itu

Bigger components just need more wattage. Temperature is the same with small and large components. Here's a very good chart of different materials: https://www.kester.com/knowledge-base/alloy-temperature-chart 63/37 is the old tin/lead.

Corvette / Porsche, Ampex / Sony, I don't drink coffee. Interesting thing has still been that americanos do lots of inventions. They are a bit like Philips, or Fender: great ideas, excellent billing of the authorized use, but products haven't been convincing since early 1980's.

I still rely on my age old Countryman. It may already be cheaper than B, because it works and works after all these years.

...but if F has bought timber for the next 200 years, a lightweight bass is coming in the near future. As an innovation.

Every dB and Hz means a lot in the low end. Those quoted frequency bands should also include the limits: ±3, or ±6, or maybe ±10 dB? If they are measured with different limits, you cannot compare the results.

Moving the cable may reveal if it is defect. Zero resistance is doable with a single strain, therefore the reading is not telling you anything else than that some part of the cable or the connectors are making contact. 300 W through a defective cable may ruin your amp. I think a new cable wouldn't be a mission impossible. You can use a 9 V battery to try the cab (and find its phase). Other than that you should open the cab and check if all cables are firmly attached.

I think my unofficial record was three gigs during one day, and four gigs in one weekend. Crazy, very heavy, but that was long ago. Playing a long gig, say four sets is doable, but carrying amp and bass around town is not. I am more than happy to do a gig every now and then - we do have rehearsals on a weekly basis - because that feeling is so strong. Playing by the bed is very different to being with friends, and then with audience. I love to be a weekend warrior nowadays, but all those gigs and theater stuff etc. has been very important to me. I still love to be able to produce good vibes to people with the band and my bass.

Don't go too far, check Theory and Technique. Our own @tomread, and @Chris B have produced such an incredible amount of stuff, not to exclude us mortals.

Hamer would be a real, and interesting possibility, but I think they have to concentrate on those reliced models. Skilled workforce beating pristine instruments - must be a nightmare. Fender marketing - because RnD is non existent - might drive Hamer to produce a P bass with some nice, limited run colour every year. Luthiery would be wasted, so they'd choose a CNC machine, and few Mexican construction workers. No, Fender is not about innovation, just marketing the tradition.

...because no one remembers what was the original GT Fathead. Amazon sells clamps in different sizes.

Bass and treble may be subtle or major. Therefore it takes time to find your sound. But start with drastic adjustments both ways just to find where the sweet spot is for you. Have you adjusted pickup height? After playing with the preamp, this is a good second step for any experiment. @KiOgon is very helpful if you decide to remove the preamp.

Design, or colour, meh. Budget series: a serially produced instrument produced in series in a lower cost country? Was the invention to use "Made in far east" tags? Partnership with Lace sensor, well why not DiMarzio? Where's the invention? Fatfinger was originally (GT) Fathead, before F bought the idea or the company. See previous. I think TBX and micro tilt adjustment are decent ideas, but that's not a lot. Is TBX even available for basses? It was introduced 1988 in an E.C. Strat. Stu Hamm model was different, though.

Or a bass with similar pickups. My choice is a more ergonomic, lighter instrument with wider tonal options. I won't say never an F, but so far I haven't played one that fits me. Innovative and Fender have been contradictionary terms after Leo left the company. But if a new colour chart sounds like an innovation, fine.

I know, I have your yellow box. It's fab. SHSL seems to be pretty pricey, but have to check that later on.

Nice to see you here! There's a nice red custom unit there, but how's that SHSL behaving?

How was it, easy to bend? Or did you warm it before bending? Stainless is somewhat kinky to machine, because it is, shall I say, chewy? I like the colour of the end result very much.

Is this steel A2 / 304(L) or A4 / 316(L)?

@Bill Fitzmaurice will answer you in minutes, after he sees your question.

Sometimes I wonder is this about what I would like to sound like: the original player, or myself? It would be nice to sound exactly like some star, and on the other hand could I create something original with my own fingers? During last gig I had maybe two, three times an exceptional flow feel, but that came from the whole band rather than my playing only. And it was really fun!

...the screw is very likely a non standard model. But after some filing the screw will fit.

Even that specialist may lack the very likely unstandard screw model. Therefore some machining is usually in order. But that kind of a modification takes a few minutes from a skilled machinist.

I think any bassist that has had a good sound has been an inspiration. B. Collins, C. Wolstenholme, J. Hellborg, Prince... and that has led me to buy quite some units. Comp is my all time favourite, and very versatile it is. Add some flanger, envelope, and/or fuzz, and that's it.

A lathe or even a drill and a file would solve this issue in minutes.

But hey, didn't you notice that he's lefty. That market is limited. (Where's my coat...)

Have to say I envy @Clarky a lot: yesterday there were over 200 people, band was in good shape, and I haven't got any pic or video. But people had good time on stage and on the floor.