itu

So it seems, that you are not familiar with D'Addario's excellent guide: http://www.daddario.com/DAstringtensionguide.Page?sid=29a7909c-61ab-4080-a933-608c7da2bba3 http://www.daddario.com/upload/tension_chart_13934.pdf

A faulty connection or the pot? This can be seen as angle (X) vs. ohms (Y). You need pen & paper + multimeter. Desolder two of the three pot legs. Measure the resistance and draw it to a paper. http://www.resistorguide.com/potentiometer-taper https://incompetech.com/graphpaper/

Quality = reliability: plugs from Neutrik, high quality silicon cable, reasonably long amount of shrink tube in both ends, and a velcro to keep the cable in shape in the bass bag. http://bassic-bits.co.uk/ seems to have a pretty similar concept. My cables are made by me, except one Monster. It is not so flexible but other than that, works well. My oldest cables are around 30 years old and still going strong.

Glockenklang Soul combo With 2 x 10", the combo kicks and hits but there is the other side, too: 38 kg = 84 lbs. Played 10+ years with it. Love the amp, which leads to... Glockenklang Soul head + Alusonic 2 X 12" Because of the weight, I decided to try something else two years ago. Alusonic moves air with two elements and a tweeter. Separate parts are now far easier to carry: 12 kg (amp) + 18 kg (cab). Somewhat different but still versatile sound. I have had no issues with my gear but I take care of them.

In general valve/tube amplifier output needs a load and transistor/solid state does not. This can be seen so, that: - transistor output can be open (hi-Z, no load, infinite resistance/impedance) and - valve output can be shorted (lo-Z, short circuit, zero resistance/impedance). Once more: this is just a generalization. Like some transistor amps need that load. Study your amp's manual. Impedance is usually told by one number but it is a variable that depends on frequency. So if your amp and speaker state some impedances, and they are roughly in the same ballpark (4 - 8 or 8 - 16 ohms), they will work together. Very big differences or high wattage may stress especially the power amp, like Bill Fitzmaurice wrote earlier.

This new AFR-range has few, but tiny visible details, that separate the old from the new: truss rod adjustment is in the other end, one more tone knob (piezo), wood under the bridge is dark in every model. Backside has different plates. Serial number is no more in the abalone plate between the bridge and the bartolini. Bridge is very different and the four-stringer lacks the de-tuner (in the bridge). Would be nice to do some side-by-side testing between the old and new.

No, not all SRs have recessed saddles but ordinary bridges. Yes, I have done the modification to few basses. I still have one brown 6-to-5 SR that has very good neck and reasonable sounds. Funny: sure the looks could be "awful" if you did not use the right tools.

The modification is really easy to do in both directions. Done that a few times. I would rather say that the modification cost is pretty close to £0... The bridge solution is product dependent. You could open the cavity if needed.

There is the tce SCF, so why bother? If there is a good idea and a neat sound comes out of the construction, then go. On top of the basic settings, the must - that I see it - would be an adjustable X-over and a LPF. That would be the ultimate bass version compared to whichever other pedal available.

...or buy a six string SR and modify it to a 5. A new saddle, a new bridge and - that's it. You can remove the extra tuner, too.

I suppose you are not alone: https://www.facebook.com/harjunpaabass/

Have to say, that I really like this understated looks of the instrument. I also love the comment on fretless. She certainly should have a plain dark fretboard, thank you. The fretless in the following pictures was made by a local luthier Kristian Ukkonen. The knobs control pickup coils (single/series/parallel) and a step attenuator. The 36" neck is very close to a block with rounded edges, a joy to play. https://www.basschat.co.uk/topic/136517-fretless-porn/?page=14&tab=comments#comment-3590248 https://www.basschat.co.uk/topic/160340-vigier-porn/?page=9&tab=comments#comment-3590237 It is very true, that the design is always very difficult but some key ideas I discussed with him were: long upper horn for stability and reach, an Alembic-like boattail to get the bridge as far back as possible, passive, and hollow to get the weight down: 3.12 kg (under 6.9 lbs) and 3.66 kg (8 lbs) with a strap. Finnish birch, walnut and blackwood (https://www.madinter.com/en/). It plays far better than I do but this was a chance of "once in a lifetime".

Hopefully the cutter is designed for piano strings. Otherwise the jaws will be short-lived. I cut excess by bending the string back and forth. And then bend the cut string end to the tuning post with those cutters. By cutting the old strings, you lose the possibility to use an old one if the new set has a defective unit. Not good outside your home or close to the store. That store which is open. If I have any extra time, I will dust the fretboard and the area of the tuners, minimum. I put some extra tension to the strings, one by one, to stabilize the string length/tension/tuning. If someone remembers that 1980's Billy Sheehan/Rotosound advertisement "Get to grips"... Then tune once more. https://www.ebay.ie/itm/1987-VINTAGE-5-5-X8-PRINT-Ad-FOR-ROTOSOUND-SWING-BASS-STRINGS-BILLY-SHEEHAN-/162923767136?hash=item25ef036560

Bought an AKG 40-series used wireless for 50 € / 45 £. Our band has a wireless mixer (Soundcraft), so now it is possible to make mixing / sound check from the front. If the unit works well, our guitarist or I might use it on stage. Let's see...

Sir, sure, and I should stop writing at night. By the way, I like the looks of your instruments.

Is there any sense in making a thinneck fretless? P-bass nut and 19 mm bridge widths, please. So, I want even string width to all my basses, no matter how many strings there are. I do not understand what is behind this tight string spacing thing. It is not comfortable in any way and it just makes me think the fretboard over again when changing basses. Why on earth / Pourquoi / Vad i helvete / Mitä helvettiä? Shouldn't you just build evenly spread strings to all of your basses and offer the thin neck as an extra option and for very special extra price? Quelque chose très cher, n'est-ce pas? (Monsieur: no fretboard markers, no fretlines, please! They are not usable anyway.)

I think that Bacchus is a serious Japanese bass brand. Their woodworking is at such a high level, that I could invest on them with confidence. Overall, Japan has quality standards somehow built in to their community. My (limited) understanding is that Bacchus, moon, Sadowsky et al. who produce these jazz-on-steroids, play in a different field than Fenders, maybe custom shop excluded. I'll try to express the previous in another words: My expectation for Japanese quality level is very good, so I won't get a bad product, if not otherworldly flashy either. Americans (the F-word and some others), on the other hand may have a good day or not. So their quality is more prone to occasional defects that lower the overall expectations. I just have seen far too many pricey US basses that do not meet with their expected quality: neck pockets, loose parts, soldering problems, messy electronics, low quality components... I have felt like the quality check was not done properly or at all. Cost cutting?

This sounds reasonable. If I use the stated 8 ohm power level of 110 W per channel, I get 220 W / (.45 x .85) = 575 W which is in line with that 650 W input power. Those regulatory bodies have done something that I was not aware of - at all. Your examples and notes clarify this issue, also in a scientific manner, thank You, Sir. I think this power level comparison between amps could be more clear to help us customers. At least I like to make decisions that have something to do with reality, not only marketing based jargon.

OK, so if the amp has linear power, the situation is totally different than with switching powers? My understanding may be outdated, because SMPS has pretty much different behavior compared to linear, transformer-based supplys. I would say, that linear needs quite a lot of power to produce the claimed numbers - in RMS. I have an old HiFi amp from the 80's that can push 2 x 110 W RMS continuous to 8 ohms (tested) and its maximum input power is 650 W. I understand losses and the power consumption of the other components, so the amount of input power makes sense. But if an amp says 1 kW and the input power is 200 W, I feel like I have fallen from the train. Sir, please, open up this a bit more; I do not have reasonable access to that standard, as it costs 300 € + VAT. Can this SMPS class-D amp push continuously 1 kW RMS to 8 ohms or not?

Meridian has the Funk-u-lator and Iron Ether has FMeron. The first is probably closer to an envelope but the FMeron surely is synth.

So it was 10" x 4 and 8 ohms, as well as 15" x 1 and 8 ohms. I remember a friend of mine had this 1818X monster (18" x 1 and 8 ohms but it also had a 10" "tweeter") with funny handles. Nobody could lift that alone without breaking back or something else sooner or later. Oh those colors and UV-light... at least setting the amp had to be easy in a dark stage. I never had the chance to own one, but if it was any lighter... Another interesting unit was from Steve W. Rabe: Mo' Bass.

This is the first neck-through Wal, that I have ever seen. Like someone (C. Thompson, really?) has built wood around the Wal parts. Strange.