itu

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.

Burner has meant bolt-on.

1) HPF is the first (or maybe after envelope filter/oct/synth) unit in the signal chain. It reduces handling noise. 2) HPF is the last in line. All handling noise goes through the FX. The sounds octavers and synths have created on top of that will be effectively cleaned from the power hungry freq bands. 3) Two HPFs: no matter what you have in your signal chain, the input gets meaningful signal, and output should push amp a tight sound. I think that all possibilities are feasible, as long as we bassists understand the functionality of the HPF.

How about a pro setup and a new set of strings? Then you could feel the possibilities of the wood. An upgrade to new electronics, or even a bass would be more tangible.

Have you been thinking about transportation? If you want to put the amp to a case, is the ventilation still functional and valid? My Glockenklang has good fans, but when I put it to a 2U case, I needed to use every millimeter to enable ventilation to reach even adequate level. I used several spacers. Now the fans aren't screaming at high speed all the time. If you want to make an uneducated trial, you could try to use smoke to see, how the air is circulating. I know it may be more or less an experiment. But if there are dead corners somewhere, you may be able to see them. Use PC or any other clear plastics on top of the unit.

I have the single and the dual cases. Both are in active use. The single is older, because there's no rings for the Tick. I have walked with both, and quite some. When I go to the rehearsals or sometimes to gigs by bus, mono is far better than a hard case. Good, comfortable handle, wide straps. Space for tools, tab, and cables. A functional solution. It is true, as was mentioned earlier, that the dual case is heavy with two heavyweight basses. Mine are on a light side: a fretless and a five string is doable.

Didn't the Incognito bassist sell his some time ago? Or has it been his earlier, I do not recall. Edit: I meant Randy Hope-Taylor.

Are all your units in the same wall wart? You could consider cutting the shield, if you use balanced cables.

It's easy to leave them there but under the hood everything is overridden/bypassed. Another way is to remove and save current electronics and install a new set. Like Vol.

MM4, tinted red... satin or glossy back? My guess is glossy. How about front markers?

Lines can be added later, if in need. Side markers are what you certainly need. If you play gigs, phosphorous markers are important in a dark stage.

It's not volts, it's not amps, but beware of watter! ...and getting my coat.

Thanks @nilorius. OK, these two players are my favourites from the 80's when I started to learn bassics:

I have to say that the bassists mentioned are all top players. I am trying to find a name that would fill the bill, but there are so many that are serious session players without flashy solos... My choice is those not heard or seen, but doing their best to make any song groove. I know, the list is endless.

I see lots of suggestions. One basic idea to find a suitable bass for you is to go to a shop, and play different instruments. Rely on your feel, not the brands.

After buying the truss rod, use a quality grease to the threads. It is easy to oil it before the installation. The truss rod has to be adjusted somehow. Are the neck, the parts and the truss rod fit together? A hole in a wrong place, and you get my point. I like oiled neck, like in my fretless (see my pics). Consider the profile (mine is square). And the side fretmarks are phosphorous. My fretboard is blackwood from Mad Inter (Spain). It is hard and the dust will colour practically everything it touches. Beware.

Sorry, true, the great amount of "mojo" made me see things in a "funky" way.

Strung lefty? You have to take a look at the Yellowjackets, maybe?