itu

Caravan, Frenesi, Desafinado & Corcovado & Ipanema, Killer Joe, Mercy mercy mercy, St. Thomas, Sh-boom, Just a gigolo...

While there are only one or maybe few units per model, @disssa can copy every detail as well and detailed as he wants. If he decided to make longer series and sell them, the story would be another. A single homemade unit is not a trademark issue in any way. I love to see disssa's detailed creations, and waiting for the next one.

Amplified Music Products (AMP) brought semi-parametric amplifiers (BH-260 and -420 + preamp + combo) to the markets in the 1980's. SWR looks a lot like AMP. This is because the former Acoustic designer Russ Allee has been involved with AMP, SWR, and Eden.

I have DigiTech's MIDI expression pedal MC2. Not very common, or small, but functional. Maybe it was released so early the users were few. DOD had also a MIDI pdal, but it was more like bank up/down -type of pedal. Reflex would have been smaller than MC2, but they just do not exist. If I would need a MIDI pedal for my synth, then maybe the MIDIUM would be an option. Maybe. Waiting for the price indication.

I nearly forgot this: https://www.daddario.com/globalassets/pdfs/accessories/tension_chart_13934.pdf

36" scale, Original body shape. Some more data: http://www.muzines.co.uk/articles/overwater-c-bass/11886

This really depends. This may be true in a small scale civil project, but not obvious in every area. Besides, some problems/bugs may be found, when those two systems are tested extensively. In my previous life one of my coders once said he does not code bugs... well, who does?

Make a search and try to find D'Addario's string tension file (13940 pdf or something like that). It has different tensions for strings, and how the tension changes, if you detune. If you learn to read that, you are able to make even tension sets or special tunings with similar tension compared to a, say .45 set. BEAD is pretty common, just like CGDA. You can tune your bass to fifts, if you like. But that file will help you in your trials.

What I have seen in production - in person - I would say our dear @Quatschmacher is right. Two versions equal twice the testing. Just locking out something may lead to very strange behaviour in the unit. Without extensive tests the limited/disabled version is not automatically stable.

As seen here, it might be eye-opening for many potential users to show different user scenarios: - rack units - certain pedals (FI!) - other unit communicating via MIDI That could help users with less MIDI-knowledge to see possibilities that are there, but aren't so obvious to us mortals.

If the piezo is already buffered, there's no need for an extra preamp.

My uneducated guess is something around £500, which is already steep. I think, this is a good example of a super unit: An ultimate expression pedal that is nearly impossible to find nowadays: https://www.sourceaudio.net/reflex-expression-controller.html Top unit, top performance, too good, too short-lived.

Beaten, not broken.

Light coloured necks are not my thing, to be honest... but the bass still looks good. Some cleaning might help with the fretboard. Was the price right/very reasonable?

It may be so, that it is feasible to buy it at its release. After the first or second batch the sales will be lower and the availability may be limited. Just thinking about the possible scenarios I saw in the electronics markets years ago. (I wish this kind of special product will be living long!)

If not bands, we still have: Race Elliott Ender Arkbass / Markass Spectro Arshall Analogman, well that's obvious Ampler Zoo

Pioneers of the furniture bass!

There's one brand that has highest end basses but their designs have always been a question mark for me: Alembic. I am not to say they are ugly, but not all of them are pretty. During 1980's several brands produced heavy metal basses that were not only ugly but also ridiculous. On the other hand ABBA and Bootsy were not so serious...

Add-on to the box is a Bluetooth unit. Page turning of a tablet would be one very useful function.

I thought the same with my MG Quantum 5 SPi. I tried many gauges, but .120 sounded the best ever against all expectations. Maybe the 35" scale and carbon graphite were parts of that equation.

Had a gig in Switzerland few weeks ago. Last time Swissair destroyed my Modulus Graphite HSC. Not the bass, although it was a close shave. This time I decided to keep my bass beside me all the time. I have a bitsa with a J body and a Status MM4 neck. I took the bass apart at home, and put it together after arriving to Zürich. The neck is so stable that there were no issues with it. After the gig I took the bass apart and flew back. The bitsa is now my ultimate travel instrument. (I have screw inserts in the neck.)

You want to try flats, start saving.

They have actually three, if we exclude their multiunits: Thunderstorm (the big, heavy, and cheapo), Vortex (toneprint in bigger or smaller box), and the original SCF (Stereo Chorus/pitch modulator/Flanger).

Who was the first to use the bow? Jerry Auerswald? Roland G-77 synth bass?