itu

I was suggesting changing strings if there is a need to adjust the bass. In your case you are probably not touching the setup. Old strings and any change in setup is nearly worthless, because used strings are dirty and they are worn against frets. Not very uniform.

It is far easier to reach low impedance with a buffer, than try to raise the Z of an active bass. (Simple) Buffers do not cost a lot: https://www.thomann.de/gb/tc_electronic_spark_booster.htm https://www.thomann.de/gb/tc_electronic_spark_mini_booster.htm https://www.thomann.de/gb/tc_electronic_bonafide_buffer.htm A noise gate or practically any pedal that is on or has a buffer in bypass mode does the same. Loud pop may be related to the pedal power source. If there is a possibility to try battery power, check every pedal one by one with a battery. This may lead you to the tracks of the speaker pop issue.

https://en.wikipedia.org/wiki/Peter_Baxandall

Factory strings, trying to adjust neck... I would go to the store and buy a new strings before adjusting anything.

If your pedal is after other pedals, it can be a low impedance (lo-Z) passive model. Any pedal that is on, changes your signal to lo-Z and then the volume pedal can affect your signal only little.

First of all, forget percentage and watts, like our grand old Mr. @Bill Fitzmaurice said. He sure knows speakers and maths, as well as dBs. When you double the power, the dBs raise only a bit, around 3 dB. If you want to hear the sound to double, you need 10 dB = 1 B more volume. In power this would equal multiplying the power output by 10. Now you have 450 W, so you would need 4500 W to double the volume you hear. 250, 600, or 450 watt produce practically the same volume to your speaker. Clear so far? If you believe the impedance (Z) is linear and a constant, you are walking on really thin ice. It changes drastically over the frequency range. If you want to dive into the amplifier technology, you will find that reducing impedance will increase the need for amperes. More amperes = higher temperature of the amplifier. After certain level the amplifier can not produce more power, or it would melt. I could describe this Z like a stick, which you press with your thumb. The smaller number is like a sharper stick. Try to press this sharper stick and you feel just like the amp. The rise of power is not linear, otherwise our cabs would be Z = 0.08 ohms. Try to calculate the possible power output to this Z with a 30 W / 8 ohm amp... hint: it would be in kW class. You are still following? You have an issue with hearing your playing, raise the speaker. Turn it to you. Take a step away from the drummer, ask that g-word player to do the same and turn her amp away from you. Pretty simple, when you just adjust the current situation slightly. To play with just a little less volume helps, too. Talk to the others and just try it.

What is the manufacturing year? Has to be 1980's. Serial should look like 8Xnnnn, if there is one.

I do admit that this is pretty common, but there are solutions, where interactions are really limited to the specified bands. There's lots of bass specific stuff which is not studio quality, on the contrary. It is possible to design electronics up to the studio level (John East, anyone?), although a simple capacitor and a lousy carbon track pot seems to be the solution for many. Cost: under £1 in a £1659 Jazz ( https://www.thomann.de/gb/fender_am_original_60_j_bass_3tsb.htm ). I understand Anthony Jackson's idea of having only the pickup in his Fodera. Obviously Mr. Jackson does not want any sound deteriorating component to his signal chain in studio. One Penny & Giles pot in a big mixing board costs easily as much as bag of carbon track Alphas.

Let me guess: you did not have time to check her stilettos.

You don't: under 30, and 6 foot 1.

I get back some twenty years before I was born - or not: I see this great band, I have learned the tunes, they do not happen to have bassist around and I am carrying my instrument with me. Someone from the band asks me: Hey punk, can you play that log...?

If you have time and want to build a special pot, tin a step attenuator from a rotary switch and metal film resistors. Takes some time to build, but with a quality switch, the system will last forever.

I bought both of mine from sales, so prices were not an issue. The list price is indeed high.

According to the photo the pickups are connected in parallel. This is a very common way of doing it. There have been many tapers around starting from linear and logarithmic. There still are others. Here are few curves: http://www.alpha-products.com/cd_catalog/new_catalogs/Pots/tapers.htm

Rick Tuner, he's a known American luthier? I'll... get my coat...

Mono M80 accepts the Tick 2.0 from the same manufacturer. Easy to attach.

Drill the rivet. Use pieces of wood on both sides and put the bent end of the leaf to a vise. Use the vise to bend the leaf slowly to shape. Use some tiny screw (and a nut) to set the leaf back to the axle. You can also make a thread to the axle if you have proper tools and a suitable screw.

And yes, there can be an audible and functional difference. It is possible, and if the system gives you any advantage in producing your sound, this invention may be your key to the stars. We do not have to rely on Leo's 70 year old cheapo sheet metal solutions.

Yes, I did. Because the audio track includes lots of stuff, it is not clear to hear any difference. I am more accustomed to ABX testing since I studied acoustics. YT videos are basically coded audio, which is not the best source for comparison. I do admit, that it is somewhat complicated to produce comparable results in home environment. Strings, playing techniques, audio levels etc. are not easy to normalize. Any processing may hide or enhance subtle details. It is also very important to try to eliminate subjective opinions in these tests. If you are after results that are not objective, then it is another story. It is pretty easy to hear stuff you want to hear. Change new strings to your bass and it sounds a totally different instrument than it was a while ago. Yes, it sounds different, but is it really that different after few hours of playing (I change strings up to four times a year)?

If the string ends are not uniform you should fine tune the scale every time you change the strings. If the strings would be non-uniform you would need to tune the neck - the frets - for the string. Latter is possible, like with old lutes but I doubt that no one would want to turn back time that much. The bridge may be lighter, or it may have rounded corners, but the system is not complete without special strings, which may have special price and limited availability. So far I see mostly sales arguments, but it would be really nice to hear some true benefits to the player and the bass.

If you are about to drive your cab with a DC signal (9 VDC from your pedal board power), then it is a 4 ohm unit, but I doubt that is going to happen.

For a string through body you need slightly longer strings, if that is a hindrance or an advantage. Soundwise you can not hear or feel any difference on stage.

A friend of mine has a Dynacord DSP715. 300 watts, 15", and a built-in compressor. I said I could buy it from him, but he wasn't interested... no wonder. I could find only few pictures (note the slanted front): https://www.ebay-kleinanzeigen.de/s-anzeige/dynacord-dsp-715-bassverstaerker-300-watt-basscombo-15-speaker/1521869274-74-7334 https://www.ebay-kleinanzeigen.de/s-anzeige/bassverstaerker-combo-dynacord-dsp715-und-zusatzbox-dsp715e/1427561443-74-4472