itu

45 kHz is related to that power section. The voltage is regulated by a switcher (voltage pump) that makes the audible noise. When the frequency is far over the audible band (20 kHz), it just vanishes from your attention. It is there but you can not hear it. I suppose that other parts in the signal chain will also limit the tweeting.

Can of worms... oh dear. This is so personal thing that I suggest you to take your bass with you and walk to stores to test as many as possible. My trial took around ten different units before I was happy with the results. Then I changed the bass to a hi-Z ("passive") one and - started the round all over again.

Many tubes are coded with several numbering systems, like ECC81 = 12AT7 = B309 = 6060 = M8162 EL34 = 6CA7 = KT77 = 6P27S (the last one should be written in Russian letters) First letter E tells, that the filament voltage is 6.3. ECC81 = C is a small signal triode and CC tells, that it is a double. There are two triodes in that single tube; 8X-series has 9 pins in the base. EL34 = L is a power tube; 3X-series has an octal base. As @Beer of the Bass wrote, usually a pair of EL34s put out 55 W, but 80 W is a pretty special - and hot - configuration. Beware, each wire may have a specific reason in being where they are. Tubes are interesting components. There are some ultra special applications (like broadcasting, EMI resistant components, nixie tubes, radar, X-ray, kW class output, water-cooled stuff etc.) that are or have been possible only with tubes. The next video is not for those in a hurry (17 minutes). A French gentleman, Claude Paillard, makes tubes from scratch at home. Enjoy! https://www.youtube.com/watch?v=EzyXMEpq4qw

The (lost) ladies of my life: A surf-green Pensa-Suhr. Hands down the greatest J I have ever played. At the time I was after another bass. I got neither. A brown unlined fretless Wal 4 that had a lighter, nearly whitish round place in the body. Did not have the money while she was there. Have never seen her since. A red five-string Vigier Passion. Two weeks before I had the money, she was gone.

As you can see, the manufacturing country might help a bit. The markings are a mess: A equals Audio/log except it is not that everywhere. Another thing is to check other preamps. The solutions are very similar, so you may get an educated guess, whether the pots are log or linear. And as the parts are pretty cheap, the trials are not that expensive.

http://www.resistorguide.com/potentiometer/#Taper

Sweat is very efficient. Depending on one's appetite, sweat can affect leather, plastics, metals etc. It tends to be acidic and include quite some chemicals.

I have to say that a fretless is a different instrument, for me at least. With fretless I have a feel that I think about the notes and the chords in a different way. It is very good thing: most of the time my playing is more simple and closer to a foundation type of thing. Well, fast jazz is always fast no matter which instrument. Congrats to you @petedfretless is an interesting journey.

I have a tce chorus/pitch/flanger. It should be the crème de la crème of all pedal choruses. It may be so, but it cuts the low end. I have tried it with double bass and electric, but no. Then something happened along the way. I decided to buy a X-over. Now I have a very, very functional chorus (and a flanger), that is cut from 400 Hz downwards.

That's fine then. I tried few sets and flats just are too flat for me.

May I ask why flats? My choice for a fretless is certainly roundwounds. A seasoned local bassist told me that nickels (rather than stainless) have more suitable response with fretless.

Is the 4th terminal simply ground?

I do agree, but they were not related to MIDI.

OK, this Warmoth connection changes the story a bit. Yes, I know this split-fret technique since its coming to markets in the 1980's. Wal, Valley Arts, and Peavey among others and all by the honorable Mr. Chick. If I had the money, I would buy one IR, that might be the one and only J in my flock. I might route the neck pickup cavity to adapt a humbucker. Or just tinker the neck to some more interesting body. (I have a bad day: I split from my Modulus. Although to a good home, it hurts.)

Can you tell some background, why is the colouring a must?

If those instruments are handmade, the price of the electronics is far less than I thought. If the shape of the body is an issue, I suppose the neck could be fitted to another body with some effort, including routing... maybe some aftermarket body would be fine or a visit to a local luthier. (I have a Misa, and that is one different beast.)

Our band had lots of issues with a Soundcraft U24i, but after moving the wireless monitors further away (3 - 5 feet), the problems disappeared. Now the wifi seems to be very functional.

...and I told her that a spokeshave is the ultimate tool for those exotic, harder grades. Well, as usual, we happened to talk about two different things, but I did not have the heart to correct her. I will get a very welcome birthday present! So sorry, I just had to.

OK, I see. EMG has those connectors that carry the energy (9 - 18 - 27 V) to the pickups and signal out. If your pickups are passive, you do not need that voltage. On the other hand, as you are trying to connect both the preamp and the EMGs, you need to supply power to the preamp and the pickups. Neither supply power to each other. It is practical to use connectors, if you know your wires. If not, you might consider using a local tinkerer to help you with those wires. You need to know ground, voltage, signal inputs and signal outputs. If these are basics to you, I am sure, you are able to make the choice of using the connectors or not. The pickups did not have any markings earlier (do they now?), so a paint marker may be your best buy. After an hour that ground is somewhere and... just a minute...

I have switched between fretted and fretless. I have splittable humbuckers in few of my instruments. They provide that thin J or thick MM or nearly anything in between. That way I need max. 2 instruments at one gig. Fretless can be replaced by a double bass (or EUB). Have to admit, that most of my gigs are played by just one, so fretted 4- or 5-string.

If in need, you can connect EMGs to any preamp (which is actually a plain tone capsule) out there. Yes, the connectors you have to add to the preamp or cut from the pickups, but that's life. Powering the pickups, well, I might cut the connectors. That MEC is similar to the EMG preamp, only difference seems to be the order of the lettering, and C turns to G.

Anything that is stainless steel, roundwound, and less than three hours old. Someone told me that it is the time Mr. Miller keeps strings in his jazz in studio.

This was already discusses in that 15" + 2 x 10" thread, but once more: If there is a non-designed hole (like that broken cone or a burnt, freely moving element) in the case, the freq response will be destroyed. Functionally the cab may be suitable for that funny six-string toy, but not for bass. The low-end no more exists. This is plain acoustics. Very easy to check by playing something to a single speaker. When the cone is by its own, the sound is thin. When any kind of case (like a simple cardboard tube or box) is involved, the low-end becomes audible. If you have a cab with two or more elements, unscrew the other (keep it connected) and try to use that cab (at low volumes only!). It will take far less than a scale to understand the issue.

My only question is that why should the compressor handle the full bandwidth? I might be interested in the difference of the performance if that HPF is the first thing after the bass. Less handling noise for the comp, maybe?