itu

1964 Bob Murrell develops Guitorgan with split frets and it's polyphonic 1966 Vox V251 i.e. Guitar Organ, the unreliable guitar synth after Guitorgan At the end of 1960's Ovation develops piezo pickup to their acoustic instruments (piezo will be important in coming MIDI controllers) 1969 Ron Hoag presents optical (IR) pickup at NAMM 1976 EBow; Ampeg and Hagström create Patch 2000 1977 Roland produces their first g-word synth GR-500 (Greco Roland) and bass synth F (= Fuji) Roland 1981 MIDI is standardized 1984 carbon fibre Bond Electraglide is built with fully digital controls, although the pickups are traditional 1985 Steve Chick (Industrial Radio) uses split fret neck (remember the Guitorgan 1964; Wal, Peavey MidiBase and CyberBass) 1986 SynthAxe 1987 Casio 510 1990's Sustainiac (kind of built-in EBow) 2002 Line6 Variax Lightwave Systems optical pickups Misa Kitara and Tri-Bass What's next?

CW was using Misa's Kitara, TriBass came a bit later.

Steve Chick made the first really functional split-fret bass in the 80's (it wasn't the first in the world, but first functional and mass-produced). Industrial Radio is his company at the moment. This is a different take: https://misadigital.com/products/tri-bass

So true! Every time! Write a set list and the first chord, and you'll nail every song start. Others will be amazed. As said so many times before, if you can even stop where others stop, you've made it!

Most of the bands I've been playing, drummers have been so good, I haven't needed ear protection. Yes, there are hard handed hitters, but most of the drummers have been really good. You can also take several steps away from drums. We have an agreement in our rehearsals, that if it's too loud, whoever can say it out. Loud. Even drummer has said so. Our PA is 1.5 kW / side (JBL PRX 735). It helps keeping the sound good, but we are far from high levels. And we are 8 players and 4 singers.

The friction oil of the shaft is probably different. A tiny drop of WD-40 will make it very loose, beware.

Oh dear. Something very basic come to my mind, but this is just speculating: switches should be checked with live signal. And as the pot has been changed, its soldering may be nearly faultless: if the board is two or four layer, some layer may be without tin. Hope you'll get your buzzer (fuzzer?) back.

How many batteries are you going to use during its lifetime? If more than three, or four, you have to be wealthy. https://www.thomann.de/gb/thomann_nt_0910.htm

Any chance some of these would fit? https://www.thomann.de/gb/tuning_machines_for_banjos.html My Guild Ashbory had screws that had to be really tight to keep the tuning. Do not oil, if they are friction based.

Do you tune down an ordinary string set? Loose strings get closer to pickups. Raise the pickups a bit (count the turns, and you can get back) and try again.

@hiram.k.hackenbacker: I think Vigier Passion series II is a good sounding one, and Modulus Genesis 5 is another. @TheGreek: Take a look at the upper horn and the 12th fret. The bridge is put slightly backwards, because the neck pocket is too long. I didn't want to shim the end of the neck. Parts didn't exactly fit in the first place. That's one reason they have been in the dark corner of my garage. This is nearly playable, not cute like a Limelight.

Maybe my sarcasm was too lame... But I am after one lousy, flat sound bass. Let's see, what will be the result. Now I need to go back to my garage to finalize some parts.

It is slightly forgotten in my garage, which is too crowded now. It used to be in my previous flat, and in active use. Mostly Metolius, and a few colour bits. @Richard R: I try to build a one sound bass, with short sustain to Motown et al.

One bandmate (g-word, young heart, old skool) hates my good sounding basses, so I decided to buy a set of D'Addario ETB92. I happened to have some old parts in the garage, and this is it so far. I wish I can finish (?) this within the next week. Have to cut some black plastic sheet for Pickup, rotary switch, and the output jack. Yes, a cheap body and neck (Dr. Parts, I think), Wilkinson Pickup, Gotoh bridge, Warwick tuners, @KiOgon 4 pos. switch, some screws... this is not quite ready, yet. Neck was too blonde maple and it got some colour, or dirt to it. Should be darker: I detest maple fingerboards. KiOgon did a rotary switch that includes a kill switch (or OFF position), Pickup straight to output (ON), and two positions with two different capacitors (tone 1 and 2). Simple and effective. I already have Ibiza, this be Nizza.

I have had my Future Compact in use for few years with no issues.

I like cable ties. Perforated aluminium is also your friend: cheap and easy to cut to size. (This board has changed a lot lately, and it has to fit mono Tick.)

A pedal with a graphic eq has pretty wide bandwidth. A full parametric might be a better help to find the exact boom in the room. A cheap Artec, maybe?

Exactement!

Dear @Baloney Balderdash, but sure, two is always more than one, even from the weight perspective... But even one works better with a X-over. I found that the tiny adjustments earlier could be changed to wandering in the fx forests. I thought that the low part of the response has to be plain bass (except compressing, or envelope filtering). Yes, tried and true. But the big difference was to find that the high end can be mushed and mashed really hard with modulation and distortion fx. Even some pretty lousy distortion pedals started to sound quite decent. They used to kill the low end, but not any more. Please try and amaze yourself. I do admit that too much effects is too much sooner or later, but the possibilities of finding new territories is evident.

As Big Red Cross stated, you should try a X-over. Put the frequency somewhere around 400 Hz and start experimenting. There's no reason to mix amps' outputs, as then you just fall to a rut that includes comb filtering among several other possible issues. I am using an Iron Ether Divaricator. Works like a dream, no need for two amps. The effect loop includes distortion and flanger. I can push them to unreal limits and the bottom stays functional.

Precision of boom! could work, too.

True, and well said. My modest thought was to give an idea, that the change in impedance requires something from the amp, too. Yes, in this case pretty much exaggerated. Could you please tell main differences between a tiny home amp and some 50 A workhorse? Copper traces, components... That duty cycle is of interest, and many - including me - tend to forget this.