itu

Once again: if you ever do any adjustments like truss rod, or fine tuning, go to a store and buy a new set of strings first. Old set is already in bad condition and dirty.

Carly Simon - You're so vain, would it fit? Chubby Checker - How low can you go (also by Ludacris)

Here was a discussion about this just a while ago. Some search might find the thread.

A picture of a step attenuator:

Very rough sketch: - flats, like Jamerson - nickel RW, very common, pretty flat response - SS RW, slap friendly smiley response Thickness is up to your preference. 30-90 is the twangy slap set, while the 45 is the basic one. Do not forget BEAD sets if you want to go low.

As @Hellzero said in the beginning of this thread, the answer may be in the setup. I used Rotosound PSD strings years back with no issues. Now my 5-string is strung with GHS tapercore strings. After a meticulous setup, no issues at all. I actually found a problem with the bridge saddles: they were slightly loose in their grooves and caused a little bit of rattling.

I "loaned" my maple Affirma to a friend of mine, and yesterday another friend brought me a blond 1986 unlined fretless Musician. Everything is original, even the HSC. Well, there are GHS groundwound strings, which were not from the factory. I have had a 5006 and an Ashula, both converted to 5-string basses, but sold them in original condition. I like wide fretboards...

Modulus Graphite Revolite. Not exactly a Precision, though.

I am on the same path. Very hard to reach. My first choice to imitation is a Harley Benton Noise gate (grey). It has attack and release! Price: nearly nothing. Some LPF is also a good addition. I use a Daring Audio Phat Beam, which includes a good compressor, too. Schalltechnik has nice kits, that are really cheap. To produce the first echoes in the double bass body is not easy. Boss has this big MD-500 (?) delay, which goes down to 1 ms, but has just one delay, and the adjustability is not fine. I bought a PlethoraX5 and will try that with three or four short delays. One reverb would be just like one delay.

I have built step attenuators to my basses every now and then. Today I happened to find two from my garage. How on earth did they got there?

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.