itu

Our band had lots of issues with a Soundcraft U24i, but after moving the wireless monitors further away (3 - 5 feet), the problems disappeared. Now the wifi seems to be very functional.

...and I told her that a spokeshave is the ultimate tool for those exotic, harder grades. Well, as usual, we happened to talk about two different things, but I did not have the heart to correct her. I will get a very welcome birthday present! So sorry, I just had to.

OK, I see. EMG has those connectors that carry the energy (9 - 18 - 27 V) to the pickups and signal out. If your pickups are passive, you do not need that voltage. On the other hand, as you are trying to connect both the preamp and the EMGs, you need to supply power to the preamp and the pickups. Neither supply power to each other. It is practical to use connectors, if you know your wires. If not, you might consider using a local tinkerer to help you with those wires. You need to know ground, voltage, signal inputs and signal outputs. If these are basics to you, I am sure, you are able to make the choice of using the connectors or not. The pickups did not have any markings earlier (do they now?), so a paint marker may be your best buy. After an hour that ground is somewhere and... just a minute...

I have switched between fretted and fretless. I have splittable humbuckers in few of my instruments. They provide that thin J or thick MM or nearly anything in between. That way I need max. 2 instruments at one gig. Fretless can be replaced by a double bass (or EUB). Have to admit, that most of my gigs are played by just one, so fretted 4- or 5-string.

If in need, you can connect EMGs to any preamp (which is actually a plain tone capsule) out there. Yes, the connectors you have to add to the preamp or cut from the pickups, but that's life. Powering the pickups, well, I might cut the connectors. That MEC is similar to the EMG preamp, only difference seems to be the order of the lettering, and C turns to G.

Anything that is stainless steel, roundwound, and less than three hours old. Someone told me that it is the time Mr. Miller keeps strings in his jazz in studio.

This was already discusses in that 15" + 2 x 10" thread, but once more: If there is a non-designed hole (like that broken cone or a burnt, freely moving element) in the case, the freq response will be destroyed. Functionally the cab may be suitable for that funny six-string toy, but not for bass. The low-end no more exists. This is plain acoustics. Very easy to check by playing something to a single speaker. When the cone is by its own, the sound is thin. When any kind of case (like a simple cardboard tube or box) is involved, the low-end becomes audible. If you have a cab with two or more elements, unscrew the other (keep it connected) and try to use that cab (at low volumes only!). It will take far less than a scale to understand the issue.

My only question is that why should the compressor handle the full bandwidth? I might be interested in the difference of the performance if that HPF is the first thing after the bass. Less handling noise for the comp, maybe?

Try to find a replacement cone now. If you play with the cab, there are too many reasons you get bigger issues with the cab and certainly the farting of that broken one does not help. Beware to put big amount of power to the cab as long as the cone has that hole. Just try to find a replacement unit quickly. Tell your area and I'm sure someone knows repairperson or parts nearby.

I would use that MN taper. It was my other option but turned to active mixing, so to Noll Mixpot.

Go ahead. Pickups, active or passive, do not matter.

If a bass has a preamp set flat, it usually is as loud as its passive counterpart. The sensation of a louder instrument may be related to a preamp that boosts T/M/B or all bands. It should be remembered, that a preamp can also dampen frequency bands. This is quite often the more effective way of handling sound.

Any Electro Harmonix effects pedal. High price, low quality, mediocre sound. Any dist/OD/fuzz that I have not compared with another dist/OD/fuzz. Well, an EBS and one green Muff were just terrible by themselves. Every drum machine or metronome. Radio channels and records are far better to learn timing.

If the instrument is hi-Z (high impedance) or lo-Z and the input channel does not distort, then as loud as possible. This is about signal to noise ratio (SNR). Higher signal level equals less noise. Every hi-Z ("passive") adjustment affects the sound, so if the actual pickup sound is in order, all pots should be bypassed. Lo-Z instruments should not color the sound but most of the adjustments in the beginning of the signal route (vol, blend) are actually hi-Z and affect the frequency response. If your instrument has a system from EMG (pickups and BTS/BTC) or the preamp is from John East, the adjustments should not affect sound. Practically all others do. Active blend, so lo-Z mixing is possible but rare.

Sweet girl Ipanema anything from Nirvana Nearly anything related to rap, where some coke nosed guy tries to babble about modda modda modda, and do not sound serious at all. And no one of those guys sound serious. Come on, all they talk about is fathers, so moccafudges.

You need darker sound, so change strings even down to flats, play closer to neck and turn your tone down. That's it. You do not need a new - or another old - bass.

My drummer friend went to school to become a nurse. He said that he has accustomed to low wages, so working as a nurse is a bit like musician, except better workin' hours...

As you already have that EMG pre built in, would it be reasonable to try that with the new pickups before removing it completely? Are you doing lots of studio, so do you need a lo-Z output without DI-box? Then some kind of active circuitry may be in need. Noll Mixpot, i.e. an active blend for example? V/B (/T) + coil taps, maybe an override switch for pots?

Some basics: If the casing has a hole that is not designed to it, the bass response is sacrificed. In this case the blown speaker is functionally a hole, like @Bill Fitzmaurice told. The case begins to act like an open back g-word cab = no bass. If other elements and the system is otherwise functional, the only way to fix the cab is to replace the element or block the hole. The block needs to be stiff like the rest of the casing (plywood or similar). If the block is not airtight, the block is next to useless. As one element is missing, the tuning of the case and the electronics (X-over) may not work like designed.

Dirty, faulty... can be fixed if you are interested in doing quite a lot of work for a £1 part. Buy a bottle of pot cleaner spray and see, if that fixes the issue. Buying a new pot is a reasonable alternative.

@Dood has several excellent points, that I want to comment. About me and some background to my comments: I used to work in a local broadcasting company, so I learned cables the hard way (building, using, fixing...), like in studios, and cars that went round the Europe. Take a look at the surroundings there: https://drive.google.com/file/d/1t_v9PE-pipOM2OJ5T8U3WrjSCS4-zQwF/view When a cable is in professional use, its lifetime is decades, when used accordingly. Your professional mileage may vary, but there are no excuses if any of your cables is in bad condition. The cables are a vital part of your equipment and your sound, if it still exists. The cable is an investment that same way as your instrument. Your instrument is worth £20 000 on stage, so your cables need to be serious. You should always have minimum of two cables at hand (after all, that g-word player has never anything decent). Leave those branded Fenders and Harley Bentons to g-word players. Yes, buy at least two decent cables instead. Neutrik BAG is a quality connector. Cordial has functional products. https://www.thomann.de/gb/cordial_cai5bk_instrumentenkabel.htm If you do not know how to coil a cable or why it is so important, go sailing to the sea in a sail boat for a month. This way you should be able to understand the reasons the soonest. Now take a two minute ride along with this guy. Repeat ad lib. https://www.youtube.com/watch?v=pEd7ru24Vx0 A velcro is your friend and is very cheap. You can even write your name to it with a permanent marker. Remember when you tossed that 35th cable to the cable bag after last gig and you should be able to grab it now - in a hurry! "S***, it's a mess - and something broke. No spares, what?" https://www.velcro.com/products/back-to-school/900605__one-wrap-ties/?sku The strain relief and the shrink tube are there for so called normal use and "just-in-case". Not that you should be able to grasp the cable. Yes, it may have worked before, but no more! You do not see this, but the thin wires inside the housing will be cut to pieces, one by one. The last will certainly break on stage. When in use, the cable should move freely. You do not sit or stand on your instrument. If seeing the cable is hard in the dark stage or cave, buy a color coded cable. My cables are black, but also blue, red, pink, yellow... If your amp and cab still use that poor plug power cable, put a label or cable ties or anything to it to separate it from other cables (can be found by hand on a dark stage). Now get back to your cables and separate power and signal from each other. Yes, put that label to both ends of it. Now. https://cableties-direct.co.uk/products/cable-ties-mounts/ Contact @obbm or buy something reasonable from some store. Do it today.

Let's think about this thing another way around: vol + tone + bypass switch. If you set vol fully ccw (to 0), the switch becomes a killswitch, if that is in need. If the vol is set anywhere >0, you get two sounds from the bass with a flick of a switch.

Artec fully parametric eq pedal, from T-shop, around £20. A handy tool.

Your bass teacher can teach you anything you want, but it is up to you to do the work to master it! Fight resistance! You can master it if you really want.