Stub Mandrel

If the nut isn't cut deep enough, you stretch the higher strings when fretting them, making them sharp.

Two or three fingers plucking together.

Why? Sorry- that seems very abrupt! Bot meant to be rude, I genuinely ask why? I don't want it to go any darker and I think more stain will just obscure the quilting.

I don't want to attempt the jack in the side as it's too easy to screw up, plus really you need a special bit to open up the hole from inside. I have three (four!) matching knobs to use, so I took inspiration from a surprising source:

Third pot so I can have VVT. The scratchplate I have is already drilled for standard VT and I wanted to keep the same spacing.

I have used Northwest Guitars' water-based denim blue stain. They suggest waiting 'a few weeks' for it to dry before over spraying with nitro lacquer. This seems excessive to me - I had no issues overspraying a body I first sprayed using blue ink with polyurethane after just a day or two. I realise the stain (applied with a sponge) will take a bit longer to dry as it soaks in deeper, but do I really need to wait that long? The stain works really well, BTW:

At the time, it felt like Nirvana had saved rock music.

Dubba Dubba Dubba Cha!

Hi! Just saying hello as a fellow grumpy git of a bass player from Barry 🙂

Must be honest, I have considered fitting bigger feet and would like bigger corner protectors. I would say they are pretty transparent sounding, they let you explore the full range of dojnds from your bass.

Kind of defeats the point of a kit but I jhave replaced the knobs with used ones and added nickle plated tuners and vintage bridge. Now I've gone and got a quilted maple body (a second, but I can't see the fault). Stained it blue today. Waiting for a Wilkinson j pup, and will be able to use the aged mint green scratchplate that wouldn't fit the original body.

Is it good for metal? : : : Yes, glam metal.

I've gone for a single 4-ohm 212. It's loud enough, I couldn't see any benefit in going for 8 ohms so I could double up or use it with another cab (plus I couldn't afford two). At 28lbs it's a one-hand carry, so easier to move around than two 112s. I can carry the amp in a shoulder bag, bass in one hand, cab in the other.

Every bass amp has a first order high pass filter (6dB/octave) constituting its input capacitor (to block DC offsets) and input resistance, unless it has something more sophisticated built in. Often the input resistance is high enough and the capacitor large enough for the corner frequency to be well below 30 Hz. A thought out example might be 10,000 R and 1.0 uF giving 16 Hz. My Laney Pro Bass has a first order LPF at 338 kHz followed by an LPF at 6Hz. Clearly it's just intended to stop RF and DC inputs and have no impact on the audio frequency response. The frequency response is likely to be further limited by later sections of the amp, but clearly this design is vulnerable to'thump' saturating the preamp as a minimum. A 'proper' HPF is usually at least second order (12bD/octave) so it can have a sharp 'knee' (-3dB) point as close to the lowest desired audio frequency as possible (which is more important than the steepness of the drop off, but they go together). I can better appreciate the value of a variable HP filter after reading comments above. When compensating for room acoustics being able to vary the steepness as well as the cutoff point is clearly valuable as you may, for example, just want to control the deep bottom end, rather than eliminate it. In the digital domain, virtually any filter behaviour can be modelled with little latency, which is, I suppose, why all in one pedals are so good at this.

Most musicians probably... But hearing the difference between two notes one after the other is not the same as detecting a difference in an interval or detecting one instrument out of tune with another. It's rather like comparing colour swatches, you can discriminate small differences between two adjacent colours, but not if they are separated by any distance.

I wouldn't get too flustered, for perfect fourths the error between just and equal temperaments is only two cents for each instance, so if your A is tuned to a tuning fork, both E strings and the D are two cents out, the G and B are four cents out, which is probably better than most guitarists can achieve by ear or fretting notes on adjacent strings.

I prefer to scrape the bottom of the slots with a scalpel, although I use files when making a bone nut from scratch recently (to replace a cracked one).

I prefer to scrape the bottom of the slots with a scalpel, although I use files when making a bone nut from scratch recently (to replace a cracked one).

No the font can't change one character to another, it's just a repository of what each character looks like AND information on what characters are available. It will have a 'multiply' symbol available and programs able to detect when one has been used will therefore use the substitution if allowed. Word uses \times rather than detecting numbers either side of an 'x', here's where you tune them:

The basic Class D power stage works down to DC - the input comparator will just generate a PWM signal to output a DC level proportionate to the input signal. This means the frequency response needs to be designed in. It can be a simple RC filter or a complex one https://www.allaboutcircuits.com/projects/how-to-build-a-class-d-power-amplifier/

I am still using the one I made. I'm not convinced there's any great value shifting the frequency up above 30Hz, unless you are using a speaker that can't handle frequencies above that. The potentially damaging transients are sub-sonic. Seems to work best after compressor but before octaver. Gives me the confidence to use a fair amount of sub-octave without worrying an open-E will destroy something! Also didn't seem to harm a 5-string with low B at concert volumes.

No problem. Electrically, you can use any pair of 8 ohm cabs with the Elf.

2x10 It's the website doing this. Other sites don't do it.

Slapped wrist! 🙂