, hence the name nickel. Remember, that most stainless steels have some nickel in them, as it helps the steel to fight against corrosion. There are many different material compositions of the winding. These additives (like cobalt or nickel) may also affect the electrical properties of the string. Here I mean, that the co-operation with the magnets of the pickups can be tuned somewhat to produce so called "hotter" output. Difference may be subtle. If the string has a "man-made" coating (like Elixir or similar), it only affects the feel and fights against dirt. It has no effect on string's electrical (or rather: magnetic) properties.

Vigier, Kubicki, Overwater, tune, Parker, Peavey, Status, De Gier, Schack... Every builder today is interesting after +50 years. Or if some player "finds" certain brand, the prices will rise. Remember Nirvana and the sky-high prices of those lousy Fenders? But, this is hard to digest: the instrument is not the one that produces that sound. It is the player. Sorry, secret revealed. If I wanted to sound like Geddy Lee, I should learn his playing style. The work in finding a similar instrument just does not help, but only consumes time - while I should play and learn.

Nickel works with fretless.

"Power Requirements: Idle 450mA @9V. Max 750mA @9V (with headphones at max output level)" Pretty hefty power consumption: 6.75 W! One PSU goes to this unit only.

This has been said earlier, but active is pretty bad word describing low impedance (lo-Z). Lo-Z has nothing to do with signal level. It can be lower than with a hi-Z ("passive") bass. It is possible that the bass preamp has lots of extra gain. On the other hand, its signal level may be less than its hi-Z counterpart. Pedals, at least when turned on, are lo-Z by nature. Those "true bypass" ones just have a simple switch, that bypasses the pedal. Then the output is the same as the bass or the previous box has. If the lo-Z bass has B&T adjustments and they are turned to south-east, it may be so, that the signal level is very high (like +15 dB/band). If distortion exists, your choice is to lower the input level or use that other input with pad. I would not lower the volume of the bass, as the higher signal level is often very usable when taming possible noise issues. Higher level is - usually - better for signal processing (pedals), too.

My list only has few of the most common. Lots of different brands and units: https://www.effekt-boutique.de/ Easy ones: chorus, flanger, looper. Turn the unit on and tweak the knobs, that's it. Nearly any brand is reasonably good. Somewhat complicated: octaver, compressor. You need to concentrate on your playing or need to understand the effect adjustments. There are a few good, and few really good ones. Really need time: fuzz/OD/distortion. This is so personal. Widest selection, widest selection of tastes...

You may think, that those mAs are like wattage of your amp. You need to have some extra wattage as a headroom (amperes) to drive the speaker (pedals). Only thing that is different, is that the pedals limit the current intake by themselves so you don't have to adjust anything. If your pedals need more power that your PSU can offer, something will behave in a strange way. Even a PSU failure is an option. A bit more amperes than needed is always better. If some pedal has strange power needs (different voltage, polarity...), you may have to invest in a power brick with isolated outputs. Sometimes a simple power will work fine, sometimes you may have issues with noises and such, and a more sophisticated PSU is needed.

My two cents: try a X-over. KMA Tyler is a very powerful tool. I do not care about milliseconds here, as I drive the low end practically without processing (excluding the compression or reverb). Higher frequencies get sometimes pretty harsh set of pedals but I am after sound, not some tiny details that I am unable to hear in band context. If it sounds good, use it.

Many goldsmiths have the equipment to plate metal stuff, so consult by phone first. May be a tad pricey, but if you didn't ask... They may have colours, too: red gold, yellow gold, rhodium... Red is the rarest, so called Russian gold. Colour comes from copper.

Day before the gig: check your stuff, buy a spare battery if needed. Play some parts and especially the set starts a few times. Arrange your papers and pack all the stuff you need. Be in time at the gig. Have a soundcheck and start with the first two or three songs. Then it is easier to start with the audience, when they arrive. Play! Do not analyze any minor issues at the stage. If there was a mistake, did they notice? No, so please continue. After the gig: take a deep breath and congratulate your mates for a nice gig. If you heard some wrong notes, the audience did not and they had good time. It went better than expected.

As the topic is about three different units, I just can't find accurate weights of the different pedals... Seriously, I have found that a hi-Z (so called passive) bass drives pedal in a different way than a lo-Z one. I have said it before and I repeat this again. If your OD/fuzz/distortion is later in the effects chain (so that some other pedal drives it), there may be one box for both types of basses but if it is the first after the instrument... My tube driven Dean Markley Overlord is warm after an hour of use.

I do not understand that you should lose volume with pedals. Usually cables have issues more than pedals, but I suggest you try this: Take a looper (or CD or anything that keeps its output steady). Put that running to the first input of the pedal set and check the output from each pedal, one after another until you find the damper. You may try on/off with each while the looper keeps its output steady. It should be easy to make the volume comparison with on/off switch with each unit through the line. If some unit has a lower output and it has gain or volume or similar, adjust it accordingly.

OK, if it is just a power input, that can be fixed with anyone, who is able to use a soldering iron. It is probably the easiest fix, there. I think that opening the unit and putting it back takes most of the time. Maybe half an hour in total depending on the amount of screws and the placement of the connector.

Kool kolor, dark fretboard, no front dots, East preamp... this is deluxe!

Two years back I sold few of those that I did not play so much and were not so special. I also reversed few trials to original (like an Ashula) and sold them. I still have few that I could sell but they are in such a shape that their price is just too low (my trials and tests are sometimes quite harsh). I should disassemble them and sell as parts (necks, pickups etc.). All in all, I still do have few (eight, that is) that I keep. Some are more suitable for certain gigs than some other. And few are somewhat rare to ever get back (an Affirma, two series II Passions). Now I know what I want, but such an instrument rarely exists. My selection takes care of most of my needs: a 5-string, a fretless extra long scale, those stay-in-tune carbon necks, a light weight one... If I could get a fretless 5 and a fretted 5 with suitable scale, 19 mm string spacing, ergonomics, and... but no. It really is nice to take another bass from her case and start playing. "This has very good (actually just different) playability, and..."

F-word stuff? Isn't that done too many times already? I am after something else but it is true that there are few good fenderish instruments, like Limelight and Sadowsky. But to do another one, I think there is space for something completely different made in the best possible taste (like Kenny Everett). I have three custom made basses. All were sketched with pen and paper. I love the results.

A special case may be in need - the bass looks like it is some 5 feet long.

As magnetic force is working in pretty short distances, I would start with pickup height adjustment. That may change the sound or behaviour of the pickups quite some. I would go to preamps and new pickups after height adjustments.

The placement of the octaver in the effects chain plays some role in the tracking performance. Some say that a compressor in front of the octaver helps the tracking. Some like bridge pickup, some playing with the tone settings of the bass. There are lots of other comments, too, so a short study might be reasonable before buying a new one. If in need for a synth, check this video: https://ironether.com/pedals/fmeron/

Magnetic things change a lot within very short distances, so I would suggest adjusting pickup height. If the adjustments do not give decent change, new pickups, or a preamp, or both may be the right solution. Signal chain of the bass is like this: pickups - blend - vol - tone - output (blend - vol can be vol - vol, too) You can have 1) hi-Z (high impedance, so called passive) system or 2) lo-Z (low impedance, so called active) system The first one is easy. All parts (pots, pickups) of the signal chain are hi-Z. No battery needed. The second is somewhat trickier, as any part of the chain may be lo-Z (battery operated). If just one part is lo-Z, the whole chain becomes lo-Z. Very common way is to have some hi-Z pickups and add a tone capsule after the passive blend and vol pots. This way the tone capsule can be bypassed with a simple DPDT switch (can be in a pot or a separate switch). If you want to have a top quality hi- and lo-Z system that has bypass and hi-Z tone, too, consider John East. His creations are different. If the partially hi-Z signal chain is not an issue, you may try any tone capsule from £20 Artec to £300 Sadowsky. These do not have lo-Z vol nor blend.

Yes, very good point. It is not obvious at all, that the power is at half, when the vol pot is at noon. Gain and EQ are part of the chain that affect the output power, too. EQ may be everything but flat, when pots point to north. So beware that the output power can be whatever.

If Eventide has a customer service, they should be the one to contact. If they are good, as their products are, they will repair the unit, update it and so on. https://www.eventideaudio.com/contact-us If they are unwilling to help your friend, contact the seller.

I have a few basses with single/series/parallel option, some made by me, some by the factory. Have to say that both ends are the most usable sounds. This "something in between" is really just that. My suggestion is to use humbucker / single coil and not to drill extra holes. When you have the possibility to try all three, you will soon find out the useless one. The pickups I have are Delano (fretless, hi-Z) and bartolini (5-string, lo-Z, fretted). Single for that thin, compressed sound and humbucker for the thick and more round sound.

If you put an amp to drive an amp, something will not like, what's happening. Do not continue on this path, no. There are speakON combo connectors, that include jack connection. Consider that and Mr. @obbm. https://www.neutrik.com/en/neutrik/products/speakon-loudspeaker-connectors/speakon-chassis-connectors/speakon-combo

Garden party - Mezzoforte: https://www.youtube.com/watch?v=ApckUA7o_B8