itu

While looking at these boards, I see a variety of markings, like those tapes. What could be the ultimate way of setting (and sometimes, forgetting) all parameters? I do use a paint pen (not fluorescent, though) and put small dots to the pedals. These help, too: https://www.thomann.de/gb/stompshield_the_stompshield_kit.htm I heard about a 3D-printed cage, sort of: https://www.apatura.fi/shop.html What's available in the market?

Juha https://ruokangas.com/ uses thermo treated woods. He has several videos, here's just one:

You have a DMM? Measure the heater element. Check the power cord to the wall, fuses, all connections... rule possible faults out, one by one.

I am using X-over (Iron Ether Divaricator, KMA Tyler) to keep the low frequencies (< 400 Hz) dry and the higher frequencies wet. If you blend dry and wet there may be phase and mud issues.

https://news.bloombergenvironment.com/environment-and-energy/uk-retailers-may-be-selling-lead-solder-in-breach-of-eu-ban-1 If you do a simple search, these news tell about ban, don't they. I do admit that the lead version is far easier and better, for me at least. I bought something like 1 kg of it last February.

You can use almost whatever that has some reasonable diameter. Within a box (metal one, so a Faraday cage) you may see X-talk, so distance or placement may be more important factors than the wire. But if the wire is really thin (Litz), it may act like a component. And remember those coils: if you have too log a wire, do not make a neat coil out of it. Cut the excess.

Resins are not so good to inhale so it is more than OK to open your window while soldering. A tiny fan/blower would be very nice. Wash your hands after playing with lead. Start with cold water to close the skin.

Some shops still have it and probably sell it. They may not know or care, that in EU it is forbidden to sell tin/lead to consumers since March 2018. It is not illegal to sell it to certain industries that need and have to use it.

Yes, I do change my strings far more often, too. Just an example.

How about a passive A/B-box, that has a level pot in the other input? It would be very easy to construct (few components, a box, some wire, three stereo input jacks and a footswitch) and then the change would be a dream. My Glockenklang Soul has similar inputs. I can connect an EUB/fretless to the other input and an active fretted electric to the other. One level pot is enough, just put the more powerful behind the pot (or a trimmer that can be set by a tool) and do a set-and-forget. I would use stereo jacks because it is better to solder the ring and sleeve together. If you ever happen to meet an active instrument and a stereo cable...

So what from Kind of blue. Angel Eyes by lady Holiday. The power of love by FGTH.

I had to learn these two to a gig in December: Madonna's Like a prayer, that has quite quick keyboard bass. It took some time to get the feel and rhythm. Another was Wham's Wake me up. Thank you to @TKenrick , who had put that to notes. Was somewhat harder than I thought but the notes gave me a good head start. (After some discussion, that was not related to my playing, the band did not want those, so they were "just" good exercises.) I do have to say that there are players that can play all notes very fast, but I adore those who only play the right notes and can use rests musically. Larry Klein is one. And AC/DC's bass&drums combo is The Boogie Machine.

This probably has a lot to do how the strings are played, too. Close to the bridge or the neck, slapping etc. One more issue sure is that how old the strings are: after a year the amount of gunk has changed the performance drastically.

You may try an Iron Ether Nimbus, which is made for bass. Its eq is something that others lack.

Wattage is one thing and temp another. If you look at the papers of your tool, it tells the wattage. Small is under 20 W, middle maybe 30 - 50 W (should be enough for pots). Anything over 60 watts is already really powerful. Naturally there are tools for roof work but then they are really BIG, I've seen open fire systems up to 100 000 W, so 100 kW.

I bought some extra, when I heard of this no-more-lead -thing. 320 is a bit low, lead-free needs higher temp, like 350: https://www.jbctools.com/blog/correct-temperature-soldering/

63/37 or 60/40 tin/lead is easiest for home use. Copper based newer lead-free stuff is not so easy to use. You should use enough of heat. Pots tend to need 40 W while tiny components are OK with 15 W. If you do not give heat, you only get melted flux. The tin starts to act like liquid, when it is fully melted. Flux just helps to clean the parts and the PCB so tin can attach to it. Flux can be washed away with spiritus. Start the video from 2:00 https://www.youtube.com/watch?v=Qps9woUGkvI

You may try that amp (I try to avoid that g-word) with effects. So make your set a bi-amp system. Keep the bottom as it is.

My experience (not Jimi's) is somewhat similar, but there is also another point of view. Our band is somewhat big, 12 people. If everybody is in, the basic 4/5-string electric seems to be more suitable, but if we are with, say 4-6 on stage, then the double bass (or the EUB) or my fretless seem to work OK. I have no idea how I have had similar thoughts, you just put the pixels to my screen. This may have something to do with the feeling that the listening (drinking) crowd is creating. Of course the arranging of the song affects, but I tend to play a bit different stuff if I don't have frets.

Yes, and walking on the moon would be OK on any other day. I'll get my coat and tea in...

Ideally we could see some results about the differences. By the way, who would offer his "original thumb" and "famous fingers" for tests for few months?

Human perception ends @ 20 kHz on average, but the magnet-coil -pickups of a bass are not able to go that far. If I remember correctly, the feasible frequency response ended probably @ 3 kHz or so. Very high fundamentals are not that important, especially in a band that has other soloists than the bass player (like Edgar Meyer or Michael Manring). Testing different strings is not that easy. I have been thinking of the test setup, but it is everything but simple. How to pluck at the exactly same force at the same place, which bass, which gauges, string manufacturers, piezo or coil-magnet... Lots of testing and building that setup.

Y: "You should have a single cut as they are in fashion at the moment." NE: "This is SO heavy, should it be lighter? You know, Sadowsky makes these carvings, so..." Y: "Now, we took off the headstock and carved it a bit. It isn't that heavy anymore. Now go and (4) play it at the gig."

1) Check if the saddle part lies against the bridge plate i.e. not the height screws. 2) If any single screw is totally loose, the rattle may happen. 3) If the bridge parts are in a big angle (one of those two screws is far lower), the saddle may rock. 4) You should play every note from the neck to find out, if all bridge parts are at the right height. 5) Sometimes (pretty seldom) the rattle comes from the string between your finger and (top) saddle. Put some cloth under the strings in the first position while testing. If the reason is a loosen screw, you should put a little bit of nail lacquer to the screw thread. Remember to measure the saddle heights first to restore the setup.

Excuse me, are you talking about bridge or saddle near the tuners? The name of the instrument would help, too. If I translated your issue by changing these words, I think you should tune your instrument so, that the tuning post has the string going from top to bottom. See the second picture: https://www.studybass.com/gear/bass-strings/how-to-change-bass-guitar-strings/2 See also that picture, where the string end goes inside the tuning post. Just cut the excess of the string by bending it back and forth a few times. Optional cutters need to be very tough (there is a text: piano wire or piano string) https://www.bahco.com/en/p/chrome-plated-end-cutting-pliers-piano-wire/ed-28-3e-01-5b-2c-b7-54-32-2e-c0-48-d4-16-ee-2a/