itu

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.

I think that... Because people mix power (W) and loudness (dB), these kind of questions come up every now and then. Wattage means how much energy a power amp can push to the load (a cab). If the load stays the same, doubling the power will increase loudness around 3 dB. This is pretty much the lowest difference you can hear: from 500 W to 1000 W the difference is up to 3 dB (if the load stays the same). Power (wattage) consists of impedance (Z, meaning resistance, inductance, and capacitance; this is frequency dependent), voltage (V, volts), and current (A, amperes). Volts and amperes can be easily calculated, as we already know both the impedance of a cab and the wattage of an amp. Let's say it's 400 W, and Z = 8 ohms. I = U / R [A = V / Z] and P = U x I [W = V x A] P = U x U / Z, or U x U = P x Z 400 W x 8 ohm = 3200 VV => U = 56.5 V I = P / U => 400 W / 56.5 V = 7 A Now is this clear? Here we have an 8 ohm cab, and an amp that pushes up to 7 amperes to that cab. The next step is to understand, what happens, when impedance is halved (the equation assumes that the power amp is capable to push double wattage to that 4 ohm cab): 800 W x 4 ohm = 3200 VV => U = 56.5 V BUT the big thing here is this: Current has to double, as I = P / U => 800 / 56.5 = 14 A (!) That amount of current means far bigger components that can handle big currents = heat. It is not so uncommon that the amp is not able to cool itself down with such currents. In worst case the amp section may melt. When we go further down to lower impedances, 2 ohms equals 28 A, and 1 ohm equals 56 A! A very rough wire diameter table would look like this: 7 A - 1 mm2, AWG 18 14 A - 2.5 mm2, AWG 14 28 A - 6 mm2, AWG 10 56 A - 25 mm2, AWG 4 (components have to be enormous!) You should understand this: it is far easier to increase voltage than reduce impedance. If the amp is not capable of pushing energy to a super low Z cab, 8 ohm cab may actually be the louder one!

The one with an MM4 Status neck, an EMG DC40 neck pickup*, and a J body is naturally Ibiza. I already have parts for the bridge Sustainiac driver, but have been lazy... should build it to this particular bass. *I know, 35 i.e. 3.5" wide is for 4 string.

Materials like Luminova, and Superluminova (Sr based, non-radioactive) need just ordinary light. You want more power, use some light including UV.

You want to mix 8 and 4 to get 2.67. Do you want to get more vol, or do you just happen to have two cabs? If loudness is low, you can use nearly whichever load. But when you turn the master past 9 o'clock, you need to think about the power amp: the lower the impedance, the higher the current. When current rises, components start to warm up. Very big power equals very hot parts, and can lead to melt down.

This has been here earlier: https://acoustics.org/pressroom/httpdocs/137th/fleischer.html

Any metal stick/rod that fits in, is good. Round, hexagonal, you name it.

If I remember correctly from acoustic lectures and the story by Ned Steinberger: 1) you could tune the body and 2) the neck to move the dead spot from certain position. Ned said that he wanted to remove material from the headstock, and the dead spots started to move upwards. After removing the headstock, the dead spots were gone. There were metal (brass?) plates for sale years ago to be attached to the headstock to enhance sound of the instrument. That would change the tuning of a uniform rod (neck). It does not act like a string that is attached to the bass from both ends. https://pages.mtu.edu/~suits/rodvib.html