itu

https://www.mouser.co.uk/Wire-Cable/Wire-Protection-Management/Heat-Shrink-Tubing-and-Sleeves/_/N-5ggz/ You have over 7 500 choices, so some filtering is needed. Let's make a guess that your cable is 1/4" thick. Then choose a shrink tube that will be less than that after heating it up, like 5.5 mm or so. Place an order. I would not use the glue version, it is overkill. If the tube is clear, you can put your initials or whatever under that. If your patch cables will be steady in place, you may consider omitting the tube. If they move even just slightly, or you need to bend them a lot, the tube is good.

A tiny wire may just disappear in the air (to tape, under some part or so). Now draw the schema to understand the signal path. Then find all wires and name them. Then it is easy to understand what is happening down there.

I would add that the high end response is nice if soloed. But in a bigger band context it does not matter so much. Other instruments take that space from us bassists. We are the band pass filters (BPF) that do not get the lowest nor the highest. Oh dear...

Find the lightest you can a put a capo to shorten the scale?

It does not look impossible at all, you just have to find out the signal path and it will open up. Someone able to do nice solderings will be your dear friend. And sorry, I certainly live too far from you.

In the first picture the ground wire is missing from the output jack. Probably the battery wire, too. In the second picture I can only see that lower left corner, where the (Volume?) pot has no wire in the lowest leg on top of the red wire. There has been something soldered to it. The black wire from the output jack - where does it go? That third picture has a shielded wire. The inner one is most probably signal and the outer mesh is a ground. Where from, where to? From the fourth I may see (?) that the missing wire (referring to the second pic) and the lug are soldered to another lug of the pot. Is this Volume? The output needs to have three wires (in case of active bass): Ground, -9 V and the connection to the preamp that connects the 9 volt battery minus to the Ground (and the preamp starts to work). Naturally the preamp needs the 9 volt plus connection. If you take some time, try to find which are the signal cables from the pickups. They should go to the Balance/Blend pot and then to Volume. From Vol the signal goes to the preamp input. There should be few wires from the preamp to B&T (dual?) pot. Then you need a few wires that are connected to the ground. Every part has something to do with the ground, so take your time and find the connections. Use permanent pens or tiny paper stickers to name them and you can conclude the signal path. Basic idea is: pickups - Blend - Vol - preamp (B&T) - output Bass and Treble are in a "side chain" so the preamp has one signal wire going in and another going out to the output jack. It is probably close to this one (or another similar setup): https://shop.warwick.de/en/Parts+for+Instruments/Parts+for+Basses/Electronics/MEC+Active+BEC+2+Electronics+for+active+Pickups+-+_Vol+PP+_+Bal+_+T+B_ https://shop.warwick.de/en/Parts+for+Instruments/Parts+for+Basses/Electronics Hope this helps.

Some professionals have told me that with fretless they prefer Nickel because of the middle growl. My choice has been stainless for ages. Roundwound for fretted and fretless. Flatwound only for double bass.

Just a rule of thumb: multiply RMS by 1.4 - 2 depending on the amp. I suppose that the QSC is able to push around 1 - 1.2 kW RMS. Remember, that there may be several amps in the box. Simple addition of the powers does not always give very good idea of the perceived loudness level.

I have a far more simple solution. I added a X-over to my effects and the sound changed a lot. Now the low end under 400 Hz has no effects = no mud. This way my rig is bass - effects - amp - cab. Biamp or two amps might be the ultimate, but too big and cumbersome to carry around. I understand the choice of using a PA speaker very well. I have had the chance to try our band's JBL PRX 735 that has really convincing and truly powerful sound. It is almost 4 feet tall... just too big to carry around in my small and old car. I do like that different sound of a PA box but it just isn't my thing out there in the bigger venues. And only seldom I have connection to the PA. This means that I need a powerful and compact system and traditional amp & cab is fine for me.

I was thinking that your current amp is just fine, but if you want more of that lowest end, there is nearly no limit... Your choice is probably something like a 900 W class D amp. Flats and very low end means really big power levels. It is not very much louder, just different.

I use that RCF745A as a reference: https://www.rcf.it/c/document_library/get_file?uuid=f5efcbdd-7c61-42c2-bff6-14e1aa148f97&groupId=20195 The 15" driver has a 500 W amp. I think this is adequate. The box is relatively small and at 20 kg also pretty lightweight. Partly because of the small size, the SPL is only 125 dB at 1 meter distance (at what frequency? 1 kHz?). It is not overly loud, but if this is going to be a monitor or the use is in smaller space, you probably manage well. I am not so sure, how low the box can really go as there are no reasonable specifications about the frequency response (you should find out, where the -6 dB point is). At 45 Hz the level may be -20 dB and that you can hear in quiet studio but not on stage. Producing very low frequencies equals very much energy. Remember that is not that important, as the (approx.) 60 - 150 Hz area gives more audible stuff to the audience. The panel has only few adjustments. If you need to tweak the response, you need a bass or a preamp that can do it. The angle of the back gives few possibilities to put it to the floor as a monitor. I would say that this box works well with vocals and piano and whatever, but it would not be my choice for bass. There is a reason and place for a dedicated bass amp. This RCF lacks adjustments, very likely the lowest end power and this FRFR nonsense has nothing to do with really flat response with this box. *** Some technical stuff related to physics: If you know something about photography, you have to choose from the Trinity of Time (volume), Aperture (size), and ISO (sensitivity). It is the same with bass speaker box: you need to play with the Box Volume, the Lowest Frequency and the Sensitivity. You change one parameter and at least one other will be affected. If you make the box bigger, you can go lower or you get louder box (enhanced Sensitivity). A small box like this RCF has very likely a somewhat limited low end response. If you use an EQ to straighten it (to get more of the lowest end), you need to attenuate the power from the middle (because of the limited loudness reserve) and the max SPL may be only in the ballpark of 100 dB or so.

Although rare, there are ss amps that love load and tube amps that survive by themselves. So I would say that without consulting the manual, the load equals better safe than sorry.

The difference between 9 and 9.6 volts is just 7 %. It negligible. If you use more pedals and your EH needs just 125 mA, you can use the same output to other pedals, too. Just find a cable with two or three connectors.

I tried a few. Then found out that compressors are a bit like fuzzes. If your bass is active or passive, the comp (or that fuzz) acts differently. If your equipment contains both types, try several. When you have found the one (for each), keep it/them. My passive bass compressor is a Daring Audio Phat Beam. It also includes an LPF - a dream with fretless. Not transparent at all, and like Fairfield Circuit's The Accountant, has good growl (this is purely subjective). For active my choice is tce Hypergravity. Beware: not an easy machine at all. Its functionality is weird and slow, because the pots are actually 5-position switches. Toneprint is a must and setting the unit takes lots of time. If you need really good help, start from: http://www.ovnilab.com/

...or an SWR Mini Mo, or a tce 1144 Bass preamp (that is a renamed 1140) or a tce 1210 Spatial expander, or a Drawmer compressor, or...

Sadowsky has now a bass that is constructed from two hardwoods and soft spruce in between. Would be interesting to see, how much spruce was left, as they tend to produce light instruments. A side note: are you putting some kind of serial numbers to your instruments? After a while you have a production and these first models may disappear because of no written history.

It would be reasonable to take some sandpaper and open the paint. The cutting surface is rough, but MDF, no way José.

Please someone, help him. The control compartment looks like after a world war. That is everything but reliable or working unit. I would change: - the maker - all components seen in the pictures. If you are after a quality set, replace pots with blue Bourns pots. https://www.mouser.fi/ProductDetail/Bourns/96A1D-G28-S23L?qs=sGAEpiMZZMtC25l1F4XBU8rCtvM96wXO7q3HYRkOsNA%3D Yes, these cost nearly 5 times more than some lousy CTS or Alpha but these are quality. And on top of anything else, they do not produce noise, like their carbon siblings.

If the screw crowns are in bad shape, find a shop or a builder and buy new screws. It may be so that there are no springs under the pickups. Many companies use just sponge or foam. You can update the system with new springs. Usually you can find them from the same place as the screws. If not, study your pens... The change takes just some time, but it is not hard. To put new springs back to the instrument may be somewhat complicated, as pickup magnets like them. But put the screws and springs to the pickups and find a suitable angle for the instrument before the attachment, this should help you.

My choice was an age old Countryman type 85. It works with a 9 V battery or Phantom. Box is so tough, that you can drive over it. All connections are recessed, so it is very close to indestructible. Price was decent (£60, 2nd hand) and as broadcasting companies have used them, I think it has to be good enough. Seems to work well with passive and active basses.

She is not a g*****. She's a bass! I would not be so interested in opinions, if she does the work for you. Just play and feel her, play yourself through her.

Yes, if we are talking about cones and cones only. And I can read between the lines, that you would love to hear that a bigger cone would relate to the lower frequency - like heavy weight should relate to bass' better sound (you can check Roger Sadowsky's work). But a cone works in a very different way depending on the application. If you just put a speaker element to the floor and start playing with it through a bass amp, your perception might be mixed. When the element is put to a speaker box of any kind, the sound changes dramatically. Then you change the shape and dimensions of the box and again, you get different results. I want to suggest that you should amaze yourself: buy an element and try it in different boxes and plates and by itself. One element by itself is nearly non-functional. The size is just one dimension and it does not dictate the use per se, as @chris_b earlier pointed out. Simplifications are nice but they need to have some reasonable physics behind them. Yes, you can say, that a 12" woofer is probably not very good for highest frequencies and a dome tweeter just does not work in a subwoofer. Still the difference between a 10" and 15" is not directly related to their use, the lowest possible frequency, or the power they can reproduce. There are so many other parameters, please take a quick look: http://www.eminence.com/pdf/Basslite_S2010.pdf

The reason for using two sets is still unclear to me but whatever. The g-word tube amp has a transformer that already is a HPF (not an LPF), and that is the reason why the amp can not go extremely low. And your idea of lowering bass is a good idea. If you use your effects on that g-word amp, the system may be very interesting.

Marvin Gaye & Tammi Terrell - Ain't no mountain MG - What's going on BeeGees - Stayin alive (with uptempo jazz feel) Robbie Williams - Let me entertain you (the singer of the band where I double the bass is at least as crazy as RW) Dave Lee Roth - I'm just a gigolo Dizzy - A night in Tunisia EWF - September I would love to try these: B52's - Loveshack, Was not was - I feel better than James Brown, Rod Stewart - Da ya think I'm sexy, and Four brothers