itu

It is seen and heard many times, that all sound possibilities are not feasible. My fretless has three choices where two would be good. Ser/par or ser/single would be the best options. Yes, you can fill your bass with switches and pots, but at the end of the day you will use maybe two or three sounds only, just like @Woodinblack said earlier. Long ago I saw an American bassist with Precision. The pots were removed and he had two switches in it: ON/OFF and TONE/OFF. He said that in the studio he may need the other switch, and live he sometimes needs both. Functional. Simple.

Here you can see my fretless 4. She has a step attenuator and a coil switch (ser/par/single). The switch (a Swiss Elma) is a two pole / three way. You do not see screws, the magnets are under the copper foil.

A local acoustic researcher did a test between two cables years ago. The high end one was ridiculously expensive, thick silver cable. The other was some cheap basic copper wire. The difference was measured, and it was there: the much cheaper had 0.05 dB less ultra highs. Of course the signal would deteriorate in long runs, like 100 m or more. There are other details that interest me, when I choose cables: robustness, materials, thickness, flexibility, Neutrik connectors... I am prepared to pay something, but jokes do not interest me at all. One reason for those high price cables is that if the stereo set costs an arm and a leg, the cables have to be something else than £2 from a local store. Someone just saw a possibility, and now we have funny priced cables.

Does he have a Cable Cooker (TM)? If not, I cannot trust his knowledge and understanding. Cable Cooker (TM) is a Must to every Hi-Fi person! I think he should also sell wooden tone blanks, that you could raise cables from the floor to make the sound more airy. (If anyone even faintly thinks I recommend this sheet, I have added this text.)

SM58 no switch SM58S with switch

Different. Good.

Wavy Grovers. I had them in my first bass, a '74 4001.

The reason I wanted it without keys, is that after 13 years of piano lessons I hate keyboard, and love Misa Tri-bass.

I think most of the issues in the "other-than-instruments" SMPS' that I have seen has been poorly designed units without decent ventilation, or cheapo caps. Some of those could be repaired with good components. On the other hand a blown unit tends to blow severely.

I had the V2 few years ago. The only reason I sold it was that I wanted a rack version, and bought the earlier one without keyboard. Fun, to say the least.

"Mojo" meaning the bass has lots of gunk all over it, badly used, owned by someone smoking in chain, and is just plain shi**y. Mojo, my arsch.

Start from triads: - major - minor - aug, dim Turn them around i.e. start also from third and fifth and listen to them. Move to 6, 7, maj7, sus4. Explore 7+5, and 7-5. Write chord charts to a fretboard picture. (Hint: use only three strings, and you can move chords quickly around the fretboard. Lazy guy buys Hellborg's chord book, which does not clarify things too well. But you're not one.) Play and listen to them. A lot. Try to understand at least something about basic chord progressions, like 1-4-5-1, and 2-5-1. Then the chords reveal some of their secrets.

Tangled cables, oh dear. I would suggest to learn coiling and buy velcros. Cables have to be treated well. I made my oldest still working cable in 1990's. No issues so far.

People here are arguing about the material, but not its shape. Every shape vibrates in a way that is common to it. BUT here we went to the thin ice again: if the material isn't constant, the vibration can be quite far from the theoretical model. Take any rod and find its node. It is certain length from the end. Tune a string and you can find the nodes at both ends. Now neck is attached to a heavier shape (body) from its other end... you probably get my point. We have a complex system filled with numerous parameters. It is pretty meaningless to talk about any single parameter and its meaning to the system, if other parameters are also changing in the comparison. Two wooden necks (or bodies) are practically never the same. Molded plastics (like graphite) could be closer to each other, and perform more equally. But only if the shapes, measures, and all other parameters could be as close as possible. Please continue the discussion about your personal experiences. After tonewoods you can go to the next level and start tone comparison between paint/lacquer/oil/whatever. (Do not forget to include colours and glossy/matt.)

tce SCF ...and tens of octavers.

If there were ready soldered wires, they should be OK. Cold means that the tin may have not made a decent contact between the two. This occurs often if the materials move while the tin is cooling down. Any TRS is fine. Just make sure you solder all wires accordingly. Put the plug into the jack and you can see right away the right order. The ring (SW) and sleeve (GND) will make the contact. TIP is the output.

Have you pushed the element by hand? Does it make any extra noise while you move it? Any leaks that are not designed to be there, can be seen like a vacuum cleaner with a perforated tube. The leaks should not exist.

That green one looks very good even without the electronics. How much is your circuitry consuming energy? Volts and milliamps? Could I put it inside a bass with a battery?

First of all, you seem to have a mono jack in the system. This means continuous drain from the battery. Not good. TRS = tip, ring, sleeve. The main-PCBA has two contacts, where you have green and white wires. The white one seems to be OUT. This is NOT to be connected to the SW (green wire). Green should be in the ring in the output jack. OUT should be tinned to the tip. This SW and GND produce the connection from the battery. According to the pics, the black and red battery wires in the PCBA may be wrong way. Red may be the +. Please check it. I would check the solderings from the blend. The green wire may be a tad cold. From the looks of the pads, I think you are using lead-free, which is more complicated to use than the older 37-63. So go through all contacts you have made. And fix the white-green cable mix in the first phase.

"Upgraded" or "With options" It should simply say: "modified". "Vintage" should be "80's".

Please start with a picture of the stuff you have created so far. Text is so limited here.

I am very much aware of this. At the same time when we mix cabs and amps, the end result (loudness) can be calculated only from the system, not from the individual parts. Smaller wattage, but better sensitivity may be louder, than lots of watts and low sensitivity. And then the flatness of the response, and lowest reproducible f, and so on. (But you, too, know all this.)

I accidentally heard about Norwegian mains which is not very stable. This may be one reason you have issues.

In case you want to go the hard way (i.e. not the @KiOgon way), the pot type for pan is Bourns MN 250k (or the 500k) version.

The popular: Free - Mr. Big Paco de Lucia - Alta mar (from One summer night) The bit less known: Jeff Berlin, Pekka Pohjola, Niels-Henning Ørsted-Pedersen, and Edgar Meyer have many very interesting solos.