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You may end up in trouble, if the polarity is reversed in one pedal. This may mean that the plus is in the case in two and minus in the third pedal. When you connect them with signal cables, the plus and minus are in the same metal surface and the voltage will be plain 0. Not good. Power supply doesn't like this. You can try to connect all together with line cables and then power them up. If they turn themselves down, you need to buy a power brick with isolated outputs. Modern power supplies usually have other than just 9 V outputs and some are close to cheap.

I already know that my knowledge is very limited, but education and learning has lead me to use some very useful tools (like understanding notes, chord progressions, solfege, music software etc.). My honorable teachers have given me their time to enhance my abilities. Everyone of them has known the old truth, that I need to do at least as much as they have to reach their level. After all these years I am still on the way... I enjoy - no - I love playing bass. I think that any tool or any piece of knowledge helps me to take those little steps towards better playing (this certainly is something else than plain technique) and to the music that is sometimes larger than life. And I love being part of it.

Meridian has basses and effects, like the Funk-U-Lator. Alusonic has a line of basses and aluminium cabs. http://www.meridianguitars.com/ http://www.alusonic.com/

I like the story. The fretless is different and I love her, too. Your Wal reminds me of a bit similar looking unlined Wal. I saw it in a local store early 90's, I think. She had mostly dark brown top but with a lighter round area, a bit like yours has. It was far too expensive at the time and I have tried to find it later on. For some reason, the fretless 4 is fine but a fretted should be a 5. Don't know why.

Dear Mr. Richardson, Your video includes some simplified basics and is surely a good and compact start. I will add few details here. A signal chain of a bass looks like this: pickups - blend - vol - tone - output If any of these components is lo-Z, the output is also lo-Z. It is very common, that the "active" (low impedance, or lo-Z) circuitry, is only the tone, which is easy to override/bypass with a simple switch. There are few systems that are lo-Z from the start to the output, like EMG with their BTS/BTC preamp, but usually not. Volume, blend and tone are cheap pots, that produce more noise than the pickups. Powering may be anything: single or double sided, 3 - 36 volts, from primary or secondary batteries, or an external power box. A simple circuitry that tells about battery level is not so rare and can be retrofitted easily. Parts do not cost much. Check the pdf: https://www.edn.com/design/test-and-measurement/4335671/Low-battery-indicator-uses-fleapower A lo-Z bass signal level can be lower, equal or higher that a hi-Z one. This has a lot to do with what the designer wanted from the preamp. Pickup output and height should be included in the mixture. Active, so lo-Z electronics include lots of different preamps, a bit like you said. Different filters, parametric eqs, etc. Noise is often related to bad shielding, or pickup choices (like single coils without the hum coils) - and there are noisy lo-Z circuits, there. Hi-Z ("passive") basses were used by the stars in the 1960's, as there were no alternatives. Alembic came big time only in the 1970's. I am pretty sure that Johann Sebastian B. would have tried synthesizers, if he would have had a possibility to play them. So has Sir McCartney played a Wal among others. I somehow think that the equipment does not restrict skilled fingers. One thing that is not discussed very much is that the bass signal becomes lo-Z latest in the first stage of the preamp. If the amp has high quality adjustments, is the bass better not to have any adjustments at all? I get the idea of having those inferior quality pots at hand in the bass but still...

Some alternatives: https://www.skbcases.com/music/products/prodlist.php?o=&c=84&s=75

So his equipment is MarkBass and KingBass. Quite a set.

Very good additions! Yes, the first thing is always to learn the song including melody, progressions etc. This particular song that I knew by heart, and the feeling in that situation made me feel pretty uncomfortable. How should I put myself in, while not exactly following the major scale. It is true that minor might have been lame but that Continuum type of thing might have been the right way. I got lots of food for thought, now I need to digest this. Thank You for Your help and notes.

Carbon fiber = Status. Their selection includes non-lined, no front dots versions and many more. Even that woodish color as one option. Matt lacquer, tints... On top of these, Rob and Dawn are very service-oriented. http://www.status-graphite.com/

Yes, I think I'm in. Feel should be the first thing over single notes. Many songs have somewhat twofold lyrics and there has been a place to play a certain song (local, not in English, but includes nice words to a friend) in a funeral. I think that omitting that major 3rd might be the simple way. Still I try to figure out other ways of interpreting words by supporting them through the bass line. Those 9, #11 and 13 are certainly something I need to study here. Thank you Sir, this is very supportive.

I am amazed that so many posts suggest more power = loudness that is actually bad for ears. The new layout of the rehearsal place may lead to serious difference soundwise. It might lead to better overall sound, too.

It may be so, that the g-man has to take a short brake. He needs to play and check the feeling on a daily basis. Volume may change the hearing stimulus, so if it hurts in the beginning with high levels, he needs to start slowly - earplugs may help. I had a similar injury a while back (diving). It took several weeks to heal. Biggest issue was, that the injured ear heard two different frequencies while playing one. As the ear healed, the issue vanished. This injury has very good prognosis. Eardrum grows outwards and heals itself usually pretty quickly. It is reasonable to prevent possible inflammations, because they may lead to serious problems. So no dirt or dirty liquids to the ear.

I made some cables in the late 1980's that are still with me. The use of good materials and parts is the key: Gotham silicon cable, Neutrik plugs, some shrink tube, and a velcro tie.

Sometimes it is nice to listen to a true master - and remember my place playing root and five in the background.

I suppose that you have checked if there are any loose parts that make the noise (check the magnet, too). The easiest fix is to replace the element with another similar one. The change itself is simple if the new element fits the hole. The system was designed with that particular element. But if you are willing to try, get another with similar dimensions (frame is not equal every time, you may need to do some fitting) and power handling and hope for the best. If I was you, I would contact Phonic and ask for the replacement type or the part itself.

Volume is usually related to bad hearing. This may also mean another thing: If the g-player (or you yourself) is standing in front of the cabinet, that stands in the floor, there is no reasonable way of hearing that g-word. Then the obvious solution is to push the amp and listen to the reflections. Stupid from acoustics point of view, but sadly, a very common issue. Consider a different layout in the rehearsal place. Put all amps beside the drummer. Take few steps back so you can see and listen to the wall of sound: drs, guits, b. Is it different now? Do you really need that much power when you can hear all the instruments, not those poor reflections?

Why is this important? To be able to play 1 - 2 dB louder, maybe?

A neck single coil might be fine. The levels can be easily adjusted with pickup height. Some hum may be in order but I have not seen that as a big issue. Any basic jazz has the same problem, so... By the way, have those pickups 4 wire outputs? If so, you may install a pot or two with a DPDT switch and have a series/parallel option. This is probably the simplest way to new sound options. If a lo-Z possibility is in order, Noll has a Mixpot. It includes level adjustments for both "channels". In short Mixpot is a tiny pickup mixer, or rather an active blend. Requires a bit of tinkering and a 9 V battery.

Think about the basic signal route, first: pickup - S/P switch - volume - tone capsule - output OR pickup - S/P switch - tone capsule - volume - output Then check the wires needed. Name each wire with tape. Separate power and signal. Should already look pretty simple.

https://www.slideshare.net/finzic/series-parallel-wiring-diagram-for-4conductor-humbucker-pickups For example bartolini has decent schemas of how to connect all wires.

If you need to find out the pickup cables, take a DMM and a screw driver. - choose two cables from the pick up with the DMM (ohms), so that you get some reasonable number (5 kohms or so) - put the DMM to VDC and click the pickup coils/poles with the screw driver - cables are in phase, if the DMM starts with positive voltage (and + is the live wire of the coil) - write down the cable colors and which coil they belong to - repeat until all wires are clear - you probably want to connect the coils to form a humbucker - solder the live wire (+) to the preamp in - solder the ground wire together with the other grounds and the shielding I think that the next steps should be pretty clear from now on. Enjoy.

If the tool needs to be simple, Atlansia has that one string bass. Should that be the norm of a tool? Needs vary, tool tells very little of the player, or one's abilities. Playing is another thing.

Yes, thank you, I am aware that they do exist. But I do not understand, why aren't they the norm? BTB's have nice specs but they do not fit my hands. Your comments on feel is important - I do have that 19 mm as the start, but as you stated, there are lots of other details, too, that affect the overall feel. For the sound and size I would love to own a Steinberger L-2 but the neck is awful. Thick and round like a log. MM SR 5 was everything but wide, as is my Modulus Graphite (wide 5 was not available at the time when I had the money...). On the other hand, it is good that there are variations of the theme. 14 mm bridge spacing sounds like a mission impossible to me but for someone else that is the thing. But why >4 string spacing is usually less than a 4-string?

My issue with 5 string basses is the string spacing. I downright love 19 mm bridge and P-bass saddle but these are not very common on 5's. I do not get any reasonable arguments, why they have to be 17.5 or 14 mm in stead. Although 19 work for my fingers on a 4, it is almost impossible to find a 5 with the same spacing. Yes, 34" and 35" necks are very much available, but 19 mm no. I love my 4's but there are certain songs (mostly jazz or brass stuff) that are written to Eb and with a 5-string they are easier to handle. Our band is pretty big, 12 persons, so lower area is mine and a five is very suitable for that work. I have a 4 string that can be tuned to HEAD but it just does not work for me.