ghostwheel

Here is a simulation of the preamp with bass at 5 of 10 and treble at 3 of 10. It's clearly not the best simulation, and someone like @Passinwind would be able to do it better. To me, it's a cut-and-boost preamp. Does it make any difference? I think not

I love it on my HB MP-4 (EMGs and LHZ-04), but am note quite resolved about it on a Squier Contemporary Precision (rerouted for reversed P) with Bartolinis Classic and flats.

Just my tuppence. The X series features STELLAR.45 driver, which isn't the same the good old DT xx0 Pro ones you mentioned before utilise. This STELLAR.45 sounds and feels different to old ones, as well as is only available with impedance of 48Ω. Some people like this, the others don't. Having tried both 700 Pro X and 770 Pro X, I clearly prefer good old DT 770 Pro 250Ω.

It actually isn't if it's built exactly after the original one. Both controls all the way down make it sort of slightly mid-boosted. There's a thread on TB with measurements done by someone who seems to know what they're saying. I've got those measurements as pics but am not quite sure what would it look like regarding copyright and such stuff.

like this?

Thank God.

FWIW, there are two 12AX7 according to the manual for 220 Touring. In the schematic I've got, there are two 12AX7 as well. Apart from that, the design is rather typical for 12AX7.

Most flats are made of stainless steel, if I'm not mistaken.

Those preamps (Touring, Spyder, probably any Dual Tube ones) are muted bevor Master Volume, that is the grid of its first triode is connected to the ground (muted), but the rest isn’t. This valve, especially when not very good one, could be the “receiver”. You might like to replace this valve with another one labeled as V1 (low noise, less microphonic, etc.). If you are going to do so, you need to check whether it’s a 12AX7/ECC83 or something else.

I had the same problem with a Spyder 330. The cure was to build a ground lifting switch into it. Then the amp would hiss when nothing is connected to the DI, and the ground lifting is on.

Knowing nothing about your setup, I think it might be worth asking. How far is the unfretted G from the top of the PU? According to Music Man, there have to be 6/32” while the PU is set to be parallel to the scratch plate, so there will probably be 2/64” to 3/64” more from the top of the PU to the unfretted E, provided the action is set up in accordance to Music Man FAQ (5/64” from the 12th fret to G and 7/64” to E). If I remember correctly, I read once, that it would be worth to try to set the PU a wee deeper on the treble side if there’s an issue with the G string. On my Stingrays, I set the action slightly lower, but the PU exactly the same as recommended by MM, adjusting a little by ear.

Joking, wasn't I?

Well, this is a way I haven't been insulted in yet.

Yours is better than his then.

Not everyone is a gear-junkie here! Weren't there about five or six who haven't bought anything for a whole year? @Mrnace I'm referring to this. Quite a lot of reasonable thinking as well as some beautiful failures there.

Another option is to get some software which splits stems (Logic Pro is perfect, albeit a little bit costly. There also is some free software). It might be considered cheating by some purists, but why not if it does the trick. Sometimes, it’s quite helpful to be able to listen to a bass line separately.

It may or may not be a better way. I mean, it doesn't necessarily sound better if there is no interaction. It's perfect, but is that what makes one like the sound? Usually, it's one or the other sort of distortion that makes things sound nice. Like valves, tolerances of parts, etc.

Depending on circuitry mixing the signals it could. On the other hand, even L-2000 should be allowed to be called active because of its preamp's ability to shape the tone when the treble booster is switched on.

@itu might have meant basses without active tone control (that being part of the preamp instead of "cut only" tone control of a P-bass), but merely with a sort of buffer (call it transparent preamp if you will) being described as active (like L-2000 apart from treble boost).

To me, this was a good starting point https://support.fender.com/en-us/knowledgebase/article/KA-01903

I haven't got any answer to your question, so please bear with me. I'm just curious whether you played the TH with AGS on or off. As far as I understand, the preamp of TH is super clean, so it's the AGS function which makes it sound warm. I've got a Tone Hammer preamp v1, and the AGS is always on with gain set somewhere before it gets some grit. You've probably already seen this one, but if not, it might be helpful. Or not.

FWIW Vonderplanetz - Door to Midnight

Basses: Best: Music Man Stingray 4 3EQ fretless, 2005, just one off the shelf, nothing special, but feels and plays the best Second best: Music Man Stingray 4 2EQ, 2005, same as above Third place: Harley Benton MP-4, occasionally fitted with Tone Pump Jr. Rather good: Spector NS Pulse II Worst purchase: Fender AVRI '62 Precision Gear: Best: Ampeg SVT-3 Pro Second best: Aguilar Tone Hammer preamp v1 Worst: Ashdown Mi10 with a 3rd party speaker

Have you been vaccinated with seriousness?