itu

I have not started to calculate, in case someone has: I prefer 40 - 100 sets for a 34" 4-stringer. How much longer should the scale be, if I used the same set for BEAD under similar tension?

Australian Steve Chick is the man behind all these instruments. Split-fret neck, yes. Valley Arts was also one of the users, I think.

It is somewhat strange, that a 4 has 19 mm as a "standard" and fivers have mostly everything else. Why on earth? Wide neck five is a bit too rare, although it is not impossible to convert a six to a wide five.

I am on your side, Sir. I just figured the simplest way there is. But if you start to use buffers, I want all stages to be active. My current Modulus Quantum has that Noll blend and a bartolini tone stack. Noll made a difference in sound. I am amazed, how few possibilities there are if you want a complete lo-Z signal chain. There are many retrofit tone capsules but only few (East, EMG) that include active blends and volumes.

That vintage is probably the cheapest available in every way. Here are lots of reasonable options (including that cheapo plate): https://www.thomann.de/gb/bass_bridges.html

So boring. Your "choices" are fretboard dots, decals and colour, but still everything is the same, year after year. I wish they did something serious like a competitor to Sadowsky or Suhr or something revolutionary. But no, this brand stands behind its true nature: two main products, a steep price, and varying quality.

There was a question that are there multiband compressors: yes, at least tce Hypergravity and Spectracomp, an age-old DOD with two bands (definitely NOT transparent but if you are after colored compression...) and so on. ovnilab has an extensive list of units and features as well as comments. I referred to SOS earlier and tried to find articles for us bassists. Enjoy: https://www.soundonsound.com/techniques/engineering-bass-guitars-live https://www.soundonsound.com/sound-advice/q-how-can-i-get-more-effective-synth-bass-my-mixes Mixing: https://www.soundonsound.com/techniques/mix-rescue-tom-marcovitch https://www.soundonsound.com/techniques/mixing-bass https://www.soundonsound.com/techniques/better-bass https://www.soundonsound.com/techniques/bass-guitars-mix Compression: https://www.soundonsound.com/techniques/compression-made-easy-audio-files https://www.soundonsound.com/techniques/multi-band-compression https://www.soundonsound.com/sound-advice/q-april-2003 (take a look at the 8th question about the order of the equalization and the compression) Speakers: https://www.soundonsound.com/sound-advice/q-are-closed-box-speakers-better-than-ported-ones

Mixer stage may be a blend pot (or two volumes), as the buffers take care of the pickup outputs. The pot has no more effect on the pickup frequency response as it can not load the pickup. So a dual opamp (one side for each pickup) like the basic TL072 is enough. If a blend is in order, there are pots that function as a blend. The dual resistor track is cut at noon. Try to find a Bourns 250k MN or 500k MN. They have center detents, too.

Noll, East, EMG. - EMG has the buffers in the pickups already. - Noll has an active balance pot, approx. £50. - East is the whole preamp, around £200. Then there are a few studio grade preamps from certain manufacturers like Wal but usually they are available only with the instrument. Nearly all other preamps available are just tone controlling circuits after plain pots without active blend. Here is a list: https://www.thomann.de/gb/electronics_for_basses.html Only EMG BQ and BT have active blends. To make the Noll part of a concentric pot needs some extra work and parts. It might be easier to keep the pots as they are and put simple buffers after the pickups. Buffer parts cost just few pounds. You may try an op-amp like TL072, NE5532, OPA-series or similar. This is very simple and very functional buffer: https://www.electrosmash.com/klon-centaur-analysis#input_buffer

Simpler and an actual bass would be the Neuser Claudia (or Clawhammer or even Clawbass). Have once seen in real life and few photos. Very rare, one was sold in Sweden around a year ago. The seller claims that under ten were made. https://www.talkbass.com/threads/in-praise-of-weird-looking-basses.1095757/page-127 https://pratabas.se/viewtopic.php?t=85002

Yes, I remember that - but this thread may serve someone else later on. A "complete" list would not be bad. And some people have a very different idea of low cost levels (although I think I am on your side).

These are very good points. Psychoacoustics is something else than just pure measurable numbers. When we talk about wood, the material itself is so varied, that a very consistent result would make us suspect the test (or the tester). It would be reasonable to accept that there is a pretty wide variety within the same wood species, even within the same log. A local luthier (has produced over 1 000 acoustic instruments) said, that he can not say, what the sound will be in the ready instrument. There are not two alike. So maple may sound like rosewood and rosewood like maple simply because of the variety (and excluding the complexity of the complete instrument). OK, you like the looks of the other so you may like its sound, too. This should be fine, shouldn't it. If there is a comfortable zone for someone, it should be honored. It may look bad (for the watcher) but if the player likes it and sounds good (or bad!), no worries, mate. It is strange that a psychological point of view is often neglected or bypassed although it means far more than, let's say materials. There are quite many fanboys, here, but we probably close our eyes in front of the mirror. Objectivity is extremely hard when it is about me and my beliefs.

Because this thread is more about light weight than cost, I would like to add Sandberg and Modulus Graphite Resolite. And maybe Status Streamline?

Most of the people have tried one or three compressors and may be able to tweak that one a bit. This guy has tried a few: http://www.ovnilab.com/ There are very good pages (like S.O.S. = Sound On Sound) that have (more or less) simple descriptions how a compressor works and how the settings affect sound. Take a look and learn about attack, hard knee and other details. https://www.soundonsound.com/techniques/classic-compressors https://www.soundonsound.com/techniques/compression-made-easy See that short note on Max bass and if in need, search after other articles. Hope this helps.

What is Your main instrument? Does she have an active preamp or is she hi-Z? If she has a preamp, a Sadowsky would be just another preamp. You can go straight to a board with a lo-Z output. If the instrument (or any of them) is passive, so hi-Z, I would go from no adjustments (a DI-box) to a SansAmp/EBS/whatever. https://www.thomann.de/gb/di_balancing_boxes.html https://www.thomann.de/gb/effects_for_bass.html

Here are some basics: https://en.wikipedia.org/wiki/List_of_battery_sizes Remember, that a cell may be able to put out lots of amperes in a short time or very little for a long time. These are very different and not directly comparable. You just have to make the choice. A 9 V battery, yes, some years ago Duracell was the leader of the pack. They had the best performance volume wise, so capacity vs. volume. By the way, all batteries are not exactly the same size, although they should be. Every fraction of an inch has its effect on performance. Because the ability to recharge a battery takes some space of the battery volume in terms of chemistry, rechargeable ones have clearly smaller capacity.

Not bad at all, well done. Did not find any faults, either. As I started from the classical side, the minors were written with small letters, but that is old music... It might be nice to enhance tritone (A4/d5).

If the battery change or possible wire connections do not change the situation, I would turn to Master himself.

https://www.thomann.de/gb/strings_for_electric_bass.html - 045 is the most common gauge - the number 045 equals 0.045 inch, or 1.143 mm and it is the thickness of the G-string (funny?) - if you want lighter, try 030 - 040; need for heavier set, start from 050 - there are basically three types of strings: roundwound (most common, brightest), halfround, and flatwound (really dark) - there are two materials: nickel (a more even sound, really good for fretless, too), and stainless steel (brighter, resembles a bit of that smile-shaped eq curve) - acoustic bass likes bronze strings but their output is really low compared to Ni and SS - coated strings have a polymer on top and they are claimed to last longer; if you sweat a lot and like bright sound, try a set of Elixirs or similar - there are strings for short scale instruments, too, so do not opt for 32" or similar, sets that fit 34" or longer is your choice - a special tuning (lower or higher than the basic (C)GDAE(B) ) needs special strings - this would be a start of a long discussion that I won't get into - there are few manufacturers (D'Addario, GHS, Rotosound...) and several companies that sell their strings (Fender, Lakland, Fodera etc.) Some suggestions: https://www.thomann.de/gb/daddario_eps1655.htm https://www.thomann.de/gb/daddario_exl1705sl_5stringsaiten.htm https://www.thomann.de/gb/elixir_14782_stainless_steel_5_l_m.htm

I would use #1 so, that there in the shielding is a pole/point/terminal of some kind where all ground wires connect well together. I would say that both would work but the first is a bit better way of doing this.

You have several grounds that are connected to the same ground point. This includes the preamp. There is no need to connect the ground to the switch. The switch only directs the signal through the preamp or not. That's it.

Some thoughts about the color first. Plain white is very visible, but do you really need the fretlines on top? Would a black or white plastic sheet look good? How about some glow-in-the-dark for stage use? You will get some colour difference, no matter how close the material will be. I have no idea, how to fill the fretboard, if there are chipped places, so someone may have practical ideas of performing the modification.

An easy and common way of making a very good quality headphone amp, is to use the power amp and few high power resistors. So the issue may be in the power amp, too. https://support.fender.com/hc/en-us/articles/115002392666-SWR-Amp-Schematics The schema tells, that the power amp section is its own. Please check the FX-loop, just in case (put a bass cable in between). Other than that, the amp needs to be opened and measured to find the issue. There seems to be lots of TPs, there. Should help.

A tube / A valve, as it is glass and becomes hot, makes some noise while warming up. But that light blinking may lead to another place, maybe to a capacitor. Capacitors get old. If you need to change them, the parts do not cost much (like £0.5 - 5 each) but the work costs something. It might be reasonable to show that amp to someone who has at least some experience in tube amps. My simple guess is that the actual work takes approx. three hours: opening and closing the unit is 1 hour, and 2 hours of desoldering and soldering the new parts. If the maker needs to visit or order parts, you may need to add that to work hours. After such a work, the unit may work well for the next 10 - 30 years.