itu

Do you have a case for this? Any plans?

The pickup signals go to the center lugs. Grounds to the other lugs and output to the others. (the lowest picture) Connect output to the left and grounds to the right. The bottom plate is ground, too. Start from the center, as there will be less space, when all wires start to find their places.

Connect the neck and bridge so, that the switch can override/bypass the bridge pickup. Then connect the live wire (signal) to the pot. You can connect the signal to the center of the pot and ground to the other end and output (jack) to the other. Bypass dpdt switch schema can be easily found from the net. Use picture search.

Preamp may be a tool, when the bass (and possibly the pedalboard, too) is driving the PA. Those preamps have cab simulation, so the sound resembles the amp+cab sound. Here PA is thought to be neutral, which it is not in HiFi terms but it does not matter here. Probably the bass has an active (lo-Z) preamp, which is driven by a small 9 V battery. Its quality is not HiFi either compared to the amp - or a hi-end mixing desk - but they offer quick adjustments within reach. Usually those preamps offer just tone adjustments and some of the signal path is covered by low quality carbon track pots. Definitely nothing to do with quality. Effects, yes, many effects affect the sound and especially the low end. You may try to put lots of distortion or chorus to your signal and find, that the lowest end has vanished. The sound has become thin. To reduce the effect to the low end, there are units that have blend, where you can mix the bass sound to the effect. This may give better sound, but I myself find it a bit lame solution. You still have to be somewhat careful or the low end is affected. My choice has been a cross-over. With a X-over you can mix signals so, that the higher end has the effects and the low end is intact. Yes, I can put lots of effects to that high end but also too much. Still the low end is there. Compressor is not the easiest signal processor in the bassist's world. I suggest you to read some articles on how to set it up. Sound-on-Sound is one very good source and ovnilab has a very wide selection of compressors and tests. https://www.soundonsound.com/ http://www.ovnilab.com/

I have been after a wide 5 neck (19 mm bridge spacing) for my project. They seem to be rare or I have not reached the right manufacturer. Warmoth Gecko has a wide 5 in their selection, but VAT + customs etc. equal expensive. I would love carbon, but they are very few. Status Graphite has that MM5 but it is not wide. Modulus has produced wide 5s, but available only in ready bass, so the price is astronomical... Warwick has broadnecks, but again, where can I find the neck and neck only? Some years back I modded two Ibanez basses (506 and an Ashula) to really wide 5 but the Ashula lost its character so I converted it back to original and sold it. That 506, well, it is heavy. My target is to get a small bodied wide 5. Maybe a used 6-string neck and some woodwork?

Yellow works with black. Yellow and white are like that famous snow that should not be eaten.

And upgrading the amp from 50 to 100 W can barely be heard. You need more loudness, the output should go from 50 to 500 watts. Lots of different tubes/valves and a completely new design. Make your life easier and turn to Mesa 400+. Amp is just an amp. It can drive bass cab or a g-word cab with ease. Eq may be different but the basics are the same. Cabs on the other hand may have lots of constraints because of the design of the element and the box.

Mark King. His use of 30-90 set lead me to travel through different tunings and string gauges. Rotosound. Their roundwounds have given me the dull and thick sound as well as the bright and thin alike. And everything in between. I am just a dance music player from the background of the dark stage, but the continuous work keeps me playing on a daily basis. This is a lifelong project that gives me incredible feelings gig after gig, rehearsal after rehearsal. You know it, if you have done it. Our band pays my strings, so if I happened to win, the prize should be adressed to those players that really need them. Our dear @ped certainly has ear to such players.

Both lady @Silvia Bluejay and Mr. Sklar seriously fight against the idea that the bassist is the biggest and ugliest guy in the band. Me, well, I don't wanna talk about it...

I would consult (or insult) a company that knows laser and water cutting. Plastics and fibers tend to burn a bit in the laser process. Water cools the part.

If the height adjustment does not work well, probably the foam under the pickups is dead. It is possible to replace the foam with springs or just a new foam.

You may listen to internet wisdom or use your legs. Take your bass to a luthier and ask for a professional setup. If it is impossible - which I doubt - then turn to another instrument. Remember to take a new set of strings with you, so you get the ones you like, if you already have a preference. Ask for help, if in need. Another thing is to go to a store and test different instruments. This gives you a slight idea of what the others may offer you. It is about touch, ergonomics and sound among others. Brand has nothing to do with how suitable the instrument is to you. Sometimes you just feel that this is the one. The setup may be similar with several instruments and then that certain body may just fit yours. Ibanez? Metal oriented? My Affirma has been with me in theater and dance gigs alike. She can jazz, too.

It is OK to ask us, too. We all are here to help you. Check @MacDaddy's cheat sheet for a start: https://www.basschat.co.uk/topic/344700-music-theory-cheat-sheet/ This includes some basics that you need.

Musescore is really cheap (freeware) and powerful but it also requires some understanding of notation. I have used it for some time after some older softwares like Finale (used it in a group where we did some scores that were published; modern classical music). But Finale was a chore with four manuals and an incredible amount of hidden keyboard shortcuts. Lighter software is more practical. I do not know about the details of Sibelius, but many friends have told me that it is very good. Some extras include scanning sheet music: from paper to the display within seconds! For my current work (chords, melody etc.) Musescore does that well and pretty fast. The online help is functional as is their web forum: Musescore has few slightly odd functions but mostly it is quite straightforward. It is very helpful to understand some basics of notation, so few YT videos might be a good idea to watch. Enharmonic notes are very often hard for a beginner to understand but the theory and the legibility crave certain choices (I do have seen some very funny looking maj7-5's). And where do you have to use b or # when the song is in A major or c minor... Notation is possible to learn and reading notes opens up new territories to your musical knowledge. Just go for it.

I think that a luthier will be your friend. They can fix the details you hate in your current gear. A bolt on body can not be too expensive, although wood and finish choices may rise costs. Lighter and slimmer body and curves to die for - every player will love her!

Whoa, two long sets, long stairs to carry the stuff in an island... The place was like a wooden tube and the percussionist as well as the drummer beside me were stunts. There were several songs where I had no idea, what the others were doing out there, in front of these two guys. We gathered our stuff to a boat and left the island just 45 minutes after the last song. Not bad at all. OK, this time we were only 8, usually we are 12.

I used to keep my COG T-16 first in the pedal board, but I tried it after the comp and it works far better. If you need a x-over (like that Tyler @Cuzzie mentioned), Iron Ether Divaricator is an option, too. You can ask them from: https://www.effekt-boutique.de/ Send a mail and ask for a unit. That company is helpful.

It seems that price raises lots of interest and discussion (Alembic, Fender...), so should we simply have a topic for prices. No BS, no guessing of the owner, just the bass and the price? Like a simple list that anyone can admire? As a reference, some classical music instrument prices might be a nice addition. Yes, Limelight could make a better instrument for fraction of the price. But this is useless speculation.

Actually, mp3 (MPEG-1 audio layer 3) tests were done in a bit similar way. There were several countries and studios (listening rooms) and quite some people involved. As an example, two studio listening chairs in Japan (@ NHK) were disqualified because of bad results. Instrument wood qualification would cost a lot. This is the biggest reason for not conducting any scientific tests. We get only opinions. We can listen to our dear fellow players' talk, luthiers' opinions, marketing people jargon, or our own ears. Who do you trust?

Those enormous dots... Other than that, the Smith is kool.

Ladies and genitals, Have you ever heard about LifeSaver by Adrian Legg? Probably this issue has been discussed here in greater detail many times, but it is good to repeat it once more. Please study these: http://forum.metropoulos.net/viewtopic.php?t=41069 http://alexplorer.net/guitar/mods/shock.html This is a very good addition to any hi-Z ("passive") bass. It is even possible to reduce the circuitry by leaving the resistor out. Here is a suitable capacitor that fits well and costs nearly nothing: https://uk.farnell.com/vishay/440ls10-r/cap-0-01-f-20/dp/2342196 This does not solve all zaps, but at least they will not be lethal.