itu

Now the mojo is gone! Yes, and that's good. Who needs any mojo anyway. Nice work!

tc electronic Triple C, a 3 band comp, available as single channel model. I tried it, but as a rack unit is bulky, moved to HyperGravity. Presonus Blue Max, a half rack unit with presets, and fully manual unit. Comp16 is even smaller model, similar to Alesis nano comp (9 VAC in!). Somewhere around here is a Canadian guy, who miniatyrized dbx's Over Easy comp. It is slightly larger than a pot. You can install it to your bass. Very interesting unit.

I think MM offered a fretless neck against the serial of the fretted and vice versa, but not replacement necks. Maybe a P neck would fit pretty well, but @Lfalex v1.1 had the best alternative so far when he suggested visiting a luthier.

Take two sharp pictures, i.e. one from each side of the PCBA (veroboard). I am pretty confident we can steer you to the right direction with the unit.

Why not (is this happening)? requirements - independent body (or some very enthusiastic person like ovnilab.com) making tests - (big enough) anechoic room or OATS - test equipment * noise generator * measurement mic * audio analyzer - regular calibration of equipment - lots of cabs - lots of amps We want independent tests that we could compare, but who will pay the bill? Besides, if any fanboy likes Ampeg-Boogie, BugEra, Mercedes-Benzio, or anything else, something was wrong with the test setup. Or the tests do not tell facts (that the fanboy does not like other voicings). I have been sitting in a few anechoic chambers (also in one meant for radio testing), and they cost a lot. That's why outdoor testing would be a feasible option. If the results could be pretty good, and comparable instead of laboratory grade, some cheaper equipment could be OK. But again, last - and definitely not least - would be the numerous EUTs. Do some tests today, and you have to repeat them every time a company modifies a unit. This also is most probably the main reason companies do not publish their results: they are expensive. They are the key to the recipies of their tone.

How about this way: - measure 10 (100) amps in an anechoic room - use the measurements and attach suitable terms to those graphs - publish the results and wait for comments

Bourns 500k MN for blend? This is a special balance pot, where the tracks start from the middle.

Are all neck bolts tight, is the bridge tightened? I just had some funny sounds from my dear Vigier. Strings were old enough, and while I changed all at once, the bridge (Schaller) was loose. It moved from side to side.

Coming up 2025-2125: A new Paintera collection every year! Reverb ad 2050: A rare Paintera available, 100 000 made, but only 50 in this particular colour.

Total weight of the finished bass would be one wonderful detail. And first impressions, naturally. (I still remember the feel, when I received my custom fretless 4. And the feel is still the same.)

I think there's even a song: You can leave your strap on. But is the case in discussion hard or soft? Seriously, all my basses have strap locks, and they all work well (Schaller, Dunlop). I check them yearly, because every screw tends to loosen over time.

Specs, we need specs of that machine! That looks so good.

Signal levels from the power amp, and line level are decades away from each other. Not comparable. But pickup outputs are not so very different, or the amp inputs should be very different. We already know that hi-Z pickups may be higher in output than lo-Z ones, but the ballpark is the same. The impedance (Z) can vary more. If the pickup has some non-bypassable circuitry, it still does not affect the functionality of a (battery powered) preamp, does it? No battery, no sound, this is obvious. Bypassing a bass' pre then gives the sound of the pickups, no? If we look at the system, it looks like this: pickup (hi-Z) - tone stack - output OR pickup (hi-Z) - buffer (lo-Z) - tone stack - output The first option's output is hi-Z, if the tone stack is hi-Z. If the stack is battery powered, output is lo-Z. (The output impedance can be tweaked with certain choices in the preamp.) A buffer can, and pretty often is, a voltage follower, i.e. the voltage stays the same, only the output impedance will be lower. EMG uses lower winding in the coils, so the circuitry amplifies the signal slightly. Then the output is in the same ballpark, as its hi-Z siblings. The battery powered tone stack has buffers - usually a few - by nature. Now we add one more from the pickup, how are the preamp choices reduced? This is how I understand bass' electronics. But true, it is quite some time from the university lectures.

Switching the battery on and off while the bass is connected to an amp is likely to pop loudly. Consider finding a double pot for the bass and treble (or make a tilt eq from them) and you dont have to drill more holes. I soldered a push switch to my former Modulus Graphite, but put it under the back cover. If a battery was empty, the instrument cable fit the small hole to push the override switch. Then I put the cable back to the amp, and continued. No pops, just funk.

How is this true? The difference between low impedance (lo-Z), and hi-Z ("passive") pickups is the impedance. If this was the thing that separates preamps from each other, what's the Z that divides the models? Yes, there are very high Z input transducer preamps, like those built for piezos. But as battery powered EMG pickups and others alike are very lo-Z, they actually fit better to any preamp. I do not see any reason why an EMG pickup wouldn't work with a John East, or any other preamp. Just like they work with your or my amp's input.

When you get an idea of the friction of the wire, I would love to hear about it. I suppose it has to be there, but the amount is probably very small. These seem to be somewhat bigger units: https://www.google.com/search?q=pickup+winding+machine&client=firefox-b-m&sca_esv=597319875&tbm=isch&sxsrf=ACQVn08j79wGbXXnlpUUiNitxvLqIC7bxw:1704922076704&source=lnms&sa=X&ved=0ahUKEwjjjYHW4dODAxVaJxAIHa5ED8kQ_AUIBygC&biw=360&bih=676#imgrc=adN7N54FstA_MM

Very rough idea of the strings: - flats have that short, flat sound, and they last and last... - groundwounds/halfrounds are slightly sharper in sound, but still close to flats - nickel is good for a fretless, too, and their response is more even than -> - stainless steel (SS) has a sound that reminds the smiley eq curve when new, thin sets are for slapping twangmen Material choices are only few (steel, coated steel, and polymers) despite marketing people tend to disagree. Gauges vary a lot, and may mean a lot in playability, as well as how the bass sounds and interacts.

Well, someone needed that, why not? Nice colour.

Meghan Trainor - All about the bass (the Kate Davis version)

Standing in the shadows of Motown: stories, music, CDs... Beneath the underdog, a tough Mingus bio

CD is 80 minutes and 700 MB. I don't think you need more than 2 channels.

Please use some uncompressed format (PCM, wav...) to record your test. Any coding may ruin results.

Very interesting, T-shop seems to have it on stock.

That bass looks wonderful. I love dark, unlined necks. The top is also very neat. Is the body chambered, do you have any hint of the weight? 10 or 8 lbs.?

How about pink noise and one meter distance from the cabs? Looper is of interest, but I still would add some pink.