itu

Why, oh why do we get just another round of fenders. Sorry to say that I expected something more and novel. Great amps should equal great and original design in basses, too.

As the editing does not seem to work always with Andphone, I add that I have had no issues with the strings if the thicker part reaches the tuning posts. But the measuring from the nut to the 12th fret is spot on.

Very good notice @Smirfy I only use long scale plus or similar long scale strings as they fit every instrument I have. Longer fits always shorter but not vice versa.

That's silica gel. They work for sometime but should be treated in an oven once in a while. Bass Player magazine discussed this and someone suggested alcohol based hand cleaners before the gig. They dry the skin somewhat and help to keep the strings a little longer bright. Beware of the ones that have some odor, or check that it is OK from your bandmates...

If there is something you are not able to compare, it is the knobs. Depending on the designer the volume may follow the numbers, but usually not. You need some measuring equipment to define the output. If the gain is lower in another amp, the output is also much lower. Be open and use your ears while doing settings. Preamps have individual behaviour, and all settings are practically different. Show me two different brand amps that have similar eqs, and I will show you two similar 10" speakers... Don't even try, they just are different with similar marketing jargon.

My basses (and some equipment, too) are from local shops, local players, as well as abroad (shops and individuals from UK, France, Germany, HK, Norway, Russia, USA...). My latest jewel is from UK. There are so few better basses in one country, that when you are after one, I do not see a country border as a limit. Usually few lines from the seller tell about the possibility to make a deal or not. Sometimes the seller does not want my money, and I can live with that. But most of the people are humble and honest players.

Ned Steinberger told about the deadspots while he developed the L-2. He said he tried to reduce the effect and shaved a serious amount of wood from the headstock. It seemed that the deadspot (or spots) started to climb higher up the neck. He decided to cut the headstock off completely and the deadspot (or spots) went so high, they did not affect the sound anymore. His design is a classic example of the "form follows function". By the way, before you take the saw...

Exactly. If you want to learn one, go ahead. The semiparametric preamp is very different to others in the market. The neck is stable. Warwick does not produce stable necks. There really is a difference. Weather, humidity, different string sets... no adjustments, no need to adjust. A bit different, but very functional high end tool.

Some numbers: - bridge spacing 14 - 21.5 mm - scale length: 30 - 36", excluding fanned fret necks - nuts, yes, we are...

How about 25, 26, or 36? Have to say that my playing rarely craves for 24 frets. 10 - 15 would cover most of my work.

This is one very interesting way to handle the problems with strap pins: http://www.vigierguitars.com/html/Description_US/strap.html

Very good point to use a luthier to make the connection secure. One loose screw and your dear bass is screwed. My preference is Dunlop as Schaller tends to loose at the strap end. And beware that the knob may drop. If your choice is Schaller, it is OK if you use a bit of thread lock. Dunlop on the other hand relies on Seger type of attachment. They may rattle, so some plastic or leather can be put under the strap side parts. I double check them every time before starting to play. It is important that they are pushed to the bottom of the strap pin (whichever the part is: there are two or three options).

A simple bypass on the effects board reveals possible loose cables. Start with the obvious and then travel to the blue ocean. One place to check is the FX loop. Put a cable to the send and return. Very common problem maker.

Any battery operated kit (i.e. low voltage), go ahead. Anything that includes 230 V, beware. If you do not have licences, you are not permitted to sell it, probably not even connect it to live wire. The idea itself is fine. It is still wise to give the ready unit to someone who is able to debug the system, before connecting it to 230. Now I have said it, and I am serious about this.

Sorry: screw terminals and lots of tin... you need help from someone who is able to solder. Pots may die when they are heated so much.

Any company that produces transformers. Cost is probably similar and hunting the exact specs costs some extra.

You need help here, take few photos for the start.

400 women and less than ten men jumping up and down! Quite a gig. Sound at the stage was cloudy, but everywhere else sounded good. Only one "We want more" shouted, before the DJ let us go.

The bridge works in combination with the body, the strings, the neck etc. The change in mass tunes the whole system (a bit). Some say they are able to hear it. From acoustics point of view, the most important thing is to have the bridge - as well as all other parts - tightly screwed. If anything is loose, something is lost. Usually it is sustain, that is affected the most.

How about a HPF in front of the pedal and another LPF in parallel for letting the low end through? This is a X-over.

Yes, my bad, like @Chienmortbb stated, up to around 6 dB more, because of that doubled amount of elements.

Four letters you can trust: SKB. My bass specific case was destroyed last time I was in Switzerland. Next time I will seriously consider an SKB. It is heavy, but the instrument has to survive airport personnel.

This is mostly right, but there are some SS amps that need cab. Rare, but possible. It is always good to connect the cab first, and then plug and turn the power on. Make a habit of this.

Monsieur Paris, Have you been considering contacting the manufacturer? They may be able to help you. Even have some files, maybe? Pardonnez-moi monsieur, je ne parlez pas français bien.