itu

Bass brother @BigRedX has many good points in his comments. If the signal path is designed well, the adjustments are feasible. But it is not so uncommon that the path is cheap as chips: "Here we will use basic carbon track pots, they are 25 pence each and, hey, this preamp costs a tenner, let's put this in and call it active!" Tone stack is one more amplified stage to the signal path. Any extra amp will add noise. So will a cheap pot, too. From UI and UX point of view the local adjustments are handy, although the amp sure has better performance. One comment seems to need a better argument, and it is about batteries. Battery does not hum, or create extra noise, like many power supplies. There are no ground loops. A fresh battery and a modern circuitry can be very good in quality and performance. Yes, they have limited lifetime, but a spare does not even cost much. They aren't that bad.

The first lesson I got was: "Where's your own cable? I don't bring any to you!" Then we went through scales and arpeggios, chords and progressions. I had been studied piano and theory for 13 years before bass. If you have nice and relatively easy songs for the beginners, they will love you instantly. I had lessons at home, and I went to few pupils, but whatever fits you, go for it. Amp is not a must always. Dry sound in a quiet room may be just enough. Dialing a sound from amp is one really good lesson, but that's it. No need to carry much stuff around all the time.

Which page will reveal the pricing? How long do we have to wait?

If you want a really cheap one, Artec has one band fully parametric pedal. Cheap as chips, and functional, although the instructions are not in line with the specs. Yes, I measured mine.

SWR Interstellar Overdrive should be here, too.

While working in Outside Broadcasting, I made and fixed quite many cables: 1/4", Bantams, multicores at least up to 24 balanced channels, digital... We used connectors from LEMO (yes, those tiny ones), Amphenol & Souriau (yes, the big ones), Neutrik etc., so I think I am now able to build some cables. We also fixed mixers, as well as built and fixed patch bays in cars (very uncomfortable!). Once we were building an OB car and went to a local dealer to buy two boxes of Neutrik XLRs. Came back to the office just to find out that we needed a few more boxes. The next week the same lady behind the dealer's desk said to us: "You can solder them twice or even more, you don't have to buy a new one every time." Thank you anyway, very polite offer from you.

I may use some of those when I approach the chord. Not through the score, but sometimes as an ingrediient. I do not think they are a must, but can add some interest to the line - sometimes. I also think that a 9 gives me a hint of the direction - and this is sometimes again - where to start to build the line. 6, 7, maj7 tell me to think about a grace note or similar when I go to the chord notes upwards the scale. 9 makes me think about possibilities to go downwards the scale. As you already know, these basic ideas are generalisations: the progression may drive players towards different ideas.

Whatever length: 1) learn to coil the cable, 2) use quality silicone cable, 3) use plugs from Neutrik, 4) add a velcro to the amp end (Neutrik silent is in the bass end), and 5) always have a spare cable in your bass case.

https://www.premierguitar.com/news/audiospektri-pgv

What I find from @JPJ 's approach, is that an offboard unit can use much more energy than an onboard one. One or two tiny batteries have not very much energy packed to them. But (again) modern opamps consume very little energy, and they are very capable. The sound may be different to every user, so everybody has to choose the system according to their preferences. This goes through the whole rig. And no, I will not start the valve/Mosfet/tonewood discussion now.

This may be on the theoretical side, but I'll just write something down. The discussion about active / passive instruments may mix players minds. While active mostly means low impedance output, many think that the battery will drive the system with super high output, and does some other strange things to the tried-and-true and simple high impedance signal of P and J. (Because Leo did it right in the first phase, and people actively forget MM Stingray, Sabre, and G&L basses.) The level of the hi Z or lo Z signal can be (and usually is) practically the same (you still get more or less signal by adjusting the pickup height). But as the impedance is different, some preamps and FX may behave in a different way to these two signals. An easy example of the output impedance is piezo's very high Z, which can be 1 - 10 Mohm, while a lo Z signal may be 100 ohm, and a hi Z 100 kohm. Piezo's output impedance matching to the next input stage (FX or amp) can be complicated, and can act like a HPF: the signal is degraded and lacks lows. In other words: sound is thin. This can be fixed with a high input impedance buffer. It just matches the impedance to the next input stage, it does not have to amplify it at all. Some like the effect of the hi Z adjustments, some don't. G-word players put treble bleeders to their hi Z ("passive") instruments, because the volume pot cuts high frequencies when it's turned down. This happens in a bass with hi Z vol and blend adjustments, too. I am not always keen on this behaviour, so I like active mixing. Whatever your signal path and adjustments will be, the next thing to consider is the placement of the pickups.

pickups - blend/vol - vol - tone stack - out This is probably the most common signal path of a 2 pickup bass. If you want to do pickup blending outside the bass, you need a complex (i.e. not universal) cable+connector to the outboard preamp. Tone stack is usually the only battery powered part of the system, so if you want, you can easily have tone(s) outside your instrument. One UX type of thing to remember is how to adjust your sound. In a bass you have everything at hand. Outboard pre may be somewhere out of reach, or the adjusting requires funny moves on stage. I do have some FX with super big pot hats, which I can adjust by feet. But only few. I think I am clumsy, and as a true bassist, I am not able to do two thing at the same time. No bubble gum and walking/playing. No dance moves. I suggest an active blend instead of Bourns blend pot (250 k or 500 k type MN). I did a good experiment with Noll Mixpot, and John East seems to have similar solution. It is still pretty rare. Active mixing means, that the pot does not load the pickup, and the pickup sound stays the same no matter the blend pot position. Volume pot affects a passive system sound, but will not have much of an effect if the mixing/blend is active (low impedance). Once again, "active bass" is misleading, as pickups are mostly passive, blend and volume, too, and only some tone tweaking circuitry has battery driven functionality. John East is naturally something else. I call it a mixer. Battery powered low impedance (lo Z) is mostly preferred, because it is more noise resistant than hi Z ("passive") circuitry. I still want to remind you that there are FX (dist, OD, fuzz, some compressors...) that behave in a different way to bass' lo Z or hi Z signal. If your system will have a battery powered part(s), please consider the possibility to override it with a hidden switch (DPDT) or a push/pull pot. This way the playing continues even when the battery has unexpectedly died. You may loose some functionality, but not the bass.

I am using Fusion 360 in PC, Linux, and Mac. PC is hands down the fastest and smoothest, but the slower net connection (another workplace, connection via wlan) with the Mac may affect its mediocre performance. Please take a look at the network AND computer performance. Both may slow the system down.

I have the needed stuff in the mono case pockets: tab, page turner, tools, cables, tuner, scissors for nails, earplugs...

Cello is close to the tenor bass, so Apocalyptica belongs to this thread.

There's one thing I want to point out: the age of the wood is one parametre (if we are not talking about instrument dried wood) in the equation. Weight, shapes, neck attachment, hardware... the system may work with a specific component, but even with some special part, the system is still unpredictable. Do the parts play together or not? The amount of parametres is just far too many. Or at least we know some details that affect the overall sound, like you need a good neck. But how those materials act together, nooo way Jose. Remember, tonewood is just a marketing term.

Please check Repairs and technical. There you can find Recommended luthiers.

If you keep the bass plugged while not playing, the batteries will die quickly. Piezo buffers need very little energy - wondering is there a leak somewhere?

Start from Chladni patterns to get a faint idea of what the shapes mean and affect a log. Vibrating the body with an industrial shaker costs pretty much. That's the main reason it is used in limited scale. It is possible, but the price. It tries to imitate the years long playing effect to the wood. You can dry, roast heat up the wood, if you want to dry it thoroughly. But when you get your instrument, it is affected by the humidity of your house. Sealing the body so well, that any moisture cannot make any changes is difficult. Paints and lacquers are so thin. When I visit a shop, I play many instruments to find the one that plays well. I try to find the one that pleases my ears and hands. It is very easy to find differences between few instruments: our senses are not absolute, but we are good in finding relation between details.

850! This should be in the bad jokes section.

Caravan, Frenesi, Desafinado & Corcovado & Ipanema, Killer Joe, Mercy mercy mercy, St. Thomas, Sh-boom, Just a gigolo...

While there are only one or maybe few units per model, @disssa can copy every detail as well and detailed as he wants. If he decided to make longer series and sell them, the story would be another. A single homemade unit is not a trademark issue in any way. I love to see disssa's detailed creations, and waiting for the next one.

Amplified Music Products (AMP) brought semi-parametric amplifiers (BH-260 and -420 + preamp + combo) to the markets in the 1980's. SWR looks a lot like AMP. This is because the former Acoustic designer Russ Allee has been involved with AMP, SWR, and Eden.

I have DigiTech's MIDI expression pedal MC2. Not very common, or small, but functional. Maybe it was released so early the users were few. DOD had also a MIDI pdal, but it was more like bank up/down -type of pedal. Reflex would have been smaller than MC2, but they just do not exist. If I would need a MIDI pedal for my synth, then maybe the MIDIUM would be an option. Maybe. Waiting for the price indication.