itu

I happened to get a used V2 for a reasonable price. I tried it few days ago in a rehearsal. Amazingly functional. The one knob UI is very easy, and the switch + coloured LED helps to find sounds. The glitches of the OC-2 are absent. I think I like the voicing. Adjusting is easy, but there are still lots of sounds. One knob approach helps. This is most probably a keeper. Addition: Now I have been using this for a week. The simple UI is a breeze, I can dial minimal amount of grunt from the pedal easily. Some distortion is naturally there but it seems to add positive extra to my sound, especially in a band context. Next step is to try this with a HPF. OC-2 type of glitching is practically missing.

You are close. There are EMG preamps with active mixing, but not every set has a mixer. Some have very basic passive blend. WALs multi coil pickups (certain bartolinis, too) could be driven coil by coil. It is possible. It is possible with piezos, too. The system requires few buffers, and is easy to build. Noll has the Mixpot that works with two pickups. It is like very spartan John East or EMG, i.e. no tone control. But because the mixer does not reduce the response of neither pickup, the output is different from pot based blend. I put that Mixpot after bartolinis, and before the bartolini TBT preamp. Yes, the sound of the bass became much better (but this is subjective!). I could have built one more buffer between the mixer and the tone stack, namely an active volume. Then the set would have been like J. East. But the change in sound with the Mixpot was already so substantial, that I was happy. True that I could have put the vol after the tone stack... maybe that's the next step.

Where's Gretsch Bikini, when I wanted to see one?

Very good! Ear is very sensitive in that area. No wonder there has been ringing. Hope your studio will serve you well.

A phone is not the most accurate device, you could still try one with a loudness tester as well as an RTA (real time analyzer) application. I might start with 1 kHz sine and move to few other frequencies. 20 Hz and 20 kHz are most likely no go, but something between 100 and 2k may give you a hint of what's going on. Attach the phone steadily to the listening place and aim the mic to one speaker. Use only one speaker while measuring. Study a bit what does A-weighing mean before anything else.

I am a bit worried. Is there any chance you could invite someone with needed equipment or deeper understanding of setting up a studio? Ringing is always a sign that something is wrong. Are the levels decent? I have a B&K 2260 to measure overall loudness and sometimes freq response issues. Even a cheapo unit might help you with loudness. But as long as something is not correct, please analyze it. Another pair of ears, maybe?

While working in a big broadcasting company, I met a league of sound engineers and professional personnel working with audio, or audio and video. They held meetings together and tested not only equipment, but their hearing, too. They covered every music genre. Yes, some were players, too, but many were purely listeners - and really excellent ones. I wouldn't say that they suffered from hearing issues. Yes, hearing loss is a true problem. Many young (and some old, too) think that ear is repairing itself after some time. No, it doesn't. There's a limited amount of hearing cells in the inner ear. When they fall, they're gone. But equipment is still built for normal hearing, not for "half deaf". (I started measuring equipment in an anechoic room while studying acoustics some decades ago.)

Well, there are few details you should be aware of: 1) impedance change 2) signal degradation via lost packets 3) signal issues First is not the most obvious, but you need to understand it, especially if you use OD/dist/fuzz pedals. When the output impedance changes in a wireless, it cannot be driven similarly in the receiver end. This may affect your sound quite a lot. Please try a cable and a wireless side by side. Second and third are tied together. Many cheaper wireless systems are working in the 2.4 GHz area. It is very crowded (Bluetooth, WiFi, et al.). Therefore you may lose some of the data. Usually there is some error corrcetion (sorry) involved, and most of the data is fine. Another issue is water. 2.4 GHz is damped a lot by water (your body, playmates... sorry, again). That's why you may hear cuts in the signal, or sighs. 5 GHz area is "faster" by its nature, but needs good line of sight from antenna to another. The best transmitters work in lower frequency area, but they cost more. Some areas in Europe may require permission to use one. You are right that the cable length is no more an issue up to around 100 metres depending on the system, but these other issues need to be understood, too.

With this data it is easy to calculate theoretical max dBs.

Have you seen the Jaco video with Jerry Jemmott? Pastorius is talking about a fretted bass played on top of frets. Is your style similar, mimicking fretless?

Again, I like your approach, and videos are fun. I am so old, that those Clarke & Level 42 sounds sound better. I have to admit that I listened to them a bit too much then, fingerstyle seems to be more of an interest to me nowadays. (After all, technique is still something else than what is achieved with it. I need more than one finger to play Jamerson, years ago my slapping was nearly fluid. I have studied legato playing lately, and that's hard, I think as hard as playing right notes in right place. And all those durations should be right on, but...)

That's one product in the field of speakers and headphones. I would call that a generalization. Where can I find the data where producers have been analyzed as slightly deaf?

Now I want you to show some real evidence. That "edge" sounds funny. And if you say producers are slightly deaf, you certainly know something I do not. High quality studio monitors tend to have flat response compared to some PA stuff people have funnily labeled as FRFR. What is true is that monitors have to be fitted to the room. If you, @DTB have not done that thoroughly, yet, there's work to be done. Harsh sound does not mean there's problem with monitors, but you just need to get back and continue with the adjustments. Monitors can be very clear, while plain hifi speakers are usually more forgiving even though their frequency responses may look equal. Do not get mixed with sharp sound and freq. response.

Maybe few more: https://banananaeffects.com/ Crowther Audio Prunes & Custard ...and everything else can be found here: https://www.effectsdatabase.com/

I had an unlined fretless 5 in pau ferro and it was pretty light in colour. Good feel but not wide enough for me, I like 19 mm string width. How does that look without the pickguard?

That is something companies do not advertise frequently. Exact specs are not so popular among marketing people - my guess is that you are not able to find it anywhere. Wattage on the other hand...

A luthier built fretless 4 Clevinger Cort (I think) Guild Ibanez x 5 Kramer Misa Modulus Graphite x 2 Music Man Rickenbacker Vigier x 2 Washburn Many Ibizas including two Status necks. And a plywood double bass.

Contact Taylor. It is far easier to get one from him than try to find one elsewhere. Yes, I had to pay some extra because of VAT and customs etc. but the pedal is in active use. Duffy's Mercy bass sound is so easy to reproduce.

Check Iron Ether Nimbus. You can select the frequencies you want to reverberate. Very useful, very bass specific adjustments.

@bassman7755 I think you could go far higher. 7 Hz is very low, you can go easily up to 30 Hz without losing anything significant or important. You would still cover audible frequencies.

KMA Iron Ether Onkart Gromt FI from Panda I have to add tce and their Toneprint, and Darkglass.

The last part is seriously fun!

3 dB / doubling the distance: 1, 2, 4, 8, 16... m

Start from any shop that sells basses. Play, feel with an open mind and find few things you like in different instruments. Come back with those attributes and we will steer you.

There's another point in parallel wiring: if the other element happens to break, some of the load still remains.