itu

Lines can be added later, if in need. Side markers are what you certainly need. If you play gigs, phosphorous markers are important in a dark stage.

It's not volts, it's not amps, but beware of watter! ...and getting my coat.

Thanks @nilorius. OK, these two players are my favourites from the 80's when I started to learn bassics:

I have to say that the bassists mentioned are all top players. I am trying to find a name that would fill the bill, but there are so many that are serious session players without flashy solos... My choice is those not heard or seen, but doing their best to make any song groove. I know, the list is endless.

I see lots of suggestions. One basic idea to find a suitable bass for you is to go to a shop, and play different instruments. Rely on your feel, not the brands.

After buying the truss rod, use a quality grease to the threads. It is easy to oil it before the installation. The truss rod has to be adjusted somehow. Are the neck, the parts and the truss rod fit together? A hole in a wrong place, and you get my point. I like oiled neck, like in my fretless (see my pics). Consider the profile (mine is square). And the side fretmarks are phosphorous. My fretboard is blackwood from Mad Inter (Spain). It is hard and the dust will colour practically everything it touches. Beware.

Sorry, true, the great amount of "mojo" made me see things in a "funky" way.

Strung lefty? You have to take a look at the Yellowjackets, maybe?

A basic question: is red positive? Are you sure?

Dealing with settings is easiest with a table. The Spectra settings were available years ago, and I found a comprehensive table from Germany. I think I still have it somewhere. I have three HGs. Love the product, but tweaking was a true pain in the beginning.

Try the code at CTS' pages. 20k is very common value.

There doesn't seem to be a problem, but just one, deliberately done. You are after a solution where you need scissors a decent piano wire cutting tool (Knipex or similar). Then you buy a box of certain brand strings you want to use. Measure, cut to length, put the strings back to their packages and start using them. Solved.

I would not remove the pot in the first place. Measuring it can happen while it is still in the board. Pots are electromechanical parts, that can be usually fixed. There's no pic from the solder side, but there seems to be very little tin in the board. If there's a need to fix the pot, open it and check through all parts, and use some decent lube to the track.

True, but your basses have only a single pickup. Do the mixing with an outboard unit, and you sure have quite a lot of wires going both directions. Practical? Flexible? One pickup systems are naturally far easier to handle.

The difference is certainly worth that extra. Delano, Glockenklang, Sadowsky et al. are simple active tone stacks with passive vol and blend. Vol - vol is as bad for your tone as is the blend - vol, but it may suit your habits of tweaking the sound. Electrically they are alike. Noll has Mixpot that is active mixer (blend). I had it in my Modulus Quantum before the bartolini TBT (and vol pot), and it was really an upgrade to the sound. Naturally your taste may vary.

I have written this many times before, but repetitio... Signal path of a bass: pickups - blend - vol - tone stack - output Usually blend and vol are basic hi-Z (high impedance) pots. They affect frequency response by limiting it. In other words, they act like tone pots, but not as much as passive tone. Audere, EMG, John East, and Noll produce few preamps with active mixing and vol. That prevents frequency response limitations. Tone stack is about personal preference. It can be a passive pot+cap or a multiband parametric eq. Outboard eq has one advantage: lots of power. While the bass has (usually) one or two batteries, an outboard unit has mains. Therefore the solutions can consume far more energy. On the other hand a two pickup system should have a complicated cabling if you wanted to use bass' own adjustments and outboard unit's power together. Modern preamps are already relatively low power, and high performance. If you want to invest a bit more to something that can be transferred to another bass, try John East.

Although my collection over the years has been quite thin, it has taught me quite a lot about what I like. String spacing and scale length are the most obvious, weight comes next. My Modulus 5 SPi had very good sound but tight spacing, and I sold it. I think many of the instruments have had could be under my bed - and I should climb there now - but if they were not played, why not let go? I do have few for different bands and styles, but I think I can manage practically every style. Even sold my double bass but I have a good quality EUB. Jazz and classical is doable with it. Yes, I like, or rather love instruments, but the music is the main goal. Nowadays the music is even more important, and this has given me some peace from instrument hunting a.k.a. GAS.

...or the user. I have seen quite a few cables twisted to their limits. Or coiled to their limits. User faults.

The overhead is there for a reason. When the cable ages, some of the copper may be cut by twisting and bad coiling. 2 x 2.5 mm2 should be enough for most applications.

Usually blend is the input for pickups. Then the signal goes to vol.

I love this "too sterile" thing. It tells nothing about the bass sound, but I think there has to be some reason to this "too expensive, has to be bad" talk. Find an older Modulus Sonic Hammer. It has bartolini, and I suppose the sound cannot be "sterile"...

Dolce & Gabbana strings? I thought they were a fashion brand. (Coat, where's my coat?)