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https://shop.mitutoyo.co.uk/web/mitutoyo/en_GB/mitutoyo/1341988815793/index.xhtml

I can play a gig with a four or five string fretted. I can play a gig with a fretless 4. A double bass is also functional. Lately I have been considering, if I could play a gig with a fretless 5. I am looking at the picture of James J. and I think that the right amount of instruments is "one more". (I sold 7 instruments around a year ago. I think there are only 6 left. And a bass synth.)

If your choice is magnets, make a small shape for a plectrum to open the cover.

Are you going to use magnets for the cover or screws?

Very good notes from Mr. Cribbin! One Hakko, some good tin and training, please. Weller and Metcal make good units, but they may be quite pricey. If you want to be like a pro, that Hakko and few different tips will make you happy. Clean the tip between solderings!

Stainless steel. If you need lots of twang, try a 30 - 90 set.

I put a Stompshield over the Mini-Vong pot. Now the pot stays in place. I had to change the jack spacers outside the case to get enough of thread.

Buy this set with the key for very tight or deep places (only one size): https://www.thomann.de/gb/stompshield_the_stompshield_kit.htm and a 4" Bahco 8069 for anything else: https://www.bahco.com/int_en/central-nut-adjustable-wrench-with-phosphate-finish-110-mm-8069.html

The truth is, that if the system costs a fortune, your cables have to match the other price tags, too. Otherwise the sound, no, the experience would be sacrificed. I have seen people raise their cables 2 - 4" from the floor, and "the sound has become more airy". Umm, I see... I can't laugh to them anymore. It is about religious experience, not the music.

Looks functional. You might benefit from Mixpot, because it includes level adjustments for both channels. Not overly expensive, but you have to be careful with soldering. The PCBA is a bit crowded.

I have a Dean Markley Overlord. Its sound is suitable for bass, because of its eq. I did a capacitor update and put some extra shielding to certain areas, it is a 230 V pedal.

If you have a preamps already before the blend, you can use a simple blend pot (Bourns 250k, or 500k MN), as the outputs after the eqs are lo-Z (low impedance). If you want a lo-Z ("active") blend, you can buy a Noll Mixpot. This works with hi-Z and lo-Z signals. There are individual level settings for both inputs in the PCBA. It can not be said that the two entities push similar levels, as the eqs can push lots of extra. (Volume could be understood as a full freq band eq, and individual eqs as partial freq band volumes. Confused, no?) You do can match the levels at certain settings (eq pots @ center detents).

And how easily silver gets tarnished and so on... Please do not worry, my background is in acoustics, as well as working in a broadcasting company, so I have seen all snake oils and quite some more. Yes, I am on your side.

I can't find it, but there was an ad in Bass Player long ago of a bassist probably playing a headless instrument. He had nearly orange hair, and sides of his hair were cut. His outlook resembled that 7up ad character. I associate him to Simply red, but this is just a hunch. Was he advertising strings, maybe, but the pic was fun. Anybody remember this?

Tina Weymouth. Kool. Mario Cipollina. Those glasses. Jimmy Haslip. That hair - and can play compact stuff, too.

I would love to see oxygenized copper cable... or not... Silver is actually the best, and gold plated contacts do not add any distortion. But that's hifi, that we aren't.

1. more playing 2. more reasonable playing 3. an unlined fretless 5

If you have exotic cables, and their prices are exotic, you have to buy this: https://www.thecablecooker.com/ My cables are not that exotic.

There is certain point, where more money does not equal straight raise in quality any more. The difference in basses in higher price categories are subtle. 200 / 500 / 1000 / 2000 / 5000, don't you think there is some sweet spot? Some cables cost a fortune, but as long as I have been working with sound, Neutriks and some silicone cable has been the choice of broadcasting companies. I follow that quality standard.

This could turn to "The best books you have bought/loaned/read/stolen/copied/whatever". These are the first three that I remember: Standing in the shadows of Motown Slap it! by Tony Oppenheim Bass line encyclopedia by Tim Ferguson

Playing is not the same ability as instructing. A good teacher does not have to be a brilliant player. Many excellent players are not so flashy teachers. In other words, a teacher (a pedagog) is able to describe you how to play something. A musician can create music, but may be unable to turn the music to talk. "How many drummers does it take to change a light bulb? One hundred and one. Steve Gadd does it and one hundred others start a lifelong discussion about how he did it." A professional player can practically play anywhere and in any circumstance. Mortals, like me, have to do a lot to get reasonable output in complex surroundings. A funny amp, or a boomy place, or a loaned instrument: "I know I should be able to make it happen, but that pro just walked in and did it."

There are some books I have gone through, but only few are interesting. An idea here or there. Some score books have gotten a new meaning because I carry them to rehearsals: I bought a 10" tablet and the software for notes (Mobile sheets pro), and the situation changed. I have scanned few of my books. When I carry them around, they get attention. Bookshelf, yes, it's an archive.

Exactly! And I should have pointed out, that we laughed ourselves silly after his comment.