itu

That workshop is like in Wheeler Dealers: lots of space, good light, all tools available, and of quality. My tiny corner beside the car in the garage has good light... and that's it. I do have to improvise a lot - especially during cold winters - to be able to produce something even closely similar. But yes, I love this kind of videos. Now I have this in progress:

So this is a lightweight version! Sanding and then some sanding and reshaping. Does it have to be exactly like the original? I would not go to a carpenter/luthier and suggest an exact copy. This is your chance to get a personal bass.

Let's put it this way: 2 amps - 2 cabs I'll round those amps to a 400 W and 800 W units (because of numbers, you'll see). We have two cabs. Both can handle the same power, 800 watts. The first is efficient: 95 dB/m/W. The second is less sensitive, 89 dB/m/W. We have now four amp+cab alternatives: 1) 400 W + 89 dB/m/W 2) 800 W + 89 dB/m/W 3) 400 W + 95 dB/m/W 4) 800 W + 95 dB/m/W The sensitivity means, that with 1 watt of power you can get 89 dB or 95 dB from the cab. (I know, the numbers are unfair, and the latter is close to unrealistic.) This also equals, that doubling the power to two watts we get 3 dB more loudness (92 and 98, that is). 1 W - 89 dB 2 W - 92 dB 4 W - 95 dB 8 W - 98 dB 16 W - 101 dB 32 W - 104 dB 64 W - 107 dB 128 W - 110 dB 250 W - 113 dB (rounded a bit) 500 W - 116 dB (amp #1) 1 kW - 119 dB (amp #2) 1 W - 95 dB 2 W - 98 dB 4 W - 101 dB 8 W - 104 dB 16 W - 107 dB 32 W - 110 dB 64 W - 113 dB 128 W - 116 dB 250 W - 119 dB 500 W - 122 dB (amp #1) 1 kW - 125 dB (amp #2) In this latter example even the lower power amp reaches the threshold of pain. If you are still with me, you see from the numbers that loudness is pretty much the same with similar cabs. But if there is difference between the cabinets, the difference in loudness can be substantial with higher power amp and the more sensitive cab against lower power and lower sensitivity. To add something about loudness and ears, 85 dB is the limit, where you can be 8 h / day without protection to avoid hearing loss. 88 dB - 4 h 91 dB - 2 h 94 dB - 1 h 97 dB - 30 min 100 dB - 15 min 103 dB - 7 min 30 s 106 dB - 3 min 45 s 109 dB - 112 s 112 dB - 56 s 115 dB - 28 s 118 dB - 14 s 120 dB - t. of pain How hard you need to push the set, and how long? What?!

Consider active wedges or IEMs.

I had a Modulus Quantum 5 SPi. You know, graphite neck, 35"... I tried several low B strings. I went thicker and thicker and wanted really tight sound. But no chance. By accident I had to put a .120 - and the bass started to sing! Please be playful and do research with an open mind. I know you will find your favourite.

Our set consists of a small wireless mixer U24i and big PRX735 speakers. There are mixers that have less and lower quality channels in the product family but you can never have too many channels. Wireless is the thing: anyone with the password and a phone or a tablet can mix. Choose your cabs according to the noise needed. Do not forget to buy decent cables and cases/covers.

Agree, I stand corrected. Thanks.

There's a fretboard in both models, be it a fretted or a fretless. If you like to play fretless, another similar bass may be overkill. Think about a different sounding fretless like Music Man. If you think you would like to try a fretted bass, consider similar bass like your fretless is. This way you can get some advantage over the dimensions of the bass, and your muscle memory.

You are right, measuring lowest bass is a bit like measuring an airplane with an A-weighted unit. Nice results! Maybe I could "invest" to that, or save some more and just buy a pro multi curve unit. Let's see...

True. But the level measurement gives me a hint, of what's going on. Wattage is far less accurate, as you well know. Besides, in band context even dB(A) is pretty relevant. I would say, that a simple and lightweight meter is functional. Comparable data is hard to measure in changing environment outside laboratory. After all, commercial advertisements are far more inaccurate. And yes, I have done acoustical analysis in anechoic chambers (microphones, speakers, etc.; B&K has nice equipment). Meter is a cheap and easy to carry solution. The best alternative so far. Measuring the whole frequency bandwidth needs quite a system. I think the 3160 from B&K was the latest I worked with. The system and the microphone were impressive. And extremely complicated.

That German T-store seems to have at least two high C sets by Fodera.

You have put a lot of effort to the video. Have to say I like it. Your comments shoot down many "theories" that live without real research. Well done. P is a simple and functional instrument, but there certainly are alternatives. Many of which fit other tastes and anatomics. And P was not the first bass, although it was the first to accomplish wider commercial success.

dB(A)-meter is a good thing to have at hand while measuring loudness. It is probably one of the simplest piece of equipment to own. Cheap ones are not very accurate, but give a good hint where the level is at the moment. I have used Brüel & Kjær and similar units earlier (prices were sky high). Now that I have changed company, I decided to buy a simple and cheap meter of my own. Saves ears, if the band starts a volume war.

10k is one nice round number. It has nothing to do with skills, if there's no target and decent program to follow. Nearly anyone that has inpiration and produces lots of perspiration because of the training, can reach something. Mastery is another story.

Someone already mentioned molds. They cost a lot. I cannot see, that they would be melted: my modest wish is that the production will continue. Anyone that has been working with molds understands this. A small production ready steel mold costs around £10k after first few fixes. A bass sized mold is far more expensive. I also wish that the molds stay in UK. I would not fell in love with Xhina-made Xi-fux-U basses.

Vigier Passion (1980's, 33.8"), Ukkobass (2010's, 36"), Ibanez Affirma (1990's, 34"), Modulus Genesis (1990's, 35"). Specs: - dark fretboard - no front markers - super stable neck - 19 mm string spacing While others have electronics, solid body, and two pickups, Ukkobass has only one pickup (a splittable humbucker, ser/par/single), a step attenuator, and the body is partially hollow. Genesis has a bolt-on graphite spine neck with wood inserts, and a useless truss rod.

Michael V. P., Patrice V., and now... I wish Rob gets best possible treatment.

Can I see echoes of Affirma here? Nice bass. I very much love that it is original and not that billionth copy of [alphabet].

The rosewood fingerboard looks best, that would steer my choice.

As far as I am aware, a system without noise is... wait a moment, where could I find one? The bass pickups and pots produce noise. The preamp in the amp is a noise source. Downright everything produces noise and the amp is very able to amplify it. No matter which alphabet you have, the story actually starts: Let there be noise. (And light came later.) The channel is working the same way as is every preamp. The most efficient way of using it, is to fill it. Then the power amp can use its potential to the max. This is true also at low levels. Why would we want to warm the room with noise, while we could move the cones with the same energy?

Is the screw at the leaf end loose? Because of the washers (and especially the plastic/teflon/whatever one), the screw cannot be overly tight. You can put nail lacquer (or some thread locking compound) to the thread. This probably solves the issue.

The basic idea in amplification is to set the input gain to fill the channel. But you should not overdrive it, if that is not the idea. This way your amp is amplifying the signal, not the noise. Otherwise your amp is a) noise generator, or b) distorting. When the channel is full of the bass signal, you can open up the master/volume/whatever as much as the situation and you need. The signal is always a mixture of the wanted content (the bass), and unwanted (noise). If your adjustments are not functional, your output from the cab has lots of something that warms the amp, but not your audience. The comment from @gjones is somewhat questionable. If the adjustments are named unconventionally, this may be true, but the input gain is the thing you set and forget. All other adjustments can be tweaked while playing. (Although every eq pot should be seen as a bandwidth limited gain. Use the eq wisely along with input gain.)

If you have checked your local library, amazon has a pretty good selection of books, like the Bass line encyclopedia.

G&L, MG Flea... I suppose there are many humbucker equipped basses, the rest is up to you (r fingers).

For 2k you can buy all three (3) you want in this phase: 1st is the one that looks good and others say it's a great first instrument. 2nd is the one you think you need. 3rd is the one that includes all of your preferred details that make you play it a lot. Joke aside, go to a store and forget price tags, brands, and anything else. Sit down, play as many as possible, and you probably end up with something that fits you. Bassists are more liberal in fancy electronics, or brands (although some surely will tell you that P or J is the one and only, works everywhere and for everyone. And it has to be a Fender from certain period etc.). Find the body that feels good against you, and the neck that is comfortable in your hands. Try strings: Lighter set might be my suggestion along with a pro setup.