tauzero

There was just one capacitor difference between the two - Aionfx's clone kit mentions this: https://aionfx.com/project/azure-analog-chorus/

What are your eventual intentions as regards gigging? Have any of you gigged before? If you're going to be a trio playing in pubs, a reasonable vocal PA (or vocal plus guitar) and backline (either bass and guitar or bass only) would handle your needs.

Isn't it dents that that works on, as it expands the crushed fibres, rather than scratches? Not saying that it wouldn't work but it might be a case of expanding the wood with the wet cloth and heat so the bottom of the scratch is at the level of the rest of the body, then sanding the scratch out.

Marketing guff on the back of two ghastly instruments. No ta.

Expired or sold.

You may have watched the Youtube video of the spinning guitar neck. At about 9 minutes in, you get a fairly short view of the body that he's 3D printed, which looks quite kewl. Might be worth a look. It's not a gappy hexagons structure, it's solid, seems to be in four sections maybe, and is the face of a multilayered plywood body.

Are you sure you mean 47uF and not 47nF or .47uF?

Hence my suggestion of the B3n - the flappy paddles at the front enable you to move between banks and patches. Press right-hand paddle to switch between patch selection and stompbox modes, when in patch selection mode the middle and left-hand paddles let you move up and down banks and the footswitches allow you to select one of the three patches in that bank. You can leave it in that mode, so you can swap between the three patches with the footswitches, or put it into stompbox mode, so you can switch individual effects in the patch off and on.

John Hall® is very precious about his trademarks though.

A passive A/B box (footswitch inna box, two input jacks, one output) would fit into a 1590A Hammond box.

That's a handy mod. I imagine you could find which of the two 100k resistors to change by connecting a larger resistor (eg 1M) in parallel with each resistor in turn (reducing its value to below 100k), and when it worked as required, change the other resistor. And as resistor tolerance is probably 5% at least, I'd use a 120k to make sure it was out of the range of possible overlaps.

Also, have you scouted out the open mics you want to go to and checked what their provision is for PA and provided backline?

I use a Tecamp Puma 900 plus a BC house jam microcab (200W 6" speaker) for the open mic night that I take a bass amp to, it keeps up happily with the vocal PA but the only drumming is a cajon so might be a bit limited for your purposes. How important is weight?

And that's why a headless conversion for the Bingo makes sense.

It's a trade mark and I didn't know where to find the ® symbol. Rickenbacker® - that's better.

There's a way of reducing latency on the MOD Dwarf which employs the parallel processing capability of the unit - basically a signal goes into one effect (or chain of effects), the processing of which is carried out by one processor, then passed via something called Portal to the next effect (or chain of effects) which is processed by a second processor, so the overall latency, instead of being the sum of all the latencies in the chain, is just the greater of the two latencies on the signal chain plus a small overhead (I'm not sure if it's referred to as the critical path, but if you've ever played with Gantt charts, it's the critical path equivalent). https://forum.mod.audio/t/introducing-portal/9329

Yes, Zoom B3n is a good starter. You can switch effects in and out, the effects themselves are pretty good, and switching between patches is quite simple (the B3 that preceded it needed a bit more tapdancing). The freeware Tonelib editor is also very useful (https://tonelib.net/tonelib-zoom.html)

Do the band open mic nights in question run bass through the PA?

I try to find a compromise length because I also play guitar a bit and I fingerpick, for which it's helpful to use nails. I err on the side of shorter though as playing bass strings with my nails sounds really harsh. Main bass plucking finger for me is my forefinger - a broken metacarpal which finished up giving me a slightly shorter and lower forefinger means I tend to stay with one finger rather than alternate.

It's interesting, but it's got too few strings and too many headstocks for me.

Another thing. I mentioned 4+1 headstocks before (as, sadly, we're stuck with headstocks until the dawn of enlightenment). Well, any headstock that has a difference of more than 1 between the number of tuners/machine heads/bits of metal that adjust the string tension is right out, the correct numbers are 2+2 for a 4-string, 3+2/2+3 for a 5-string, 3+3 for a 6-string (although I can't recall ever seeing a bass with six or more strings having a stupid imbalance of tuners/machine heads/bits of metal that adjust the string tension).

I have my doubts about the pre- and post-coital horns.

I wouldn't have thought that that would be patentable. The headstock might be a trademark, like various aspects of R*ckenbackers, but that would encompass the entire headstock shape rather than the 3+1ness of it.

He said they were using Bluetooth, and I thought "what about the latency?" Then it became obvious that latency was the least of his worries.

There's this new Act of Parliament coming in...