itu

Yes, it is true. There are several constructions which include an extra pot that may be excluded or included with the lo-Z circuitry. I did not want to include every possible signal chain option, as there are many, like Alembic (filters; external power source for opamps), Wal (semi-parametric eqs), Vigier (semi-parametric + treble/tone) etc.

An easy start is the signal chain of the bass: pickups - blend - vol - tone - output Any part of this chain can be "active" (low impedance is maybe a bit better term, but never mind), or "passive". It is very common, that an "active" bass has battery powered tone stack and that's it. This means, that blend and vol are simple (and usually low quality carbon track) pots. They always load the pickups in a way or another, most common issues are related to the treble or signal strength. In a "passive" bass the tone pot affects the sound, too, whether at 0 or 10 (yes, there are exceptions...). When an "active" tone stack is bypassed (the bass is in "passive" mode) the sound is changed slightly. Compared to a "passive" bass, there is no tone pot to load the pickups and the sound is different. These tiny details depend on the pot values and types. There are only few electronics with a mixer in them. That type of system is much more controlled (and more expensive), and does not load the pickups (= change the original sound). Price comparison: - a J bass has three carbon track pots, a cap, an output jack, and some wire: £5 (for the manufacturer) - a John East preamp is around £150 - 220, but the performance is stellar

Both options mentioned are functional ones. It is also possible to get a preamp with active mixing, like John East and Audere. I put a Noll Mixpot to Modulus Graphite Quantum. The bass has bartolini NTMB tone module (B & T) and the Mixpot was a good addition to the system. I had tried Vol + Vol, and Vol + Blend, but was not satisfied with the results. Mixpot is nice but it requires some accurate soldering in tiny places. Take your time with it.

Classical guitars have arm rests. Maybe some searching might reveal tape and suction cut designs.

How about the calibration signal terminal under the display, @Bobo_08 ?

Wow, that is a tool. Well, nearly any signal source is fine like a CD player or a tuner. Maybe even that saw signal from your scope. Very accurate component values are hardly needed. You want better accuracy, metal film resistors are fine.

It's not the temp, if you can live there. You want to keep them dry, put your strings to a plastic bag and seal it. Some silica gel dries the extra moisture. By the way, how many sets and what is your changing interval? Depending on the amount of playing I change strings 1 - 4 times / year / bass.

Thank you, very interesting. I found this short story about the idea: https://www.premierguitar.com/articles/Further_Adventures_in_Fretboard_Design

I use a Pageflip Dragonfly and my bandmate has a Pageflip Firefly. PROS The Firefly is thinner (fits the bass bag). 2 x AA (easy to find, cheap). Very low energy consumption. I have forgotten to turn it off and it still works. Just few pushes and the unit is up and running again (sleep mode kicks in after 30 minutes of idle). The extra buttons of the Dragonfly do not interfere during playing. Lightweight, and super light if you take the extra weight from the unit. CONS Tactile feedback is not so impressive: the switch feel is a bit spongey. The unit does not stay too well in place if the floor is dirty (the feet do not hold and the low weight, original or modified). Conclusion I need it as much as I need my tab full of notes. I have a MobileSheets Pro and today it includes 5550 songs (true number is maybe around 3000, there are duplicate names in the list). To turn the page I just hit the unit with my toe and I can go forward or backwards with ease. A true HF. Try it, you'll love it. https://www.thomann.de/gb/misc_controllers.html?price-first=0&filter=true&feature-52675=true

Very good the bass was found, hopefully in condition prima. These delays are common here. It is not so extraordinary, that the package is ordered from the other side of the world and it takes 3 - 4 days to get here. But then the local post office starts the delivery which can take up to two weeks. I happen to live in a place where I am able to see the main office (including letters and packages). If customs is involved, +1 - 2 weeks, easily.

Very good, rather, this is excellent. My modest work is minute compared to your library, but I recognise many points. Two weeks ago I received a bass part of the Sleigh Ride (Ella F. version) written by our pianist. When I got the note, I had some issues reading it in the first place. I did some minor changes and now it looks like a bass transcription. There is a difference between the pianist and the bassist. About slapping, one bass teacher had an idea in the 80's of writing it down with bow markings. Sadly he had no time to refine his work and now we see S, P, hammer-ons etc. The letters are simple, but legible. It is good to see that notation can evolve. Transcription has one major issue: it is only a faint picture of the actual song. No sounds, effects, settings, feel, playing behind... This is the reason why I love to hear a recording first. Our band has tried to play some songs note by note without the original performance. Results have been quite... interesting might be a good word. I love transcriptions. Although it is often feasible to learn songs by heart, papers (in a tablet) help so much. Thank you @Bilbo for helping us mortals with these complicated songs transcribed by you.

There are very good cases available which can withstand even the airline personnel. My Modulus Graphite case was sturdy enough few years ago, when the crew demolished the case in Zürich. I was happy that the Quantum itself came back in good condition. Famous touring bands have the money to take their valued instruments to cabin. If there are several basses, the issue is a bit different. Maybe one bigger case for many instruments might work. That kind of thing is surely hard to steal, too.

My friend bought an old HMV player and he made lots of gigs in few local bars before this quarantine. The players seem to be so simple that it is easy to maintain them. His records sound surprisingly good and many of the recordings are really hard to find.

Old Growth Fuzz (by Spruce Effects) has controls named Ring (Vol), Bark (Fuzz) and Girth (Tone). I had to use a white paint marker to write those letters (V, F, T) to respective pot hats. I would not change the unit because it sounds so good, but without a little help from the paint marker, I would certainly do funny things on stage every now and then. The RMA Crustacean is far more complicated (7 pots, 4 switches, and the footswitch) - I have written some text under the unit to describe the settings. There could be some "standardized" markings in pedals, but it may be complicated. Potentiometers have letters that differ, as everybody knows: A = Audio or Linear depending on the manufacturer. My modest suggestion is pots with letters. There are also good graphics in many big desks, they could be the key to legible units.

The pedal looks very good, I would love to see an FX loop in it which would separate the clean from those two other channels. I would use a X-over between them. The clean channel looks just like I would love to have one: a simple and one very effective filter. (Offtopic: If BF will make an amp, it probably has Gain - 3/4/5 knob EQ - Vol. But hopefully not. I would love to see something like an old Quad type of EQ with tilt and another knob that selects the tilt freq, like Gain - Tilt - Freq - Vol. It certainly would be an old design but fresh compared to those basic ones I described earlier. Offtopic ends, back to the CVs and cover letters and so on.)

@GisserD: an update would be in order, please.

Put the DMM setting to VDC. When you hit the pickup with a magnetic tool like a screwdriver, the voltage raises shortly to the positive side if it is in phase. The DMM may have a min/max function and here it is very handy.

Start with wires. If they and battery are fine, the connectors are the next. It should not be impossible to find the voltage from the circuitry. If the voltage comes to the board, then there may be a failure in the board or the piezo. Piezo is prone to braking, it should not be bent. Please take your time.

If you want to lengthen the delay time a bit, flanger is an option, too. tce SCF costs a bit more and has both (and the PM: EBS copied the idea). I have had few issues with weak bass. A ch/pm/fl through a X-over has been my solution.

Exactly the same situation, except the combo was 200MB. I had one but it was stolen (30 years ago). Love it, a good sounding and tiny work horse (my little pony?). But imperial bolts and nuts, no inserts or hitserts... Still I think that it is a good unit. Was it meant to be in use for +30 years? Maybe not, it is still reasonably easy to repair and it very likely works the next decade.

Pretty much the same as the old Gotoh GB-7.

But there is a Wal Pro, so everything else is non-Pro, isn't it?

I do think that it is the player first, then the bass.