itu

I was thinking that your current amp is just fine, but if you want more of that lowest end, there is nearly no limit... Your choice is probably something like a 900 W class D amp. Flats and very low end means really big power levels. It is not very much louder, just different.

I use that RCF745A as a reference: https://www.rcf.it/c/document_library/get_file?uuid=f5efcbdd-7c61-42c2-bff6-14e1aa148f97&groupId=20195 The 15" driver has a 500 W amp. I think this is adequate. The box is relatively small and at 20 kg also pretty lightweight. Partly because of the small size, the SPL is only 125 dB at 1 meter distance (at what frequency? 1 kHz?). It is not overly loud, but if this is going to be a monitor or the use is in smaller space, you probably manage well. I am not so sure, how low the box can really go as there are no reasonable specifications about the frequency response (you should find out, where the -6 dB point is). At 45 Hz the level may be -20 dB and that you can hear in quiet studio but not on stage. Producing very low frequencies equals very much energy. Remember that is not that important, as the (approx.) 60 - 150 Hz area gives more audible stuff to the audience. The panel has only few adjustments. If you need to tweak the response, you need a bass or a preamp that can do it. The angle of the back gives few possibilities to put it to the floor as a monitor. I would say that this box works well with vocals and piano and whatever, but it would not be my choice for bass. There is a reason and place for a dedicated bass amp. This RCF lacks adjustments, very likely the lowest end power and this FRFR nonsense has nothing to do with really flat response with this box. *** Some technical stuff related to physics: If you know something about photography, you have to choose from the Trinity of Time (volume), Aperture (size), and ISO (sensitivity). It is the same with bass speaker box: you need to play with the Box Volume, the Lowest Frequency and the Sensitivity. You change one parameter and at least one other will be affected. If you make the box bigger, you can go lower or you get louder box (enhanced Sensitivity). A small box like this RCF has very likely a somewhat limited low end response. If you use an EQ to straighten it (to get more of the lowest end), you need to attenuate the power from the middle (because of the limited loudness reserve) and the max SPL may be only in the ballpark of 100 dB or so.

Although rare, there are ss amps that love load and tube amps that survive by themselves. So I would say that without consulting the manual, the load equals better safe than sorry.

The difference between 9 and 9.6 volts is just 7 %. It negligible. If you use more pedals and your EH needs just 125 mA, you can use the same output to other pedals, too. Just find a cable with two or three connectors.

I tried a few. Then found out that compressors are a bit like fuzzes. If your bass is active or passive, the comp (or that fuzz) acts differently. If your equipment contains both types, try several. When you have found the one (for each), keep it/them. My passive bass compressor is a Daring Audio Phat Beam. It also includes an LPF - a dream with fretless. Not transparent at all, and like Fairfield Circuit's The Accountant, has good growl (this is purely subjective). For active my choice is tce Hypergravity. Beware: not an easy machine at all. Its functionality is weird and slow, because the pots are actually 5-position switches. Toneprint is a must and setting the unit takes lots of time. If you need really good help, start from: http://www.ovnilab.com/

...or an SWR Mini Mo, or a tce 1144 Bass preamp (that is a renamed 1140) or a tce 1210 Spatial expander, or a Drawmer compressor, or...

Sadowsky has now a bass that is constructed from two hardwoods and soft spruce in between. Would be interesting to see, how much spruce was left, as they tend to produce light instruments. A side note: are you putting some kind of serial numbers to your instruments? After a while you have a production and these first models may disappear because of no written history.

It would be reasonable to take some sandpaper and open the paint. The cutting surface is rough, but MDF, no way José.

Please someone, help him. The control compartment looks like after a world war. That is everything but reliable or working unit. I would change: - the maker - all components seen in the pictures. If you are after a quality set, replace pots with blue Bourns pots. https://www.mouser.fi/ProductDetail/Bourns/96A1D-G28-S23L?qs=sGAEpiMZZMtC25l1F4XBU8rCtvM96wXO7q3HYRkOsNA%3D Yes, these cost nearly 5 times more than some lousy CTS or Alpha but these are quality. And on top of anything else, they do not produce noise, like their carbon siblings.

If the screw crowns are in bad shape, find a shop or a builder and buy new screws. It may be so that there are no springs under the pickups. Many companies use just sponge or foam. You can update the system with new springs. Usually you can find them from the same place as the screws. If not, study your pens... The change takes just some time, but it is not hard. To put new springs back to the instrument may be somewhat complicated, as pickup magnets like them. But put the screws and springs to the pickups and find a suitable angle for the instrument before the attachment, this should help you.

My choice was an age old Countryman type 85. It works with a 9 V battery or Phantom. Box is so tough, that you can drive over it. All connections are recessed, so it is very close to indestructible. Price was decent (£60, 2nd hand) and as broadcasting companies have used them, I think it has to be good enough. Seems to work well with passive and active basses.

She is not a g*****. She's a bass! I would not be so interested in opinions, if she does the work for you. Just play and feel her, play yourself through her.

Yes, if we are talking about cones and cones only. And I can read between the lines, that you would love to hear that a bigger cone would relate to the lower frequency - like heavy weight should relate to bass' better sound (you can check Roger Sadowsky's work). But a cone works in a very different way depending on the application. If you just put a speaker element to the floor and start playing with it through a bass amp, your perception might be mixed. When the element is put to a speaker box of any kind, the sound changes dramatically. Then you change the shape and dimensions of the box and again, you get different results. I want to suggest that you should amaze yourself: buy an element and try it in different boxes and plates and by itself. One element by itself is nearly non-functional. The size is just one dimension and it does not dictate the use per se, as @chris_b earlier pointed out. Simplifications are nice but they need to have some reasonable physics behind them. Yes, you can say, that a 12" woofer is probably not very good for highest frequencies and a dome tweeter just does not work in a subwoofer. Still the difference between a 10" and 15" is not directly related to their use, the lowest possible frequency, or the power they can reproduce. There are so many other parameters, please take a quick look: http://www.eminence.com/pdf/Basslite_S2010.pdf

The reason for using two sets is still unclear to me but whatever. The g-word tube amp has a transformer that already is a HPF (not an LPF), and that is the reason why the amp can not go extremely low. And your idea of lowering bass is a good idea. If you use your effects on that g-word amp, the system may be very interesting.

Marvin Gaye & Tammi Terrell - Ain't no mountain MG - What's going on BeeGees - Stayin alive (with uptempo jazz feel) Robbie Williams - Let me entertain you (the singer of the band where I double the bass is at least as crazy as RW) Dave Lee Roth - I'm just a gigolo Dizzy - A night in Tunisia EWF - September I would love to try these: B52's - Loveshack, Was not was - I feel better than James Brown, Rod Stewart - Da ya think I'm sexy, and Four brothers

You can connect the cold (3) and the ground (1) together to sleeve, and hot (2) to the tip. This is something else than mic to line input... If you have noise issues, try to use the same power line to all units that connect together, mix-amp-spkrs. If there are other active parts connected, like bass amp or similar, the same power line usually helps. If you want to cut the galvanic line, you can use tiny transformers inside the adapters. These are ready: https://www.neutrik.com/en/neutrik/products/accessories/d-shape-adapters You can build your own using these: https://www.neutrik.com/en/neutrik/products/accessories/modules https://www.neutrik.com/en/product/nte1

Pots may work, if the preamp is that very common "passive mix - active tone" system. The other tone is 30 k linear but there are no visible texts on that blend or vol.

For me the most helpful idea was to put dots (3., 5. etc.) to the side of the fretboard. You may use tape or nail lacquer. Use flageolet notes (harmonics) to find the exact positions.

From the somewhat foggy picture I can see that your neck pickup live wire is cut. It should be soldered back to its place. The treble (?) pot (lower left corner) has not got cover and may be in bad shape. I suppose it may be the same value as the bass (?) pot, linear 30 k. Pickups are passive, there is no power supply to them. Dual opamp (JRC 4558?) gives a hint that it is for tone control. It may provide some boost, too. Blend pot is probably passive. Somewhat sharper pictures of the front and back of the board would give quite a lot of understanding, what it is there for.

Pickup preamps do not have to be boosters. So you may get exactly the same output from an active or passive system. Then we usually talk about a buffer, not about an amp/booster. Active tone control itself may be a buffer, but the adjustments may be that powerful that the system is a frequency dependent booster (or cutter). Pickup can be hi-Z or lo-Z and there may be an amp after it - or not. I would first concentrate on sound and if needed, then tone tweaking possibilities. Bad pickup will sound bad even after a good preamp. I suggest you to find the suitable pickup first and then continue through the signal path, that is: Pickups - Active/Passive blend - A/P volume - A/P tone - output.

https://guitarelectronics.com/active-passive-true-bypass-switch/

Please give some more information about your system. There are just few pickups that are active by nature. EMG is the most known. It has a lo-Z coil and an amp integrated to an epoxy filled case. Only works with battery. Most systems on the market are passive with just active tone controls. This kind of tone capsule is easy to bypass with a DPDT-switch. If you buy a pot with such a switch, you do not need to make extra holes to your instrument.

When there was only vanilla ice cream, nobody asked for strawberry. I have played many very good sounding basses, but there have been different issues that have prevented me buying many of those. I have had the possibility to acquire the bass I like, not the the one that does not fit. My preferences are that 19 mm spacing (all of my basses do not have this), wide but shallow neck, 4 or 5 strings, light SS string set, 34 - 36" scale and light weight. This narrows the selection available but there are so many alternatives nowadays that I do not complain. I could play some 12 pound Jazz or Höfner B-bass or Steinberger L-2 but they do not represent me the optimal. I have studied playing while young but practically I am a weekend warrior nowadays. A suitable instrument helps me to go to gigs and rehearsals. I enjoy my instruments, because I feel like at home with them and I can concentrate on the details of the playing in stead of doing a workout. Sometimes I forget the quality of my instruments but visiting a local shop or playing someone else's instrument reminds me of my own, personal equipment.

The bass front and back are like B&W or positive/negative. For sure that was naturally intentional.