itu

No. (There are no quality jacks to transfer that much energy from amp to the cab. Speakon is far better an alternative. But this is my very subjective point of view.) If you split the bass signal to two, you could drive both amps and cabs. A stereo chorus maybe...

That modern stack-pot circuit has not an active blend nor volume. They have hi-Z ("passive") first stages. The only ones that have active blend and vol are East and EMG, maybe some MEC is. signal route of a bass: pickups - blend (or vol) - vol - tone stack - output If there are no buffers right after the pickups, the hi-Z pots affect (load) pickups and change their response. I think that I tried to say this earlier.

If your equipment includes a HPF and a well set compressor (or a limiter), the system may sound pretty loud. It is reasonable to include these to that otherwise compact system if some noise is in need. I use a 2 x 10" or a 2 x 12" cabinet and a 440 W amp. Our band is 12 persons (pretty ordinary weekend warriors, I think). This setup is loud enough in clubs and bigger venues, but our band is able to play soft, too. If your gigs are in bigger venues, they usually have a decent PA to connect to (as well as a DI-box for the bass).

Well, you may try a Glockenklang. My Soul is something that just makes everything happen: fretted, fretless, double bass... I bought it in 2005. Opened it once to clean it two years ago but there was not too much dust, there. Have played quite a few gigs with it and nearly every rehearsal. I might have a Mesa 400+, because it sounds magnificent, too. But it weighs close to that 400+ lbs. so no thank you.

...that cost an arm and a leg and a kidney and a liver and... with detuners the price is over 10 k$. A used Ashula has a price tag that is less than 10 % of the Hyperbass. http://www.zonguitars.com/zonguitars/bassbuilder/index_hyp.htm https://reverb.com/marketplace?query=ibanez ashula If you are really lucky, you may find a fretless tune Bass Maniac with 3 octave fretboard. But it is really rare! I think that Ibanez has recently had a fretless with over 2 octave fretboard in their catalogue.

Friend of mine has this and got some lotion to help the symptoms. Later on he found out that he was allergic to some ingredient of the lotion... so beware. By the way, you might try that newer Ibanez Ashula 7-string to play with both fretted and fretless in one neck. Lots of tuning possibilities included!

Thank you, Sir, very good, this sounds very reasonable. I was on the right track.

I have not started to calculate, in case someone has: I prefer 40 - 100 sets for a 34" 4-stringer. How much longer should the scale be, if I used the same set for BEAD under similar tension?

Australian Steve Chick is the man behind all these instruments. Split-fret neck, yes. Valley Arts was also one of the users, I think.

It is somewhat strange, that a 4 has 19 mm as a "standard" and fivers have mostly everything else. Why on earth? Wide neck five is a bit too rare, although it is not impossible to convert a six to a wide five.

I am on your side, Sir. I just figured the simplest way there is. But if you start to use buffers, I want all stages to be active. My current Modulus Quantum has that Noll blend and a bartolini tone stack. Noll made a difference in sound. I am amazed, how few possibilities there are if you want a complete lo-Z signal chain. There are many retrofit tone capsules but only few (East, EMG) that include active blends and volumes.

That vintage is probably the cheapest available in every way. Here are lots of reasonable options (including that cheapo plate): https://www.thomann.de/gb/bass_bridges.html

So boring. Your "choices" are fretboard dots, decals and colour, but still everything is the same, year after year. I wish they did something serious like a competitor to Sadowsky or Suhr or something revolutionary. But no, this brand stands behind its true nature: two main products, a steep price, and varying quality.

There was a question that are there multiband compressors: yes, at least tce Hypergravity and Spectracomp, an age-old DOD with two bands (definitely NOT transparent but if you are after colored compression...) and so on. ovnilab has an extensive list of units and features as well as comments. I referred to SOS earlier and tried to find articles for us bassists. Enjoy: https://www.soundonsound.com/techniques/engineering-bass-guitars-live https://www.soundonsound.com/sound-advice/q-how-can-i-get-more-effective-synth-bass-my-mixes Mixing: https://www.soundonsound.com/techniques/mix-rescue-tom-marcovitch https://www.soundonsound.com/techniques/mixing-bass https://www.soundonsound.com/techniques/better-bass https://www.soundonsound.com/techniques/bass-guitars-mix Compression: https://www.soundonsound.com/techniques/compression-made-easy-audio-files https://www.soundonsound.com/techniques/multi-band-compression https://www.soundonsound.com/sound-advice/q-april-2003 (take a look at the 8th question about the order of the equalization and the compression) Speakers: https://www.soundonsound.com/sound-advice/q-are-closed-box-speakers-better-than-ported-ones

Mixer stage may be a blend pot (or two volumes), as the buffers take care of the pickup outputs. The pot has no more effect on the pickup frequency response as it can not load the pickup. So a dual opamp (one side for each pickup) like the basic TL072 is enough. If a blend is in order, there are pots that function as a blend. The dual resistor track is cut at noon. Try to find a Bourns 250k MN or 500k MN. They have center detents, too.

Noll, East, EMG. - EMG has the buffers in the pickups already. - Noll has an active balance pot, approx. £50. - East is the whole preamp, around £200. Then there are a few studio grade preamps from certain manufacturers like Wal but usually they are available only with the instrument. Nearly all other preamps available are just tone controlling circuits after plain pots without active blend. Here is a list: https://www.thomann.de/gb/electronics_for_basses.html Only EMG BQ and BT have active blends. To make the Noll part of a concentric pot needs some extra work and parts. It might be easier to keep the pots as they are and put simple buffers after the pickups. Buffer parts cost just few pounds. You may try an op-amp like TL072, NE5532, OPA-series or similar. This is very simple and very functional buffer: https://www.electrosmash.com/klon-centaur-analysis#input_buffer

Simpler and an actual bass would be the Neuser Claudia (or Clawhammer or even Clawbass). Have once seen in real life and few photos. Very rare, one was sold in Sweden around a year ago. The seller claims that under ten were made. https://www.talkbass.com/threads/in-praise-of-weird-looking-basses.1095757/page-127 https://pratabas.se/viewtopic.php?t=85002

Yes, I remember that - but this thread may serve someone else later on. A "complete" list would not be bad. And some people have a very different idea of low cost levels (although I think I am on your side).

These are very good points. Psychoacoustics is something else than just pure measurable numbers. When we talk about wood, the material itself is so varied, that a very consistent result would make us suspect the test (or the tester). It would be reasonable to accept that there is a pretty wide variety within the same wood species, even within the same log. A local luthier (has produced over 1 000 acoustic instruments) said, that he can not say, what the sound will be in the ready instrument. There are not two alike. So maple may sound like rosewood and rosewood like maple simply because of the variety (and excluding the complexity of the complete instrument). OK, you like the looks of the other so you may like its sound, too. This should be fine, shouldn't it. If there is a comfortable zone for someone, it should be honored. It may look bad (for the watcher) but if the player likes it and sounds good (or bad!), no worries, mate. It is strange that a psychological point of view is often neglected or bypassed although it means far more than, let's say materials. There are quite many fanboys, here, but we probably close our eyes in front of the mirror. Objectivity is extremely hard when it is about me and my beliefs.

Because this thread is more about light weight than cost, I would like to add Sandberg and Modulus Graphite Resolite. And maybe Status Streamline?

Most of the people have tried one or three compressors and may be able to tweak that one a bit. This guy has tried a few: http://www.ovnilab.com/ There are very good pages (like S.O.S. = Sound On Sound) that have (more or less) simple descriptions how a compressor works and how the settings affect sound. Take a look and learn about attack, hard knee and other details. https://www.soundonsound.com/techniques/classic-compressors https://www.soundonsound.com/techniques/compression-made-easy See that short note on Max bass and if in need, search after other articles. Hope this helps.

What is Your main instrument? Does she have an active preamp or is she hi-Z? If she has a preamp, a Sadowsky would be just another preamp. You can go straight to a board with a lo-Z output. If the instrument (or any of them) is passive, so hi-Z, I would go from no adjustments (a DI-box) to a SansAmp/EBS/whatever. https://www.thomann.de/gb/di_balancing_boxes.html https://www.thomann.de/gb/effects_for_bass.html

Here are some basics: https://en.wikipedia.org/wiki/List_of_battery_sizes Remember, that a cell may be able to put out lots of amperes in a short time or very little for a long time. These are very different and not directly comparable. You just have to make the choice. A 9 V battery, yes, some years ago Duracell was the leader of the pack. They had the best performance volume wise, so capacity vs. volume. By the way, all batteries are not exactly the same size, although they should be. Every fraction of an inch has its effect on performance. Because the ability to recharge a battery takes some space of the battery volume in terms of chemistry, rechargeable ones have clearly smaller capacity.