itu

I have no idea, how is the box constructed BUT if it is just one space for all four speakers, some issues may be realized. If you have two amps, both like to drive one set of speakers. Fine. If your enclosure has two individual spaces, there should be no problems. If these speaker sets are in one enclosure and in one space, they will interact and start to drive each other. This means that one amp pushes energy to a speaker set that starts to push energy to another set. This power is then transferred to the second amp. I have seen few amps that do not like this setup. If you can separate this one bigger space to two air tight spaces, I see no problem at all. Neither do the amps.

Even though our band is using separate guitar and bass amps, the new (well, used) PA might work well with them, too. We bought a slightly used pair of JBL PRX735 for a good price. Tons of headroom, so they are loud if needed but also very clean. These speakers are big. Not heavy but big. So if you need to carry them around, you need to find a suitable car or rather a van for them. But they do not need a sub with them. Our mixer is a 24-channel digital Soundcraft. Mixing live can be done with a mobile phone... From your point of view I would recommend a slightly used active pair (good price and performance) and some mixer that is reasonable. This depends on the amount of channels needed. A 12 ch digital Soundcraft costs maybe 250 £. A pair of speakers is then the rest. Well, quality cables cost something, which is often omitted. I would take 500 W / side or more, woofer 12" or 15", not less, not more. I have heard good comments on these pillars, like Bose but their prices vary a lot, so I would recommend testing them before buying.

Years back I used Rotosound. Some strings broke but I think the quality became better and breaks stopped. Their PSD (piano string design) was lovely. A 35" fiver took me to GHS super steels (long scale plus; 40-102 and then something for the B). They work well for me and I still have few sets somewhere, I think. Lately my last ten or twenty sets have been D'Addario EFX220 (40-95). It seems that they are now obsolete, so I have to try to find something similar, like EPS220 or then this tried-and-true GHS. All my strings are stainless steel roundwounds, on fretless and fretted.

7 - 10 weeks?! Sounds really bad. Aren't there any substitutes?

Then a bigger store might be a better choice: http://www.digikey.co.uk http://uk.farnell.com is another big one.

...a 6m lead from bass to pedalboard, and another one from pedalboard to amp. These are pretty long but shouldn't be that bad - hopefully both are in good order. First check point. Chain: Tuner (Tomsline TA-07) Octave (MarkBass) 3x overdrives (Caline Orange Burst -> EBS Multidrive -> Joyo Ultimate Drive / EBS Metal Drive) wah (G-Labs wowee wah) Phaser (EHX Small stone) Compressor (EBS Multicomp - always on) DI (DSM OmniCabSim DeLuxe - always on, but using the 'through' output to the amp, reserving the processed signal to send to FOH) The exact chain looks good. Now, there are a few units, there which means that it is reasonable to estimate the power consumption. TA-07: 24 mA Octave: this was hard, no results, but similar units consume 50 - 130 mA (*) Burst: 30 mA Multidrive: 30 mA Ultimate Dr: 6 mA Metal Dr: 25 mA wowee: 30 mA Small Stone: 100 mA (*) Multicomp: 35 mA DI: 40 / 100 mA (with headphones) (*) In total we have something between 370 and 510 mA. Not a lot for the power block. But those marked with an asterisk (*) should be tested in the high power outputs, one at a time and then together. http://www.voodoolab.com/pedalpower_2.htm Q2: Cables. The patch cables I use have been accumulated over the years. ...there are lots of patch cables advertised everywhere, some with pretty amazing claims (of course) so it's hard to decide which ones are really good and which ones are just exaggerating: which patch cables would people here recommend for a pedalboard the size of mine? Usually if the cables do not move a lot or get bent all the time, they should last for years. If there is any abuse, they should be inspected if something seems to change. These patch cables tend to be so short, their performance should be near excellent. My personal preference is to solder all cables from high quality silicone cables (Cordial, Gotham...) to reasonable lengths. Neutrik or thinner angled metal plugs. I plan to test systematically the board removing one pedal at a time, to see if the effect is mostly due to a single pedal... This excluding approach is a very good way. Remember to change the order of cables and pedals within your test. Because all pedals are active, I do not expect to hear losses on or off. Only if there is a defect or power loss, of course.

My two cents... To buy a custom instrument made from scratch may not be a simple task. I have had some more or less nice instruments within the last 3 decades. I have done some modifications to my basses during these years but just two years ago I got in contact with a young guy that knows wood. He made me a fretless that is just downright incredible. But to be honest, I could not have been able to talk about details or specifications before this. Now, I have had around too many basses (according to my surroundings...) and tried quite a few brands like Rickenbacker (my first love), Washburn, Ibanez (including Ashula and a very good Affirma among others), Guild, Modulus (neck could be wider), Status necked basses (lovely), Kramer (cold Al neck), Vigier (my main instruments), Tobias (lots of good ideas), Wal (hard and heavy and very interesting), Spector (but not for me), Warwick (see: Spector), MTD, Pedulla (has that design), 7ender (see: Spector), G&L (better than the 7-word), Hamer, Ken Smith, Music Man (yes, no), Alembic (how much?!), Sadowsky (pretty light), tune (so 80's), Tokai (still only a copy), Status (maybe some day), Steinberger (far too thick necks), Neuser, Aria, Nash (see: 7ender), Guild, Jaydee (a bit strange), Kubicki, Mayones (see: 7ender), Limelight (all necks had terrific feel), Dingwall (it's not modern, but I am old), Pensa-Suhr (plain incredible), Zon... so I think I have some perspective to my wanting. A very special instrument may have some tiny detail which just makes you hate it. Downright hate it. It can be a fret end or a neck profile or anything. Even one bad gig. I love your comments here that tell these "but sound was too #¤%oiglk" or "neck diving was &=%¤ing". But it may be so that the particular bass isn't the one and the reason will be found from that detail, reasonable sounding or not. So talk to the luthier - and do it again. It is feasible to bring one dear instrument with you to the maker. It is much easier to discuss about details if there is some reference, there. To point out weight or balance or a sharp bridge corner, anything. And prepare some kind of approximate wishlist before the first visit (color scheme, shape, weight, parts, music style, overall looks, strings, electronics, reference pictures, bands...). Everybody probably knows the bicycle thing: you have to buy three. The first is the one that you learn, what it is (Wasn't so cheap, nice paint!). The second has all the bells and whistles (Derailleur has ceramic bearings!) and the third is the one that really suits you (I have started to break my personal records on a monthly basis and it fits like a glove...). So my suggestion to a custom is: II: discussion I test drive :II repeat ad lib.

This Maruscxz&cz¤%xcx#zxc¤zyk so much reminds me of Alusonic's Django Deluxe.

http://www.resistorguide.com/potentiometer/#Marking_codes They may be year codes, so manufacturing dates or similar, too.

Mad Professor, bjfe, Katanasound, Chunk systems... are you after the brown noise?

...and you thought that one Shuker costs an arm and a leg? https://www.modulusgraphite.com/revolite/ Starting at U$D 4599 street price...

Oil dripping is pretty good an idea. But that kind of black is not very tough. Sorry, this is somewhat long post, but this may be of help to understand some properties of materials. Basics: PVD (physical vapor deposition) surface is THE super thin black color layer you can see on a strap button, a tuning machine head, or a knob. All these parts are made of pretty soft materials, like steel or brass. To make a long story short, the colour needs support underneath which means that the colour PVD should be put on top of a very hard surface. Otherwise you can almost blow or at least scratch the colour away. There are powder steels and hardened ones that are truly hard but basic stainless or hi-tensile is not. But they are good materials to machine. So if we need a fretwire that can be tinted, we need one VERY hard (and brittle) material type - that is also really hard to machine. If you know anything about hardness scales, here is something to consider: - plastics are less than 100 HV (hardness in Vickers scale) - aluminium and pure titanium (grade 2) are around 100 HV depending on a mixture - stainless steel and Ti grade 5 are around 300 HV - hardened steels start from around 600 HV - ceramics (PVDs, too) 800 - 2 000 HV - diamond 10 000 HV Now these ballpark numbers start to make sense, when I tell you that this 600 HV is the minimum reasonable support for a PVD surface. So if you wanted to use such hard a material you would need much harder tools = expensive ceramics. And quite some time to finish those shiny fret ends or high frets that cannot be bent. I hear someone shouting: where is this carbon-like-diamond, oops, sorry, it is DLC. Well, it behaves just like PVD and it needs support, too. If you put a micrometer thick layer of diamond on top of a cheese, you can cut the cheese with a knife or slicer or whatever. The ultra thin layer just is not tough enough by itself. But together with a hard support they become a very tough and durable combination.

Very nice looks, I especially like that the fretboard has no dots and the colour scheme is unified. A beauty.

Again, Digi-Key might be of help: https://www.digikey.co.uk/products/en/switches/rocker-switches/195 Start from "Panel Cutout Dimensions" and then "Switch Function" and "Current Rating" and so on. There may be a slight chance to find the right one.

To find an exact copy of the thing you are after is a somewhat difficult task. But if you can do searching and soldering, something can be done. Start from this: https://www.diystompboxes.com/smfforum/index.php?topic=66471.0 This should give you an idea how to change the other pot from 100 k to 20 k. Then go to Digi-Key. Their selection has dual pots - only if you can find them. The helping column here is "Actuator diameter" under "More Filters". Search for those that have two diameters. And 100 k. https://www.digikey.co.uk/products/en/potentiometers-variable-resistors/rotary-potentiometers-rheostats/84 Lin/log was not specified, but hope this helps.

Go to a shop that has a good selection of headphones. Take some music with you that you are familiar with. Compensate the volume to a reasonable level with every pair (there really is a difference, there). Then make a choice of price and test all in the same league and take the (soundwise) most comfortable pair. The other way is to start from the top: try the highest price first, then the second and go on until you hear a difference in sound. Then your choice is the previous pair.

Could it be a Schecter? Logo has similar looks.

My guess is that it's a piccolo. But the f-word and Clarke? Contradictionary terms?

An elegant looking instrument, I like the color of the body and the fretboard.

My experience is that if you try one pedal in a shop, use similar instrument you have i.e. active (lo-Z) or passive (hi-Z). I had lots of issues with different setups until I talked to a pedal manufacturer. His guide was that I should try to find the place in the signal chain (after any active pedal the OD will receive a lo-Z signal!) and take the type of an instrument into account. So, now I have two pedal boards: A and P. (Actually a tiny third one with just a tube OD and a comp - which equals rock. :) A list of some units I have tried. OK, many of these pedals are not from the lowest price points but there are many used and kit units that may have tempting price. An old Russian Big Muff Pi (we just did not get along), Jan Rey Vemuram (so guitar), RAT (thin, but I heard few days ago that it could be customized), ebs multidrive (just thin), WH pork loin (very close, but no), Mög (4 channels, pretty heavy), rainger FX (possible), Rochambeau Crustacean (strange; still have it), IE Oxide, Sparkle Drive (actually quite good unit for bass), Darkglass B3k (metal) and Duality (that I liked a lot), OmkartGromt Grombass (not my cup of tea)... Now I have Spruce OGF for passive, an amptweaker BTF for active, and that Overlord for - fun.

Would this be of any help? www.daddario.com/upload/tension_chart_13934.pdf

FrantaBit behaves pretty well with an adjustable LPF after it. Gives more freedom to tweak Franta. Here in the picture is my active bass rig. The high band has a fuzz, chorus/flanger and an envelope filter. I put the Franta to the low band and with the LPF some "unusable" sounds can be tamed. (Reverb and comp are after the Tyler.) I would love to see a x-over in front of every bass effect chain and an LPF after it to adjust whatever needed. My passive bass rig can be found from my profile (thinking to move the active rig to the same place).

2x12, MUST BE: Transparent, featherweight, 4ohm, vertically aligned. First of all, I would not use the word "transparent" as the cabinet colors the sound a lot. One and probably the most important reason for this is efficiency. Think about a hifi system, that needs to have as straight freq response as possible. They may have the efficiency in the ballpark of 0.01 % i.e. 100 amplifier watts equal 0.01 W of speaker noise and the rest (99.99 W !) will warm your house through speakers' voice coils. This happens, as the response has to be tweaked with components in the speaker x-over. Now, a PA system (including bass and guitar systems) may have efficiency in the area of 1 - 2 % (and 98 - 99 watts warm up the club house). This is some 100 times more sound/volume/noise coming out from the system compared to hifi. Is it fair to compare f response of these two? Certainly not. So please, do leave the word "transparent" out. If you are into technology at all, you probably already know that impedance does not actually matter volume-wise, as the volume difference between those two (4/8 ohms) is mostly negligible. In this real life a 4 ohm cabinet may produce LESS sound that its 8 ohm counterpart at high power levels but this is amp dependent: sometimes 4 ohms is just too hard for the power amp. So as a specification, is it a reasonable must? That's why I would write: 2x12, featherweight, vertically aligned, (adjustable tweeter optional). One speaker suggestion to the list would be Italian Alusonic - and was Swedish TKS mentioned here? http://www.alusonic.com/ http://tks.se/

A tad cheaper than loknobs is a set from Stompshield. You can find them from the germanian T-shop. I do not put them to every knob, but to those that are the most important or few to round few others. http://stompshield.com/

I went to the lady Katariina Larisuo (https://mikkihouse.fi/en/) who makes straps. We talked a bit, as I wanted two very comfortable straps. So, she suggested that between the 3" wide leather and a cotton fabric she would put felt. The combination is super comfy. Three hours of playing, no pain, no more. It is true that i also use relatively lightweight instruments most of the time.