itu

OK, if it is just a power input, that can be fixed with anyone, who is able to use a soldering iron. It is probably the easiest fix, there. I think that opening the unit and putting it back takes most of the time. Maybe half an hour in total depending on the amount of screws and the placement of the connector.

Kool kolor, dark fretboard, no front dots, East preamp... this is deluxe!

Two years back I sold few of those that I did not play so much and were not so special. I also reversed few trials to original (like an Ashula) and sold them. I still have few that I could sell but they are in such a shape that their price is just too low (my trials and tests are sometimes quite harsh). I should disassemble them and sell as parts (necks, pickups etc.). All in all, I still do have few (eight, that is) that I keep. Some are more suitable for certain gigs than some other. And few are somewhat rare to ever get back (an Affirma, two series II Passions). Now I know what I want, but such an instrument rarely exists. My selection takes care of most of my needs: a 5-string, a fretless extra long scale, those stay-in-tune carbon necks, a light weight one... If I could get a fretless 5 and a fretted 5 with suitable scale, 19 mm string spacing, ergonomics, and... but no. It really is nice to take another bass from her case and start playing. "This has very good (actually just different) playability, and..."

F-word stuff? Isn't that done too many times already? I am after something else but it is true that there are few good fenderish instruments, like Limelight and Sadowsky. But to do another one, I think there is space for something completely different made in the best possible taste (like Kenny Everett). I have three custom made basses. All were sketched with pen and paper. I love the results.

A special case may be in need - the bass looks like it is some 5 feet long.

As magnetic force is working in pretty short distances, I would start with pickup height adjustment. That may change the sound or behaviour of the pickups quite some. I would go to preamps and new pickups after height adjustments.

The placement of the octaver in the effects chain plays some role in the tracking performance. Some say that a compressor in front of the octaver helps the tracking. Some like bridge pickup, some playing with the tone settings of the bass. There are lots of other comments, too, so a short study might be reasonable before buying a new one. If in need for a synth, check this video: https://ironether.com/pedals/fmeron/

Magnetic things change a lot within very short distances, so I would suggest adjusting pickup height. If the adjustments do not give decent change, new pickups, or a preamp, or both may be the right solution. Signal chain of the bass is like this: pickups - blend - vol - tone - output (blend - vol can be vol - vol, too) You can have 1) hi-Z (high impedance, so called passive) system or 2) lo-Z (low impedance, so called active) system The first one is easy. All parts (pots, pickups) of the signal chain are hi-Z. No battery needed. The second is somewhat trickier, as any part of the chain may be lo-Z (battery operated). If just one part is lo-Z, the whole chain becomes lo-Z. Very common way is to have some hi-Z pickups and add a tone capsule after the passive blend and vol pots. This way the tone capsule can be bypassed with a simple DPDT switch (can be in a pot or a separate switch). If you want to have a top quality hi- and lo-Z system that has bypass and hi-Z tone, too, consider John East. His creations are different. If the partially hi-Z signal chain is not an issue, you may try any tone capsule from £20 Artec to £300 Sadowsky. These do not have lo-Z vol nor blend.

Yes, very good point. It is not obvious at all, that the power is at half, when the vol pot is at noon. Gain and EQ are part of the chain that affect the output power, too. EQ may be everything but flat, when pots point to north. So beware that the output power can be whatever.

If Eventide has a customer service, they should be the one to contact. If they are good, as their products are, they will repair the unit, update it and so on. https://www.eventideaudio.com/contact-us If they are unwilling to help your friend, contact the seller.

I have a few basses with single/series/parallel option, some made by me, some by the factory. Have to say that both ends are the most usable sounds. This "something in between" is really just that. My suggestion is to use humbucker / single coil and not to drill extra holes. When you have the possibility to try all three, you will soon find out the useless one. The pickups I have are Delano (fretless, hi-Z) and bartolini (5-string, lo-Z, fretted). Single for that thin, compressed sound and humbucker for the thick and more round sound.

If you put an amp to drive an amp, something will not like, what's happening. Do not continue on this path, no. There are speakON combo connectors, that include jack connection. Consider that and Mr. @obbm. https://www.neutrik.com/en/neutrik/products/speakon-loudspeaker-connectors/speakon-chassis-connectors/speakon-combo

Garden party - Mezzoforte: https://www.youtube.com/watch?v=ApckUA7o_B8

So what is different? Something beside your equipment? Something different connected to your equipment? Ground loop? Wireless systems?

Have you heard about violins, haven't you... joking aside, I played Guild Ashbory that has very convincing sound for its size. It is just too short for my hands. I am no violinist. My current fretless is 36".

I will make an educated guess (based on the bicycle industry): Most of the carbon is "solid", so dull black. Weave is often put to the surface. If you need that look, go buy an acre of that weave and some clear or tinted lacquer. One weave - ten coats of lacquer or something... Silverish white or brighter colours can be achieved with glass fibre weave (see: Bianchi L'una). There is no such thing as "white carbon" just because carbon is black. I have no idea of those older Status necks but if it is a bolt-on, you might take it away and check the neck heel with sand paper. If not, try taking off a tuner.

As it is so old, I would check possible connections between the pre and power amp. This unit does not have an FX loop but there is a headphones connection. Check it out and at least clean it. Some deoxidizer may help.

This is the same as mine. Maybe "amazing" is a bit of an overstatement but a well working unit at a friendly price. Battery (a very common single AA) lifetime is very good.

I bought an AKG second-hand. It is small (PSU, receiver, and transmitter), very easy to setup (a bit like turn both units on) and for the price (around £40) it is just fine. Sometimes it loses some parts of the sound (you can hear it like breathing), but if you have use it live or in band context, you probably can not hear it. And no hassles with any papers, it's 2.4 GHz.

Reminds me to be where I should be: in well played basics. (No, I am not flashy at all, although sometimes try to be. With modest success.) @Bilbo: Thank you for your legible scores.

Thank you @ped. @Woodinblack: I am sorry if the meaning of my comment was buried under my bad word choices, my mother tongue is not English and that may have something to do with it. Right, the question underneath was not about the scale length per se. Your original question was actually excellent and shows that your understanding has risen far above some others (because there are people that think Leo is god and anything else is heretic). I have heard that there are people - and some musicians, too - that have issues thinking outside the box. I have issues with my hands (used to do roadcycling and let the cold wind do evil tricks to my wrists) and I have tried several basses that might be comfortable to me (bass ergonomics is a bit underrated issue). I think that many players could play far better, if the bass was fitted to them just like a road bike. I have played Guild Ashbory to double bass and at the moment my main e. basses are 33.8", 35" and 36". That 35" has the worst feel to my left wrist but I am adjusting the height and it gets better. As you said neck profiles are one big concern that puzzle me, too. My 36" fretless has a profile that is a block. No U nor V but a square block (with rounded edges). It is very comfortable for my dear hands but only a local luthier could make that happen. It is close to a slide "g-word" neck profile but works like a dream. To me, that is. My wish is that every player could build (not literally) an instrument from a table of features that match the player. Scale length, body weight and shape, electronics, ergonomics and so on. I hate the recommendation: "Buy a P/J", because it is not the one that fits everyone. Someone may say that it is hard to make the choice if you do not know nothing about them. Well, it is the same with road bikes, too. But there are people that can tell you, what to look after and what seems to suit you. Then a CNC could do the best guess at that point. Luthier maybe later. Yes, there are issues like retail value, but my perspective starts from the player. Another string length is indeed a very interesting question. As we saw, there were just few real recommendations. I wish you could be the expert in the near future to tell me, what strings might be suitable for a small sized travel bass.

The original question is a bit like, how on earth a 34" scale would work, because double bass scale length is longer? As said before, the string choice plays an important role, if the construction is fine. I can not see any restrictions to build a 100" or 20" scale length, as long as you can buy strings to the instrument. Physics might help but also some testing is needed to find the sweet spot to the string thickness and tension. This probably has more to do with the playability and neck construction (to be able to carry the tension) than the actual sound.

Whichever is good. Probably your choice is something very flat, if the space is limited. It does not have to be a coaxial plug and a jack. Or if space is not an issue, something like this: https://www.mouser.co.uk/ProductDetail/TE-Connectivity-Buchanan/1977477-2?qs=sGAEpiMZZMuMS2dUaCDnDDzpnySEMiBK https://www.mouser.co.uk/ProductDetail/TE-Connectivity/8PCV-02-006?qs=sGAEpiMZZMsOthVV91%2FyqPwihGV2WcCd

Please provide models and maybe even pictures. You probably have done A/B-testing with a cable and wireless system? If you use something else than high quality silicone cables and Neutrik parts, and your soldering skills are not top notch, I can only steer you to that direction. Refreshing solder does not sound good at all.

I can not see any difference between this new bridge or the old ones. May relate to my vision. 1) if any string attachment part is free flowing/turning/whatever, it becomes a part of the string length - how is the tuning done and where is the first stable point, that marks the string length? 2) when the string leaves the attachment it also leaves the mass that acts in a similar way as a bending point, if not, go to #1 3) if there is some soft point (joint or similar), it affects the string ADSR because the overall string thickness (and mass and length) is affected - probably the effect can be seen as an attached damper 4) you may test the quality of an attachment with two vise benches and put the string to the benches in various angles - would love to hear the sound changes in relation to the angle