itu

You want and you can do whatever you like from Legos! That probably is not the most lightweight instrument around.

Pots can affect high frequencies, but not so much of the middle and the lows. If you remove all pots, the pickup can push out slightly more. If you use two pickups in one "passive" circuitry, they affect each other. You can separate them using battery powered buffers (Noll Mixpot or similar).

One part of the cost is that although the replacement is cheap (soldering + the pot itself), the dismantling and putting everything back takes quite a lot of time. If you have time and can keep everything in order, the replacement is something you might do yourself. I still point out that please be careful if you are not that familiar with electronics. Every cable has to be inside the box, do not tighten any cable between case parts. Bending PCBA or braking any component can lead to an unrepairable unit.

MN is the blend type. Center detent, cut tracks... made by Bourns, available in 250 k and 500 k versions. A can be audio/logarithmic, but also linear. There are no standardized markings on pots. You just need to measure the pot and then hunt for a replacement. https://eepower.com/resistor-guide/resistor-types/potentiometer/#

You can keep the original preamp. A bass has a signal route like this: pickups - blend (or vol) - vol - tone - output Tone may be pot and a capacitor, or a battery powered preamp. Most of the "active" basses have only battery powered tone tweaking circuitry. Some are more complex. All in all, you can usually mix and match nearly every component. There are exceptions, but on a basic instrument most trials and changes are OK. Low impedance ("active") pickups may need some changes like pots or specialized tone circuitry, sometime they can replace old pickups without any special modifications. Ask some of your friend who can do decent soldering. Options are numerous.

I should have started with 5-string fretted and fretless as well as a double bass right away in my teens. 19 mm string spacing (fits my fingers), less slap, more analyzing, less flashy stuff. Some learning with effects (fuzz, comp, envelope, x-over). I would have had to learn meat and potatoes so well that everybody would have wanted me to play exactly that. Amps, a GK micro combo for double bass and a Glockenklang Soul and a lightweight 2 x 12" for electrics. Listening to Marc Johnson, NHØP, Edgar Meyer, Tom Kennedy, Pekka Pohjola, and Abraham Laboriel for flashy stuff and numerous no named heros for the functional and important meat and potatoes. Learning from BASSCHAT decades ago! This is so good place, Thank You All! I still try to grab ideas from you, although I learn slowly. It is never too late.

Well, from the music history lessons I do remember very well when our teacher played Florence Foster Jenkins. Poor Cosme McMoon.

And I was expecting to see a fretted Michael V. Pedulla 4-string.

Could you please share some light why the tone has to be before the active circuitry? Here is a short electronics description of most basses: pickup(s) - blend (or another vol) - vol - tone - output The blend/vol is not needed in a one pickup bass. Tone can be "active" or "passive". Some instruments have even "active" mixing (blend, vol), but it is relatively rare solution.

Most of our senses are measured, and approximated from very big amounts of data through standardized tests. True, we do sense things in slightly different ways depending on an individual. As an example we bassists can hear certain details from the low end that others think is insignificant. In general people's senses act in a tested way. On average we should hear from 20 Hz to 20 kHz, although some can hear down to 16 Hz or up to 37 kHz, and others far less. Statistically 20 - 20k is still valid response for a young and healthy ear. This is not only subjective, but a tested fact. I will not go to learning and other finesses, one part of our hearing is psychoacoustics. It also covers excessive amount of research and background data which is not feasible to represent here. Everything is not simply subjective, although the larger picture sure can contain some subjective parts. This will be the situation as long as we are not able to represent our experiences with agreed and common terms thoroughly. "Suitable" could still be a better term than "the best", even with some very subjective stuff. After all, most of our wants may include lots of foggy compromises: "What's the best cheap bass?" What? Say, how much is your cheap and I may be able to find something for you.

Didn't I say: "Understanding the facts..."? Personal preferences sure play a big part of our sounds. Tweaking is for us players: I love effects, I need my lo-fi speaker, and how about my playing style? (I HATE most of the verbal comments on sound like "vintage" which does not mean anything. Is there a single vintage sound from the bass, the cable, the amp, or some system? We lack many tests and qualifications that could help us in comparing sounds and detailing finesses.) We still do have different stuff available that can be measured at least to some extent. Like cables. And we should understand the results. "The best" here is probably somewhat bad qualification just like the previous "vintage", so I will suggest to use the word "suitable".

In audio there are lots of tests. Many test settings are after the best. Sure they do measure difference between competitors. PA systems (covering bass systems, too) are often after something else than superior quality and flat response audio. One of these is loudness. There are still same tests available for the components of PA systems. Quality cable does not color sound. But if you want to get a deteriorated sound, no one is on your way. Understanding the facts which affect colouring then help a lot.

IE Xerograph (also the deluxe model) OnkartGromt Funky Fellow Subdecay Proteus

It was discussed years ago that a vintage fender was put to three parts: neck, body, and electronics. Then they were married with some newer parts: voila, three vintage fenders! People are more aware of this. A numbers matching instrument is more valuable than a bitsa nowadays. (If someone is interested in fenders is another story.)

Light weight parts, top loading bridges, light SS RW strings, Status necks... bartolini & Delano pickups, yes.

Talking about cable cooker? Yes, even their pages are lots of fun!

There was a guy writing to a newspaper: "...after listening to this band, NHØP is probably an acronym of two persons."

And I was thinking about the feel! How simple from me.

True, yes! I have played with X-overs in my effect boards for a few years (IE, KMA). Parallel is (too) common, and I did go away from that after trying to manage with comb filtering and yes, phase issues. X-overs have opened a new way of using effects.

If there is space, you might be able to wire the pot to the board. But only if there's space.

Try this: http://web.daddario.com/StringTensionPro/ Take a look at the string tension and vary thickness. You may be using another brand, but this should give you a ballpark. This is slightly older but is a good paper to have at hand: https://www.daddario.com/globalassets/pdfs/accessories/tension_chart_13934.pdf

I do partly agree. 1) Out-of-phase is one really serious issue when two signals are in the same frequency band (like signal + effected signal). 2) It is not that bad when they are separated (like bi-amp or X-over). This issue exists but it does not have to be so crucial. If you hear it, you have to act. If not, let it be. A system that can measure phasing is rare. I have used them earlier in my work (broadcasting company), but not with a bass system. I can only rely on my ears. Or I could use my two channel 'scope.