itu

You should check specs. Find the max SPL if it is available. If it is not, find the sensitivity. You can calculate max SPL via sensitivity and max wattage. If these numbers are not available, you can only trust your ears.

If you put the elements (each 16 ohm) in parallel, the total impedance is 8 ohms. If you connect them in series, you get 32 ohms.

Once more: If you compare the power between 8 and 4 ohm load, there is difference, yes. Some amp may give 200 W to 8 ohms and even 400 W to 4 ohms but maybe only 500 W to 2 ohms. As the load becomes harder to the amp, the ability (or the lack of it) to drive that load may affect the amp's maximum output. Bigger number equals easier load to the amp. Naturally it is not wise to exceed specifications to any direction. If you compare sound level between 8 and 4 ohm loads, there is practically no difference. You probably can not hear that. Amp's wattage has very little to do with loudness. Max SPL talks another language and that is directly related to the cab. It is not intelligent to compare loudness and wattage within a system when parts are separated. You need to take all parts to that equation. If you do not know the max SPL of the cab and its other specs, it is no reason to try to approximate the maximum loudness of the system through a simple number from the amp.

The most important thing is that it is attached well. So if you make a change, tighten the screws (to body) after a month or so. I think that there are few different designs: some attach bridge pieces together with screws so they do not move anywhere, while some have these F-type saddles that may move under some serious funkin'. I have had that issue with one Wilkinson bridge. Took some time to find the reason for funny rattle.

It may be so that the FX loop (send/return) is corroded, so put a short cable there to connect pre and power amps. If the vol needs to go beyond 12 o'clock, there is not too much power in the amp OR the gain is too low. Every EQ (B, T, M, shape etc.) is actually part of the gain circuitry. If you boost with EQ, you should lessen the gain. Soundwise it is usually more effective to cut with EQ and boost with gain. Make trial without any effects: put the amp vol to around 10 o'clock. Set your EQ. Add gain until you get audible distortion. Back up that gain just a bit to remove it. This is the gain level you should use. Do not care about the level meter reading, trust your ears. Usually those meters should reach that red area from time to time with reasonable, undistorted levels.

Tilt EQ is similar to Quad's stereo preamps (models 34 & 44) or some older Steinberger basses (with EMG electronics). There is certain center frequency, here 330 / 1k. When you boost bass, you cut treble and vice versa. You can not use that EQ as a booster (both full) so "smile" type of equalization is not possible. I like it because it gives lots of power in one single knob without overdriving the amplifier. http://www.quadrevisie.eu/quadrevisie.html Have to say that the Stella ("Star") is interesting...

Soft bag (Rockbag etc.): + light weight, cheap, works well at home to protect against dust - cheapo & short lived, faint protection Semi-soft/hard carrying case (like mono): + decent weight, good to carry around, may not withstand airport crew, weather resistant (especially against temperature changes), two bass models available - zippers have lifetime, not so cheap Hard case (like Hiscox or similar): + hard, good protection, repairable, long lifetime, airplane ready (if has the shape of the instrument inside) - heavy, somewhat hard to carry, prices and quality vary Transport case (like Thon or Peli, made of wood and aluminum or polymer): + nearly indestructible, shape keeps the instrument in its place, airport crew compatible, custom made (also for two basses etc.) - heavy and big, may be cumbersome to carry around, on a pricey side

Some might say that George & Leo is the peak of what Leo developed during his years. Idea of an active preamp from StingRay, shapes and basic construction from Jazz and P... would like to say that because G&L is not so known or popular compared to its earlier siblings, it is really good bang for the buck.

Like @Stylon Pilson and @Marc S wrote, it is easier to comment with a question, like: "That was pretty fast, what is the idea behind this tempo?" This gives both sides the possibility to estimate it without direct accusation. Loudness, yes, that is a hard one. If you bandmate has no more hair cells inside his head but just outside, then an easy solution is to take care of the placement of his amp: "Let's put this higher up (and closer to that player), so we can all hear your subtle nuances better..." Sure, you have to take care of the nuances of your comments, too. Remember to be the active starter and example to the others. Go lift that amp and make it happen, do not try to make him do that.

Is there still some bassist who has not visited these pages? Do it now: http://www.ovnilab.com/ If the compressor is somewhat an odd animal, the parameters should be studied, like how attack affects the softness or tightness of the sound. It is good to start from the envelope: ADSR = attack, decay, sustain, release.

If you want to move more air, another similar cab would be the best match for you. Just like Mr. Starr pointed out. + similar sound (you know what you will get) + power is distributed evenly to both cabs (this is an issue, also soundwise) + you can choose between one or two when going to a gig

And your choice for tolerance is 5 % which is gold coded, not something funny like 0.5 %! If you go to a shop or make an order, the resistors need to be metal film ones. They are nearly the same price but superior in quality compared to carbon sH*t. https://www.mouser.co.uk/ProductDetail/KOA-Speer/MF1-4LCT52R473J?qs=91WPSIiQh9LK86gI2c0f1w%3D%3D

It is easiest to solve with a Mohm resistor to ground. Search engine helps here.

I used this small AKG unit this weekend (Fri, Sat) at rehearsals. + simple and quick setup, freedom to move, and battery lifetime (single AA) - breathing i.e. signal losses produce strange sound transformations that relate to attack and overall sound Conclusion: will use it in sound checks and rehearsals, but definitely not in gigs without a good reason.

I suppose that your bass is "half-active" meaning that only the tone circuitry is active. Then it is an easy task to add a bypass switch to tone. You only need a DPDT switch and a place to put it to. I suggest that you consider a push-pull pot with a DPDT switch. Then you do not need extra holes. Price is decent and the work takes an hour or so.

So a heat related issue, there is a broken connection or soldering somewhere. How about send/return (use a cable)? May be pretty hard to find: if you have an access to a temp camera like FLIR, it may help to try to find the problematic place. Is the speaker in top order? Try a different amp and another cab to exclude the problem. And cables, of course.

Carbon fiber is so hard to cut, you need special tools or otherwise the tools will be short-lived. You can buy smaller plates from hobby shops but that big plate may be slightly harder to find. You may try race car shops or similar. The price may not be incredible but be precise on the measuring of the original. You do not want to make any changes to the ready part, as the powder coming out from machining is not very healthy. Those tiny carbon particles stick to your lungs etc. The best machining quality I have seen comes from water cutting. You can even see the details of the different layers.

After listening - not looking - the video for several times, I count out all Fenders and Fender lookalikes, although that Exotic was pretty good and Sandberg very good. I may be a bit to precision sound, as that Spector was amazingly good in her league. Many American brands had certain zing I did not like, but also this particular Status was a disappointment to me. On the other hand that Alembic was a killer and Pedulla and Zon were just OK. I think that if money was not an object, from these ladies I would have chosen Marlowe DK and that off-black MTD. Alembic, yes... Why on earth was that Vigier white? Roscoe was the best in the sparse league of fretlesses. Now, if I had the chance to collect individual details from this flock my bass would have: The sound of that Alembic. The ergonomics of the Spector. The carbon of the Status. The paint of the dark MTD. The design of the Vigier. And wide neck 5... which just does not exist.

Thank you Sir, your description is what I was after.

Size does not matter but the track does. The most common and cheapest tracks (and pots) are carbon. They are noisy and their lifetime expectancy is pretty limited. If in need for something far better, consider conductive plastic. My suggestion is - for top quality - blue or black Bourns. https://www.mouser.co.uk/Bourns/Passive-Components/Potentiometers-Trimmers-Rheostats/Potentiometers/_/N-9q0yp?P=1yzekihZ1yzxs44Z1z0zlsdZ1yhozxvZ1y9heu3Z1yzbpod Linear works with the tone, yes. If you need just slightly clearer tone, use 500 k for all three. Then pickups see around 170 k load. If your choice is 3 x 250 k, the load is 80 k.

No bodies, only necks, sorry. But very good necks!

Some American marketing stuff on Bergantino: https://www.bassplayer.com/gear/review-bergantino-forte and few others: https://www.bassplayer.com/gear/epiphani-releases-the-1000-watt-piccolo-999-bass-amplifier https://www.bassplayer.com/gear/form-factor-audio-introduces-the-bi400-and-bi1000-amplifiers The predecessor from Mesa is included here: https://www.bassplayer.com/gear/max-mini-a-roundup-of-ultra-lightweight-class-d-mini-amps

Two words: Status.

With a rotary switch you need one hole less. 2 cents...

Mr. Devine is so fun and his videos are well made as well as entertaining. It would be far more interesting to see basses with similar pickups and electronics, so that the tester could give the wood a chance to talk. Maybe. Stringing should be equal. So waiting for the test with ten different *one pickup brand* equipped instruments (like SD, MEC, EMG, Delano, bartolini, Nordstrand, or...).