itu

We need new designs, please!

CW has a Misa Kitara "glued" to the Status. 8, or less, many of those were pretty hard.

Then buy some cheapo stuff and understand, why are there some better quality tools available. Or buy good and you do not have to ever buy two sets.

What I remember from that combo there is no decent box for the amp itself, so some woodworking may be in order. The switching output was optimized for a 4 ohm load. The output leads were just two wires with Abigo type connectors. Do not push your TE too much and the set may be functional. This comment is a bit weak, as many bassists tend to drive their equipment to the limits depending on circumstances like "I was a bit drunk", and "the others were noisy and I turned a bit more"...

I use distortion quite sparingly, but I like it every now and then. Tried several (read: many!) units, but when I found pedal x-overs, my understanding changed drastically. I have an IE Divaricator and had a KMA Tyler. When the x-over frequency is low enough (mine is at around 400 Hz), the lows keep coming through but there is space for quite some distortion. Even some famous but pretty bad sounding (to my ears, that is) units became useful. And I need the lows to my sound. X-over gives new dimensions to other effects, too. Chorus, flanger...

Cocacola, sorry, cocobolo belongs to rosewoods, namely it is Dalbergia Retusa. It is cultivated to instruments, although the wood is endangered in its natural habitat, somewhere in Amazon. You can get it, but the price is high. Not all woods are the same, Honduran mahogany and certain ebony is endangered, but not all. If you have a factory and start to build instruments from something illegal, the production is quickly turned down. Customs may cut the import/export to zero in no time.

Now! So this is the reason I have earned so little while playing bass.

Yes, it would be reasonable to hear some comments like sound and playability, as your collection is far more extensive than a single P in some corner of the house. (Nice floor, by the way.)

As long as you gig you need power. If the PA is not able to support bass (like a small set for singers), an amp is a must. Besides musicians tend to have varying tastes: if it has to be a tube amp...

Tony Levin had a three string Music Man, but I think he lost it when his studio was burned down. Atlansia produces Solitaire, both fretted and fretless. https://atlansiaguitars.com/Bass-Guitar.php?strings=1

The basics behind this tension thing is to replace thickness (gauges) with tension. Instead of 40/60/80/100 with equal tension is a nobrainer. I think you just have to understand these together, as we have been discussing decades about gauges and gauges only. Another thing is that do you need this one number of tension, or can you live with several thickness numbers and those varying lbs.

By (Jeffrey) Deon Estus.

Few simple searches: https://en.wikipedia.org/wiki/Steve_Bailey#Instruments_and_Electronics Aria Pro II Avante series 6 string fretless Steve Bailey signature model - Seymour Duncan Basslines pickups - active electronics - ebony fingerboard - sunburst ash body - a push-pull volume/mute knob https://www.talkbass.com/threads/aria-pro-ii-steve-bailey-model.1038485/ Steve Bailey: "Almost all were tobacco burst with basslines fundamental fretless pickups. There were 4 and 5rs as well as fretted 4, 5, 6... mine were all "stock" except the prototypes. Some were heavier than others."

What will be your expected delivery time, and some price indication would be nice, too. Is it only for 4-strings, and with which string spacing?

Now dear @fretmeister you should go to the end of the previous page and take another look. The whole question about the amount of strings is pretty meaningless. Should you say to a pianist, that there are too many keys in a piano? And a Bösendorfer grand piano is for posers only, because there are two extra keys. Oh dear...

Let's start with a picture that is over 300 years old: You can see frets and seven strings in the hands of Marin Marais. How do you see the bass has really evolved over time? Double basses and basses have this ancestor called viola da gamba. (Gamba family is not the same as violin family. Double bass is definitely not a big violin. NO!) We know that gambas and double basses have had several strings as well as frets. Players have used bow and certainly different kinds of plectra. Again, what is new here? Is four strings actually a step backwards, or rather a simplification of the instrument? Maybe a bigger question is that even the one string washtub basses have been used with success. It is not the instrument, but the player. Technology does not make music, we do.

Edgar Meyer, Niels-Henning Øerstedt-Pedersen... something similar in their effortless looking mastery.

An upgrade and budget? Please make up your mind first. SD, bartolini, EMG, KA, Delano, Lollar, Bareknuckle...

I started with piano at the age of 5. I think I tried to learn it for 13 years with no success. I found guitar when I was 15 or 16, but my school mate listened to me and said: "You are so big and ugly, you should play bass." True as it was, I bought a black 1974 4001 from Rose Morris, £400. I was 17. Then went to another music school, and even learned something. I still play in few bands after all these years. I cannot quit playing.

All components between the pickup and the amp cut higher frequency content. This is an issue with a high impedance circuitry. It can be tweaked with no load components and switches (rotary, too), if needed. Audio = log taper for vol. Linear or log for tone. Bigger resistance (250 kohm - 1 Mohm), more highs, and a bit different behaviour when turning the pot. For blend the MN type is good. The tapers are cut in the middle position.

If the instrument you are after exists, go for that. If the instrument must look like a Sadowsky, buy a Sadowsky. But if you have a vision of your dream tool, consider a luthier. Talk to the pro and check, whether you get along. If you don't, the instrument will not be your baby. You already have an instrument or few. Put them in front of you and ask yourself what is wrong with them. Are those issues adjustable by a luthier? Then you could get a semi-custom, that can be your dream bass. There are many details to be considered like weight, neck profile, string spacing, colours, shapes, hardware, half-fretted, your possible anatomic issues (hands, back, neck...), and so on. Your (limited) abilities to transfer the ideas to an actual custom instrument (or a semi-custom one) is the reason you have to be able to discuss every detail with the maker. If you do not get the connection, go elsewhere. Once more: if you want something that exists, go for that. That is far cheaper than building a copy of it.

Dear @Hellzero, I understand that he has done lots of theoretic work (Biot-Savart is one of the most known, even I am aware of it). The difference between theory and practice can be clarified today with modern tools and methodology. The thing is that we should be able to understand the practical differences. @Dan Dare put it right: most of the things happen in the electronics. Still, there are finesses that can be refined to get the best out of any instrument. Is spruce good in an electric, too (Sadowsky is using it)? Which woods should be mated together in a bolt-on? Do them matter? And so on. I hate the word magic, because there is no magic in luthierie. There certainly are skilled persons that have found some mixtures through trial and error. Could their work be enhanced further? And this is the point where modern tech could reveal at least some recipes. Now, who wants to have a bad instrument? Hands up, please!

Dear @Hellzero, The issue is that M. Savart died 1841. His studies do not cover the electric bass, although it is nearly as old construction as he is... Yes, I have studied acoustic instruments' acoustics a bit, but those constructions are really old. These modern logs are of interest, here. Structural analysis would be the tool, but who has done such research today?