itu

@disssa: if you ever think about selling a PCB, or the files, I suppose there are more than two of us that might be interested in few of your creations...

The best is the one that has gone through a professional setup according to your preference.

To understand the capabilities of the pickups you could bypass everything in between the pickup and the amp. One at a time. Yes, a bit long way, but will lessen the need to buy preamps or other parts that could turn out useless.

The split of the pickup is a natural step forward, if the mud is too much. If even that does not please your ear, consider new pickups.

The basic sound has to be decent, preamp does not add anything that there isn't.

Pots - tone & vol & blend - are high end killers. That's why I suggest bypassing them in the first place. They degrade the pickup response. (John East has active blend, which doesn't cut highs. Many preamps are just tone stacks after those ordinary vol, tone, or blend pots.)

Bass probably supports the amazing pianist. Trumpet is good, too, but the piano is really special.

That really is a wide 5!

Should be noted, as these are very rare compared to the ordinary 17 mm spacing siblings. I have seen one red here earlier.

(Basically this is a six string neck converted to a 19 mm 5 string.)

Flathead screws, can not be new, maybe 80's, or 90's. Those bridge saddles look somewhat familiar. Home made, maybe?

This has the ordinary 17 mm string spacing, I suppose? Wide has 19 or 21.5 mm spacing.

Modulus Graphite Quantum 5 SPi Custom, and very custom this cutie is because of the hollow body and that wooden fretboard.

Last weekend I visited a band, because their bassist is busy and their next gig is coming up at the end of next week. Four songs, I had heard all of them before, but played only one. Fine.

In my tab I have maybe 3-5000 songs, realbooks etc. I could find the notes, and here's the tricky part, for me, that is: I have to transpose all songs. To make sure the gig will be fine I opened up MuseScore, and simply copied the originals. There it is, transpose, export, and now I have key corrected versions. Fingerings are different and so on.

I will not rely on a score that is in different key and has tricks. Yes, maybe with something more familiar stuff, but not now: one rehearsal and straight to the stage. If something happens in the party, I try not to be the one messing things up. Not even after the gig: I don't get very high, but my hangovers tend to be brutal.

https://www.neutrik.com/en/product/na2m-j-tx

I built the same transformer to a round Neutrik XLR - jack connector set. But as commented earlier, no through jack. Therfore this is usable with double output pedals like with a stereo chorus.

Check specs from pedal manufacturers' pages (owner's manuals). Add all mAs together / line, and you have the answer(s).

Are you analyzing this with old strings? Any adjustment should be done with a new set.

There's so much space in the board, that you could detatch all patch and power cables. Then start from the beginning of the chain. Put a cable from the pedal output to the amp and test it.

||: Connect the next pedal to the chain and test. :||

I would calculate the power consumption of the whole system, too.

1 hour ago, J66Bass said:

My active basses are mainly use 2 batteries mainly but thanks 

Yours most probably use 9 V batteries in series, which is 18 V. I meant parallel connection. I still think like @pineweasel wrote earlier: a quality battery a year won't break my bank.

If you want, you can connect two in parallel, and you can get even longer performance from the batteries: 1+1>2.

What's your PSU? Does it pump enough mAs?

1 hour ago, JoeEvans said:

A rarity for you lovers of vintage Ibanez items... Axstar AXB50, just arrived.

Cute, did you get the original HSC? It is very small, too.

Sounds like you're after a new bass. Easier, cheaper, faster.

This is so much fun this air warming.

1) materials

2) strings

3) electronics

4) mass of individual parts

5) density of materials

6) stiffness of the system

...and...

7) shape

As long as we are talking about vibrations, shape cannot be overlooked. I have mentioned Chladni patterns earlier. Take a look at it from YT if you haven't already.

Neck and headstock form a system that vibrates. And to be exact, every part form this vibrating system that we call a bass. You can continue the discussion about tonewoods and the difference of bridges while you should always look at the whole system. (Even the player affects the system, and I'm not talking about any playing style.)

This is only the ninth page of the thread, please continue. This is hilarious.

8 hours ago, paul_5 said:

Loving the semi-parametric designs...

...while @disssa has done this full parametric pre. Reminds me of tce creations from the 1980's, like 1140 and its variations (1144, 2240...) as well as their two band pedal.

Zon Hyperbass?

Some Wishbasses looked as bad/ good.

How many 3 octave fretless basses there are? Those two mentioned, Tune, and there was that excellent looking dark bass with the pickup hidden under the fretboard. Name forgotten, sorry.

I have played and still play through a Glockenklang Soul. My cab has been the 2x10" combo, and later 2x12" alusonic. Every bass and pickup has worked just fine. Not every pickup and string set has sounded good, but the reason has been in that end, not at the amp end.

Disclaimer: my opinion is highly subjective, and someone else may dislike the sound.

And FX loop + cable has been already tested?

That looks fab, what's the scale length?

OK, some optional choices:

tce Stereo chorus / flanger / pitch shifter (the original eats even piezo signals)

https://www.kma-machines.com/m_queequeg2.html (don't let the simple looking UI confuse you)

https://ironether.com/pedals/nimbus/ (treble and bass are H and LPFs)

IE Divaricator is a X-over with which you can mix drive units (or a chorus...) to your sound without losing the low end

Comp might be in order, check http://www.ovnilab.com/