itu

I get your point. Too well. A looper has revealed many faults from my playing. I've had a feel how do I sound, but the looper doesn't feel anything. It just reveals everything I've played. Then I have fixed the wrongs, or at least few of them. Overplaying is my biggest mistake, and really hard to avoid. Theory has helped me a lot. I consider it as a toolbox, although I just have a hammer, and a Phillips #2. Hoping to get few more, but an old dog like me has already issues in learning those old tricks.

Built in compressor (where's that Canadian, when I don't remember his name? JTEX?), fretless with Autotune (I know, practise...), fretboard with lights for specific scales, detuner bridge (Zon Hyperbass, MManring), Steinberger TransTrem, easily detachable neck (fits airplane cabins), moving pickup(s) (Spalt vViper), touch pad (Misa Kitara/TriBass)...

...if there's only one pot in the circuitry. I don't like those extra high impedance components. Only when I want to cut the highs. I still rather use a dedicated eq (read: amp) if needed.

Why isn't the power amp in the cab? I suppose your cab will not be in the board. (But will the board be in the cab -> combo?)

That's a five band fully parametric eq in pedal format. A bit like tce 1140 on steroids: smaller, lighter, and one more band. How much is that?

After those mentioned in @Doddy' comment you might try Dolly Parton, Trisha Yearwood, Emmylou Harris, and my all time favourite, Linda Ronstadt (BTW: check her version of Esperanto with Don Grolnick on p). Their bassists have to be very good if they are even half as good as these ladies.

A rotary switch would allow ser/par switching, too.

I bought a rotary switch from @KiOgon. It has four positions: ON/tone1/tone2/OFF. Very functional, recommended.

Fernando Saunders and John Giblin are the first two that come to my mind.

Which equals you should try to find a second hand one. The price should be right.

But that's the bass of your parent, then?

Me too. I have seen some of them on stage. When a certain trio (SMV) was playing I liked Miller the most, when he played in the background. But soloing, meh... I do understand worshiping this very narrow band of very fast (mainly Americain or those few popular in the States) bassists. Where are the others, are there any? I am much more interested in those who are supportive. Flashy stuff is nice sometimes, but would I listen to bassists slapping their asses off on a daily basis? Larry Klein and his long, thoughtful notes on the other hand. At the moment I listen to ABBA - Lay all your love on me, and Tears for fears - Everybody wants to rule the world. Solos, anyone? I wish I can (read: could) make the songs sound and feel as good as these guys have done. Now I will take my bass and start my daily playing and try to reach the feel of those unsung heroes'.

Good quality silicone cable (Sommer/Cordial/Gotham) + Neutrik NP2X, a bit like Cordial CSI 3 PP Silent 3 m for instruments. Cab cable, like pro snake TPL 1,0 LL. (Except your set has old plug connectors, instead of Speak-Ons.) I suggest 2x2.5 mm2, because people tend to think cables last forever, no matter how bad they are treated. 2x2.5 mm2 is too much now, but after some serious abuse and touring life, there may be 2x1.0 mm2 left. An addition: If you order your cables from @Chienmortbb, he really knows what is feasible and functional. You don't have to care about my previous comments.

Why does it have to be direct fit? Why wouldn't you put the one you want instead? Like this top loader? https://www.allparts.uk.com/products/bass-bridge-with-lock-down-saddles-adjustable-spacing

I see problems coming... When your arm rests against the bass' body, your hand's circulation will be affected. Later on you will find lots of lactic acid from your finger muscles, but you start to talk about CTS, which it actually isn't. A muscle hammer may help, then (and how do I know this?). Playing is just like sports: repeated exercises, warming ups, lots of training. Use a mirror/video to check your position. Do trials with different strap lengths, with different strings. Find the right ones for yourself. (When the sweat of your fingers feels odd, check your menu.) Do you have a teacher? Try few until you find one you feel comfortable with, and you can get exercises you need. Scales may sound boring, but they are good for warming up. Two beat, four beat, walking bass, after some time you can mimic many styles. I would buy these two books right away: https://www.amazon.com/Bass-Line-Encyclopedia-National-Workshop/dp/0739069853 https://www.amazon.com/Standing-Shadows-Motown-Legendary-Jamerson/dp/0881888826

@funkgod has mentioned this earlier, the late https://en.m.wikipedia.org/wiki/Mo_Foster played the Bergerac theme.

Sorry, I do not remember whether this was done by our piano player, or got it from someone else, but send me a note if I need to remove this because of copyright issues. Hill street blues - bass_1.pdf

@ChrisDev: ever heard about such a website?

Put that Microtubes to the HP link, and tweak the frequency. I like the 400 Hz area.

I won't tell you. Now you lost the chance to play them, and I don't have to listen.

There are a few pedals that tend to act differently to the bass signal, especially if the bass has a hi-Z (high impedance, "passive") output. These include OD/fuzz/dist, some compressors, and envelope filters. You can find them by testing only. If any of your pedals loves to be the first in a row, put it there. Any pedal that is on (processing the signal), is practically pushing out a lo-Z (low impedance) signal. If the tuner pushes out a lo-Z signal, it may be very feasible to put it to another place. Do make lots of trials to find out your own functional fx chain. If you have two or more basses, use different signals (like a simple Precision, and a Kingbass with the paramatrix pre). Note: Impedance has nothing to do with signal level: a hi-Z signal ("passive") may be more powerful than a lo-Z one ("active"), and vice versa.

Love those two Overwater Originals, @BigRedX! Wish I was there when you decided to sell them. Four or five, well it took some time to get used to 5, but now it does not matter. These are my main basses at the moment.

Dear @zbd1960, Please keep these coming. Very interesting stuff, including lots of nice side notes. I like your no nonsense type of approach: the century, or style does not matter, only music matters. One question I do have: how do you put the gamba frets to the neck? How is it possible to tighten them?