itu

The next bass could have the volume/tone pot, or a switch hidden to the bridge.

Please use some nail lacquer in the thread and the screws do not open by themselves. Colour from your girl friend / fiancée / wife / other.

Just a sidestep: years ago I was playing a small tour in Switzerland. Salzhaus promised to rent all equipment our band needed. My set was an old 4x10, and that fab Mesa 400+! That is one powerful and well behaving amp. It is still pretty expensive, but the glow of the tubes and sound it produces... I am using a solid state Glockenklang Soul, because it weighs much less.

Smith and Jones talked about Renault 5... Electrorux delivered me a dishwasher that had electricity connected to the metal cover, and the ON/OFF switch had failed. I reclaimed the company, but they said I have to call a repairman! NEVER EVER AGAIN! Never. Ever. Never. Ever. Dyson's vacuums use all their electrical power to make an incredible amount of noise. No suction power at all. I managed to sell the top of the line unit to a colleague. She does not talk to me anymore. Philips was said earlier, MTV, ikea, and Yahaya turntables (including cartridges) belong to the same trash. All is the same Chinese crab. I also hate this T9 predictive text system (actually: the chastity corrector).

Try to find D'Addario's string tension guide, and learn from it.

An addition: If the effects of your board cost £1000, why do you want to power them up with a £20 PSU? This is slightly similar than an amp + a cab. If you have invested £1000 to an amp, why are you trying to pair it with a £100 cab? A good cab (or a PSU) is a complex set of knowledge, development, and quality materials - although it doesn't have lots of knobs, or fancy lights.

Some basic rules: - capacity of the PSU is measured in amps (like 3000 mA, or 3 A) * the capacity needs to be more than the consumption of the pedals * check the manufacturer's website for specs and add all mA together (chorus + comp + eq +...) to get the total consumption - separate, isolated outputs lessen ground loop, and noise issues * may be or not necessary depending on the complete board * analog and digital may not always work together if they are daisy chained - some daisy chaining may be necessary if the board has many fx - a dist/OD/fuzz usually consumes just few mA, while a digital reverb, or a delay may need hundreds of mA (and one output) - a functional PSU does not cost an arm and a leg * extras raise the price, special fx may need those functionalities (12 VAC, 18 VDC...) * secured cabling is important for a functional board - it is not uncommon that a PSU creates changing magnetic field around it (because it works with a changing electric field, 50 Hz) * the field degrades very quickly, but a wah wah (or any unit that gets interfered) should be situated far from the PSU: every inch counts - liquids (water, beer, wine...) are not good for any electrical unit * a board with high feet may be good against sudden waves - as with audio cables, keep all cables in pristine condition to prevent shocks!

Dear @TheGreek, here's a sheet to different chord voices. Few things need to be corrected, I printed this with a matrix printer around 25 years, no, sorry, 35 years ago: v = diminished d = major y = augmented

Nice try, I would say.

FX loop tested with a cable?

GHS long scale plus D'Addario super long scale Both have winding up to 38", if I remember correctly.

I have that gold one, but you could have a cover for every season. Go for them!

The characteristics, well, I like evenness through all strings. All my basses have light (40-95, 120) SS RW strings. Some thicker sets have been uneven soundwise, and I like light touch. I have chosen my basses to please my ear. But the strings have been an essential part. I did extensive trials to find the ones that fit my preferences. GHS and D'Addario are my current favourites, because their quality is good. Bass rigs are practically functional from around 60 Hz. There's very little power a cab can produce under that. Try a HPF! But it is true that especially cab means a lot in the equation. Amps have their own sound, but the cabs are the hard ones to design. To find a good rig, yes, that takes time, too. Now I am happy. But I should play more.

As @BigRedX wrote, vibrant blues rarely works on paper. A pro knows this kind of details and can quickly create something that works today, and tomorrow.

If the pickup is very close to the bridge, it should be stronger to compensate the smaller signal level.

Vigier is (was) probably the only one using this insert. I just put that here as an idea.

https://musicplayers.com/2012/04/vigier-excalibur-shawn-lane-master-signature-electric-guitar/ I know the text is about a g-word, but take a look at the strap button attachment picture.

@MartinB: compression can be used as an effect, true. I still think that not all units are plain effects only. A slight amount of reverb makes distortion sound fuller, and it is not the same as playing in a cathedral. With a powerful EQ and a good touch a fretted bass with roundwounds still doesn't sound like a double bass. I would like (if I could) to draw a line between fx (delay, flanger, envelope...) and sound modifiers (eq, comp...), but nearly every unit has the other side: a comp can act like a limiter, or it can flatten those fingering related volume changes. Ever heard about "ducking"? If a player feels, or really can, tame all faults a player like me makes, I am fine. No one needs to use any extra unit. Personally I found out that those tiny boxes opened some new areas I really didn't know about. Looper is one very frustrating effect, and a very effective unit while learning new songs (albeit the results may be frustrating, too).

Theory is a tool, one tool. Learn some and move it to the fretboard. Fretboard mapping is not so hard, and learning just few scales and then chords I shared earlier, gives a pretty good starting point. When you can some basics, do some searching: many people here like @TKenrick, @ChrisDev, @tomread, and @Joe Hubbard Bass have shared us incredible instructions and quality scores. But the big thing is this: you study, you learn. It would be wise to sit down for a couple of minutes (here I mean Australian minutes) to think, what do you want to be able to play? What do you really want from your playing? Who are your favourite players? Do you want to play like them? To list them is also a good thing. Then you can try to find their material - and believe me or not - learning notes couldn't be easier, then. Motivation will drive you further than you thought. Theory, reading notes, scales, chords, all these are tools you want to use, because they will help you find your own voice. "I played until my fingers bled, and I still wanted to play more."

The pickups look a bit like G&L. https://www.guitarguitar.co.uk/product/200320357468025--gl-sb1sb2-bass-pickup-neck

I did this one with a matrix printer a long ago. Play these to learn the sounds they represent. These are for three strings, because you can start the chord from B (5-string bass), E, or A string. Here are 3 non-standard letters (v, d, y): v = diminished (dim) m = minor (min, m) d = major y = augmented (aug) sus = suspended, a third suspended and replaced with a 4