itu

Sly & Robbie, anything from them.

@KingBollock A simple switch may be too simple, but a rotary one would solve your need.

I might guess these are from D'Addario.

Because of interest, and I happen to have some materials at hand, I tried few materials. PC and POM work well, PP is a bit brittle. Teflon is slippery, and could be the best choice.

Not very special for a s/he with a decent soldering station and quite a bit of skills.

Rubber O-rings will come out. The pressure is so big. PMMA is too brittle, but oily plastics like PP, PE, and polyacetal might work well. They are quite easy to machine, too. A cheap trial could be a small, clear storage box made of PP, cut it to pieces and drill holes to it. Carefully cut or file to size.

Should I print "sarcasm" over my previous comment?

If I hate B. Springsteen's voice, but I've heard few very good versions of his songs sung by someone else, are his songs good? If someone voted for democraps or republican white trash, is it OK to listen to the great music that idiot made? If late Wolfgang Amadeus Beetroot had controversial opinions, and even actions, can we consider symphony no. 9 a masterpiece? (By the way, he received money from his work, so he can not be a divine artist, but just a simple workhorse, no?)

Replacing is very easy: detune the bass (loose strings), open the screws, and replace the washers/bushings. To be honest, I am not sure what material is the bushing. I think it could be PP, PE, POM. Where to get those, no idea. A local plastic shop sure could help.

Cream colour, could be a DiMarzio.

Series/parallel means that in parallel mode the adjustments are like in an ordinary PJ. Series overrides the other vol and puts the pickups in series. You get another sound out of it. If you override the tone (and maybe even vol pots), the higher end will be emphasized a little bit, and there's slight bump in volume. With a rotary switch and some tinkering you can get few more sounds. I warn you though: many of the possibilities sound practically the same. You end up using one or two options the most. How do I know this...

I'd call that a double exposure.

Pictures? Do you need any switches? Kill switch, rotary for tones or pickup connections (ser/par/single)?

27" scale, these are tiny.

Me blind, sorry. If you have a DMM, check the resistance. It may give a hint of the type. If you have magnet, or a compass, you can check the polarities. Side by side humbucking pickups, like Status, the magnets are opposite, half N and half S. https://www.aguilaramp.com/wp-content/uploads/aguilar-pickup-DCB-5J.pdf These are side by side humbucking.

https://www.avbasses.com/en/contact/ After asking Ales, you will tell us, don't you?

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.