itu

The big difference is this: 1 W - 102 dB (this is the sensitivity number @ 1 m distance) 2 W - 105 dB 4 W - 108 dB 8 W - 111 dB 16 W - 114 dB 32 W - 117 dB 64 W - 120 dB (threshold of pain) 1 W - 90 dB (this is the sensitivity of another cab) 2 W - 93 dB 4 W - 96 dB 8 W - 99 dB 16 W - 102 dB 32 W - 105 dB 64 W - 108 dB 128 W - 111 dB 256 W - 114 dB 512 W - 117 dB 1 kW - 120 dB (beware!) So you need an amp that has lots of headroom or a sensitive cab to reach loud voices. I do admit that the first cab example would have very, if not extreme sensitivity. But when comparing the wattage, you may get an idea, why watts are not very good measure of loudness. It is reasonable to have headroom, but amps are not something that you can compare one to one, except that wattage. The whole system - including preamp, power amp and cab - produces the loudness, not any single component.

If the unit's powering scheme supports DC, it may work. Still I would not try that without carefully studying the unit. Besides, 9 VDC may not be enough.

Most exotic tops are easy to track down if one has at least one good quality picture. She may show up within few days or few months depending on the situation with those burglars. If some speed is needed soon, the instrument will show up soon. Wish you good luck with the insurance company et al. It is always lots of work and harm.

Alesis uses 9 VAC very often. It may be the reason for the odd sized connector.

Those jack-jack connectors have few issues if the connections are not very close to each other. Cable in between reduces any forces that bend those effects.

PSU: yes, that Boss type is usually the standard. Older and some exotic units have reverse polarity, 18 V, 40 V, 9 VAC and whatever. Signal: use silicone cables and Neutrik connectors if the cables move. If not, something cheap may be functional. Order: there are millions of helpful people telling you the only and one way, but rely on your ears. That's it. If comp is the last in line, the boost will be tamed a bit, depending on the comp settings. You may try to put that S. after the comp. Quick suggestion: bass - tuner - comp - S. - chorus This way chorus and S. will not affect comp action. Try to run these in other order and find out the most suitable for you.

My limited view to vocal harmonizers is that if your keyboard player offers you MIDI signal, you can do nearly anything. If not, beware. Most of the octave up -pedals have somewhat strange sound, something that relates to old ghost movies. Maybe some other effect like distortion would enhance the sound. Octave down is an easier task. Just buy nearly any octaver and you're in. Digital units have always some sort of delay, but this very much depends on the unit. I recently received an IE FMeron and its latency is negligible, if possible. Some other units have far longer and sometimes somewhat annoying delays. No, I am not able to buy an Eventide Harmonizer, neither was Jaco. He simply lent one. They do not loan one for me, though. One thing is to remember: whenever I play with a harmonizer/octaver/something similar, the performance very much depends on my abilities to play very clean voices. Cutting treble helps the unit to track better and a compressor may help, too. But my own technique is the most critical. Any hassle with fingerings and ringing tones are poison to the electronics, no matter analog or digital.

Me confused: not a single picture of any of the 57 varieties.

Check the net and picture search for DPDT bypass switch. Two top poles should be wired together and the signal goes in from the other middle pole and out from the other. Pots are connected to the two lowest poles. A picture will open this up for you. If you do not want to make any holes, consider buying a pot that has a DPDT switch. Just push the pot and the signal goes straight to the output. Nice hidden feature.

Serials between 61 000 - 70 000 were circa 1962 - 1964. Funny thing is that 71 000 - 99 000 were circa 1962 - 1963! Gibson changed their numbering in 1975. Before that they had various numbering systems, so duplications occur. EB-2, built during 1958 - 1961, and 1964 - 1970. 30 1/2" scale, 20 frets, nickel- or chrome-plated hardware. One plastic-cover (metal-cover from 1964) pickup. Vol, tone, from circa 1959 a pushbutton tone switch. Also EB-2D with two pickups (1966 - 1972). Source: Barry Moorhouse, Tony Bacon - The bass book.

The question is: How many times you have been in a gig with a singer/guitarist/any instrument and they say, the next song is in d-double flat or g sharp in stead of eb? Nearly every gig is like that. Take a fake book and start from the beginning and when you have played it through, start all over again but transpose one up. Repeat until you learned all chord changes. This takes some time, but after some training you will be able to transpose any song in a fraction of a second.

That. Is. Shiny!

One easy solution while travelling along with an instrument is to have a copy of the proof of purchase. I had it with me when I travelled to Switzerland in May. I also walked to the airport Customs and asked for a paper, that I have this and that with me. The paper cost nothing and filling it took a few minutes (I had made a paper with names, serials, and approx. prices that was attached to the official paper). Then the friendly lady behind the counter put a very official looking stamp to it. Let's see, the paper is somewhere here... https://tulli.fi/en/private-persons/more-on-customs-clearance/clearing-export-goods-through-customs# OK, the actual paper is not here (have not been able to find it from the net), but here is something about the temporary export: https://tulli.fi/en/private-persons/more-on-customs-clearance/temporary-export-of-goods Although the pages tell about ID's and so on, the paper was there in the Customs and there was no need to do anything special. Just use a pen and fill the list.

I have one in my Vigier Passion (Schaller, headstock) and another in my Ibanez (Ibanez, bridge). Both have a screw with which the fine tuning has to be done. They seem to keep their adjustments really well.

As I try to learn more about music every day, that 20 % is now clearly bigger amount of stuff than it was 30 years ago, when I was so young, so sure about everything, and so wrong. There is still that 80 % that is growing, too, but maybe some Schönberg atonality is not so important to me after all. There is much theory available, but I see theory as a tool: it is there for us to understand some complicated stuff. It is there like a wrench that is needed once in ten years when repairing an old Ford Fiasco. I can not say that I loved those seemingly unnecessary parts of theory (or that Ford!), but I can assure you that my taste has changed, if not evolved, over time. Even that Schönberg has some interesting stuff. II: listen more, learn more, play more :II repeat ad lib

And this is the reason, the d-b-e strings matched. If the neck was any shorter, the strings wouldn't fit. Thank you @Bassassin.

So Fender is a brand that continuously updates and improves the recipe that has been in use since 1948? Give me a break. If I would be interested in an "improved" jazz or precision, I certainly would not look at Fender, maybe Lull, Sadowsky, de Gier, Overwater etc. Better quality and bang for buck. My Vigiers have their serials furthest away from the headstock. Rickenbacker...

I find this twofold: the manufacturing year is one thing and when the usage started, another.

No. I had a bass with d-b-e strings and there were no length choices. Rotosound was the brand at the time, late 80's.

How do the double-ball-end strings match with the hardware?

For me that parallel or series was not the answer. So I split the freq range to lower (no effects, except comp) and higher band (effects in series). This way it is very easy to use the effects without mudding or screwing the low end. Brave new world.

If anybody asks me, I will steer them to find an ergonomic solution. 1) scale length? (estimated together) 2) style? 3) a used or a new one and why? 4) some instrument suggestions ⁸based on these and the price range. It is also reasonable to suggest: a) professional setup and at least b) new strings, a light set of 40-100 is a good start for a beginner, c) a wide strap and d) one quality silicone cable. I live in a country that has pretty big changes in temp, so if a bag is in order, thicker is better to reduce temp shocks. Last, but definitely not least is a test drive. I want to try the instrument and I want that the person tries it, too. This is just one way.

Exactly, thanks, my translation abilities seem to be louse, as these basic things got messed. My bad.

Recycle. It does not matter if there is some coating. That plastic related stuff and silk will be separated in the processes. Also iron, nickel, chrome, cobalt etc. can be separated from each other. That tiny brass part or bronze goes along, no need to worry.