itu

Upgraded? Here we tend to say modified. 1) You really want to dull the finish, try wire wool, or very fine water sand paper (500/1000/2000). 2) The output level does not bother me a lot - I tend to turn the gain up accordingly. The solderings look extremely well made. If the output level is something you want to change, try a preamp. Artec"s tone stack is cheap as chips, John East's full mixer very high end. Some say that "active" (i.e. battery powered pickups, or tone stack) equals higher output level than "passive". This is not obvious. Buffering means, that the existing output of the pickup is changed from high impedance (hi-Z) to lo-Z. Neither is better or worse, only different. A battery powered circuitry may (!) amplify the signal, if the designer has decided to do that, but as said, it is not always so.

A spare string set and few batteries are always with me. But two instruments only if I need two (fretted 5 with a fretted 4 / fretless 4 / eub 5). If I needed a spare bass, another cab, and amp, as well as an fx board would be a must, then. But who would carry them?

10 V / 3 A / 30 W is quite a lot. Any PSU capable of 10 V and at least 3 A would be fine, but may be slightly rare. The numbers are not the most common. I would turn back to the shop, before doing anything else.

(Have told this before) 35" 5-string Modulus Graphite Quantum and the B was lifeless. Tried lots of strings and went from .130 to thicker and thicker, but no. Once by accident had to put on a .120 B, and there it was! Even, and authoritative sound through all strings.

Scarlett looks really fab! Enjoy your twins!

Plain price is approx. £90, not bad at all. Those other gadgets look interesting, too.

StompShield is one good help to prevent hitting/kicking pots. Would the Empress be too fragile, I doubt. There's a FI in 3D printed box (thanks @GisserD) in my board, and it has survived few years with ease. Sure you have read pages of ovnilab.com?

Just came home. It was wet outside. Both ways. Place was small, good sound. Everything was going well, few surprises from the song choices, but managed. People were dancing and happy. They drank a lot. We got good food, others had even wine, I was driving. I noticed one elder lady with a short dress, and red shoes. I complimented her shoes while passed her. I had to go back, and whisper that actually her legs were perfect, too. That blink in her eyes made my eve... most probably hers, too. By the way, never put YMCA and Gimme gimme gimme side by side. Right hand fingers hurt after those swift octaves.

A major comment: A C# E. A major has 3 sharps and they are F#, C#, G#. A major cannot have a D flat in it. D is the fourth note of the scale, not the third. Sometimes it is feasible to use a flat (or a sharp) in the middle of sharps (or flats), but legibility dictates that you should use only one or the other way with basic majors and minors.

How about a single, and a dual coil, i.e. a bright J to the bridge, and a thumpy humbucker to the neck? There seems to be place for a dual, there.

You can make a Faraday cage from a net, where the eye size dictates the lower frequency limit: the smaller the eye, the higher the f.

A good point, quite often we did machining afterwards, because of this. Printing exact shapes like screw holes is a real pain, no matter with polymers, or metals.

JBL PRX 735. Big with big amps in. Very nice sound, but clumsy in size. Not super heavy. Have to have stands, but there aren't stand supports! Band didn't like them in the first phase, but there's no need for an external bass box / sub. Now everybody loves the sound. I fixed the stand issue by assembling K&M mounts to them with some silicone and screws. I found the centerline by using a thin stripe of wood. Moving the speaker on top of the stripe revealed the centre of mass. This was very important, because the speaker is somewhat heavy and bulky. Drilling opens the box and reduces bass response, so it was crucial to use silicone to seal the hole under the mount as well as screws.

You can't hurry love Baby love Heat wave These seem to be on the "fewer notes" side, although, as always, the feel is the thing.

You are after vintage, try Ibanez Dead End. Schaller's straplocks have changed a bit during the years, check the nut every now and then, as well as the newer pin/screw combo. They may loosen in use. Dunlop is a functional one, check the duo version. Any unit you choose, regular check of the screws and nuts is important. An addition: Vigier used inserts in the body. Take a look at it:

Buy the book! A must have: it's more than excellent including CDs, stories, and scores! https://www.amazon.co.uk/Standing-Shadows-Motown-Legendary-Jamerson/dp/0881888826

Of course there's wear, just like with fretless basses. The question is whether you bought the bass for playing or do you just want to keep it in mint condition? One day the pots start to crack. Nitro finish will look yellowish, maybe even crackled. Belt will make a scratch. Headstock hits the drummer. Use your instrument. It loves to be played.

Try nickel strings on fretless. SS is harsher in sound. If you worry about the fretboard, try halfrounds (or sell the bass). It was built for playing.

You sure? Have you dialled a smiley eq from your bass (B&T @11)? If not, the output can be higher or lower than a hi-Z output bass ("passive").

Quality and a carbon track pot in the same sentence? They are contradictory terms. You want quality, why not buy a plastic track Bourns instead? Or a cermet?

5-string needs an amp which is able to produce 50 Hz i.e. the important first harmonic. Very common. Problems start with cabs, they need to be able to reproduce that 60 Hz with ease.

The first bass is nice looking, and similar to the player's that you admire. The second is an interesting one. The third is the one that fits you. We can suggest anything to you, just like car or shoes. But if you do not test drive anything, your choice will be a chore. Now take a walk or a drive to the nearest music shop. Test everything they have, trust your ears and hands.

Looks like the leftmost is for short scale basses, and...

My modest testing (around ten units a few years ago) and understanding is that you need to test the pedal with your basses. Hi-Z ("passive") output of a bass produces different response compared to a Lo-Z output. My feel is that there's of course difference because of the output level. Remember: a battery powered preamp may have higher or lower output level compared to a "passive". Still the impedance seems to have an effect on the behaviour. Some compressors tend to have similar behaviour. Other effects are less prone to the output Z of the bass. Envelope filters can be easily tweaked with level/gain, time-based units from chorus to reverb do not seem to care about Z.