itu

Here the cable size doesn't mean a thing. It is just a jump wire. Have you checked all switches? Is there a footswitch? Are contacts clean and functional?

I did this long ago with a matrix printer, sorry about the first codes, which are a bit misleading: v = dim, d = maj, y = aug triad.

Maybe I would have studied the original instruments, and made a refined version, if I was good enough with wood. But that's me, not a luthier, not even a copycat. I hate P pickups, Fenders and Yahayas in general, and most of the copies that have stuck in the past.

While talking about amps and amps only, wattage is fine. But a system with an amp and a cab produces dBs (and heat). There's no service which could tell us about loudness a system is able to push out. Or the quality of the sound.

Some data about an outstanding bassist: https://www.allmusic.com/artist/herbie-flowers-mn0000677415 https://www.imdb.com/name/nm2566206/ https://www.discogs.com/artist/144954-Herbie-Flowers https://en.m.wikipedia.org/wiki/Herbie_Flowers

Full power, again. I think people should understand the difference between loudness, impedance, and wattage. But no, watts everywhere. "I need a 4 ohm cab to get full power out of my amp." Oh dear. But the amp looks decent, although the price tag doesn't.

But why, oh why, they have to be copies? Wasn't there anyone with pen and paper and some graphical education? Wish we could see something original instead of one more copy, although not a P nor a J.

No no no, first we need to know which metal is best for metal. Waiting for steel and titanium bodies.

It's a pity that I remember those, too. But if you are into Hifi nonsense, this is by far the best piece of equipment you need, if you are a serious listener: The Cable Cooker! https://www.thecablecooker.com/

A non coloured amp (or cab) is mostly fiction in live use. You like the sound of the amp or not. If eq solves most of the problems, fine. All adjustments in your signal chain are there for your sound. It is true that some can raise noise levels, but most of the noise is usually hidden at stage volumes. As bass preamps have become better, I do not see any reason not to use them, too. You can check John East and you are getting close to studio quality. An "active bass" preamp may be one or two cheap opamps and a passive blend. Not to talk about carbon track pots... but if you neglect some noise and benefit from the flexibility, I see no reason to not use an onboard pre. Again, please do trials with the equipment you already have. It may be so that some eq and compression may introduce you to the sound you have in your head.

Background: you already have three eqs. Have you learned to use them? Basic use: 1) in bass adjustments can be done even during song, because they are at hand 2) pedal or other fx - on the floor beside you, and ON/OFF available 3) amp has a powerful eq, but if the amp is further away, quick changes are not a breeze If you need/want to change sounds a lot and quickly, consider using options 1 and 2. You should still learn the amp's possibilities, and tweak the eq a lot to get the best out of it. You could then take the knobs away, find your sound, and put them back in to point midday. That would be your starting point from now on. Repeat with the bass and the pedal individually. I do use all three: bass, pedal, and amp. Bass is for quick changes. Parametric pedal is for HP filtering, and eqing the sound to fit the space I am playing in (to cut boominess, for example). The last in line, the amp, produces the basic sound, that can be tweaked with previous eqs mentioned. If you aren't happy with the sound after all trials, you may have to consider a different instrument, or preamp, or pedal, or amp, or everything.

Zero fret is just one more ordinary fret to the fretboard. There still is a nut like thing keeping the strings in place in a bass, if the tuners are at that end. https://bassbros.co.uk/sold-basses/1986-vigier-passion/ Headless needs only that zero fret and the headstock, because the distance between them is so short.

But sorry everyone: that picture was taken before the zero fret was in place. Luthier used a normal fretwire.

There's a zero fret. There was no space for a nut. Bad pic, it's not visible here.

That headstock, as well as the tuning system, came from my machine. Luthier took - or will take - care of the wooden parts. Hopefully sooner than later. It has taken quite some time.

Although my project has been seriously delayed, as the luthier is travelling round the world, my headstock can be seen here. That bigger hole is the access to the truss rod. The material is Alumec-89, which is very nice to machine.

How is that Steroids, sorry, Atreides sounding? What does it do? Where did you get that timer? Really clear display.

Rob didn't assemble inserts. The heel was intact when I bought mine (J and MM).

I put inserts to my Status neck, but they certainly are bigger than those in the picture. It's my travel bass, and I can detach the neck quickly with an Allen key.

Is that insert on a short side? I surely would use a longer one. Maybe one size bigger, too.

@disssa has been away for so long, he probably makes something like a V16 or similar.

Seller can say that this is the first bass belonging to the golden 24 K collection.

I would opt for Noll Mixpot, and that original board, although the preamp is a treble boost. Pickups are side stacked humbuckers. They do not mix well with other pickups for obvious reasons.

By the way: the easiest way to measure scale length, is to multiply the length from nut to the 12th fret by 2. Fine tuning bridge tends to mess the measurements.

That's a new feature: pick cleaner by the bridge. Is this good for (recycled) m...