itu

Agree. I bought few kilos of 60/40 after hearing about this RoHS thing for us ordinary customers.

Do we have too few jazzes around, if that Grind has to be returned to that shape? I have to say that the bass makes me think of pushing that shape even further away from basic J. But of course this is about taste, which is simply personal.

-fret.

Musicman fretless 5 had a pau ferro board, no lines. Had one a long ago.

I have three (actually four) boards, easier than having just one and fixing it day and night.

Exactly. Clean does not mean a thing. Distortion is there, the amount is just not specified. Watts (RMS, 8 ohm) is a common (comparable) way of explaining the output power of an amp, or the input power of the cab. This may include distortion at certain level, like 1 %. It is meaningful to understand that bass can withstand up to around 10 % of distortion (nothing to do with the effect), and still sound decent. Remember: watts is about electrical power, not loudness, although they are faintly connected. Peak levels are funny, because they are so high, and people think that they represent something like ultimate loudness. Which is not true. If we have numbers like output and input watts, they do not represent loudness levels. dB can describe loudness, but calculating loudness from plain watts - no chance. We need more parameters. Cabs and amps can produce more or less sound. Watts, sensitivity... Before you certainly know the output level, you have to test the rig, or get lots of data and calculate. The question about the power levels, and their mismatch is mostly academic: it is very seldom the amp is fried if the load is more than 4 ohms. It is rare you can fry a cab if the powers and signals are at somewhat sensible level. I do not say it is impossible. Users can act erroneously, but hopefully this community can help those before any damage will happen.

Reminds me of Onkart Gromt Yellow Fellow, no, FunkyFellow!

You could share a pic of your solderings, if that could help us to give you some feasible hints.

Well, there are two options: - red to the hot output - red to the pickup's hot wire (here it is white) Both are practically the same, but you want to try, the change of one wire (red) is quick.

Red one to signal, black to ground. Remove the tone pot. The basic idea is that different resistors and capacitors direct certain part of the signal away from the output. As there are only two places possible (out and gnd) the highs go to gnd. The amount is dependent on the values of the components.

Is there a particular reason they couldn't?

Exactly. A pot not soldered = problems. Sooner or later.

The easiest option is to buy a decent iron, powerful enough, say a 40 - 60 W unit. Big power equals short soldering times. Pots can take the extra power when the time is short.

I see, you mean XLR-based lo-Z outputs. Yes, balanced is one speciality, and directed to studio people.

What do you mean here with the term "low-impedance outputs"? Lo-Z output is any bass with any battery powered unit in the signal chain, like active blend or boosting tone stack.

pickups - blend - vol - tone stack - output Show me the bass which has a fully "active" signal chain, please. If the blend and the vol are plain pots, only the tone stack is battery operated. (Yes, I am excluding those buffered EMGs and few other specialities.) I wish the word "active" would have another word beside it which would separate hi-Z adjustments + battery tone stacks from true mixers (like some EMGs and John East stuff). Mixer would be fine but because so many people do not understand the difference, thus mixer will not be a widely used term. I do see that the tone stack itself can be the issue (and is easily replaceable), just like the poor blend+vol stack (which is maybe worth £2). Take a look inside a studio mixer channel, and think why it probably has better sound than your "active" preamp that is worth £10. And I do not mean the price at the dealers. I mean the price of the components and the PCB. You want to compare something, take a good hi-Z set (like @KiOgon) and try the same bass with a mixer (like East), then this discussion has a better start. Cheap tone stacks are just, yes, cheapo.

They were just around 30 people seeing each other after a long time. They seemed to have fun together and happened to have some money for the live music. I would guess this was not the first time for them to have a private party.

A strange one. A group wanted us to play in suits. After the very quiet set of jazz standards they wanted to talk and eat by themselves. After long time together, they decided they want to sing and dance. Yes, we were slightly whizzed off but could push ourselves to a good drive - and everybody was happy. There haven't been too many gigs around, so everything is fine at this point. They seemed to need time together after all this quarantine thing, and being afraid of the disease. They nearly shouted the songs they knew.

An hour of jazz from 5 pm. Five hours of wait. A bit more than an hour of dance. Home at 2 am. Basic stuff.

Man, you are so productive!

About to buy an interstellar OD. Works as a practise amp and a preamp.

Tom Waits - The piano has been drinking (live) Pogues - The fairytale of New York Randy Newman - Short people Sure there are childish humour songs, but these are well made, I think.

D class can be seen reliable because if two things: there are very few solutions available (lots of testing), and they are built in pretty big numbers. This means that the amps can be seen built under only few power sections and few amp sections. Big amounts of stuff equals testing and reliability. It is easy to understand that there may have been first batches of amps that were not so reliable. On the other hand the repairability is the result of making the units small and light. (I've seen a switching power changing from a powerful box to smoke. The components were practically turned to dust. Most of the PCBA and the components just vanished. Yes, it was a tad too small.)