itu

It was. It is not acoustically nor electrically the best solution. But things and knowledge was also different in the 80's. And once again: wattage is not about loudness. dB is. If you have two identical amps, the other set to 150 W output, and the other to 300 W output, the difference in loudness is 3 dB. You can just hear this. If you want more, like 10 dB more, you need to multiply the power output by 10, to 1500 W. Hearing is logarithmic, not linear.

Remember to use a video call: it is easy and then you can ask questions about the instrument.

After you have sold those, you can move to a smaller flat, too.

Pedal tuner: - eats a lot of pedal board space - mutes the signal (a red Neutrik plug does it, too) - I can tune between songs or sets (but I have basses that stay in tune, and I go away from the stage between sets) That pedal tuner would be in its pedal board case when I need it at home while changing strings. At home I have a Peterson SAM, and my mono bass cases carry Ibanez MU40 tuner/metronome units.

That is done in a good, repeatable environment, and I am pretty sure, you can add nickel roundwounds to the test. That would widen this interesting comparison.

Sometimes I hate the songs or arrangements (and bills), but I love every Thursday when we start our weekly rehearsals. It's the door to unknown. The feel after every session with the group (or few side projects) is something I can not find or get anywhere else. Gigs are an extra: it's nice to share something we have created together.

To be precise, an added mass affects instrument's resonances. Therefore there should be difference in sound, but is it something we can hear, is another thing. Placebo and new strings is probably the best explanation to a "better" sound.

https://www.talkbass.com/threads/modulus-bassstar-fan-club.611772/page-13 This is the poster/catalogue I mentioned.

At the time BaSSStar necks were available like Warmoths. Rarer, but MG produced several neck models. I've seen a poster from late 80's that most likely had a headless neck, too. MG made also complete basses with BaSSStar necks. I think most of them were similar to a J. A Charvel body and an MG neck, why not? As the picture shows, the neck is 24 frets. Maybe the neck pocket and other dimensions were perfect for this combination. That looks very good, and certainly stays in tune. EMG was very popular at the time, no wonder it was chosen. MG had (has) EMG as their standard choice, and bartolini, and later on, Lane Poor as custom options. When I bought my Quantum 5, the shop had a glossy black lined fretless BaSSStar in their selection. It played like a dream - and vanished pretty soon.

Art of Noise (?) bassist commented once on synth bass something like he had to play ahead of the beat. Otherwise the sound was too late. After a tour he found out he had to learn to play on beat with an ordinary bass. To shorten the lag, you should at least try piccolo strings on that bass. An old trick but certainly worth a try.

That's one pretty old unit. I suppose cleaning all pots would be helpful. Do NOT use whichever liquid.

Check the factory. I think that they may sell one for you against the serial number. But this was long ago.

Has someone a Jennifer Envelopez or any experience...?

http://planetbass.com/shop/ has some MGs in stock. They have an archive which is of interest.

If price is not an issue, a Modulus Revolite. Didn't Elrick make light basses, too?

I read those graphs and for me they look like (+/- 3 dB): - the full response is 40 - 800 Hz - port response something like 27 - 75 Hz If we choose +/- 6 dB, we get around: - the full response 32 - 1000 Hz - port response 20 - 100 Hz (What should be taken into account is that the max level of the port is some 4 dB less than the whole system.) @Bill Fitzmaurice please throw some comments on this.

That looks bad! Solderings, screws... someone has done quite a lot of DIY. Seems that the transformer should be attached to the frame with two screws. The transformer lacks the ears or an extra frame. Green/yellow is always ground and nothing else. Why is it and that blue cable soldered (badly!) to the power connector? Where are those sealed Abiko connectors? While the amp looks very bad, you can fix it with patience. As the biggest faults are on the power line side, I would still suggest you show it to someone with accredited company. If your house burns, no one will pay you anything. Insurance requires firm systems, nothing like this c... cheapo DIY.

It could be feasible only, if the response could be filtered dramatically, and the actual speaker elements wouldn't mix/mess the trial completely.

A Black Uhuru day today. Found a CD from my archives. No autotune, no hundreds of overdubs, just brilliant music. Will play it again tomorrow.

This so subjective. I have two different caps behind a rotary switch (OFF/C1/C2/ON; thanks to @KiOgon) in one of my basses, and both sound good in their respective music styles.

First of all, 3 pos is not necessary. Do trials and choose two sounds out of three: series is the other and parallel or single is the other. Those latter ones are very similar. Parallel gives slightly higher level, single a thinner and brighter sound. But the difference is small. If you want brighter sound, put 500k or 1M pots.

Did you use a wooden pin to make that surface to the body? Watchmakers use wood to decorate movements.

If there's place for a buffer, then the pot value would be negligible. And if there was a buffer, why not a preamp?

The late BP had a good rack preamp shootout. There were Alembic, tce, and many others. You may find it somewhere. SWR Mini MO would be different, but nearly impossible to find. As your power amp has two channels, have you considered biamping your possible rig? Highs could have fx, and the low end could be pure lows. I don't have a biamp system, but drive my fx boards with a X-over tuned to 400 Hz.