3below

Stating the obvious, if a screen is incorporated into the design should be: readily available, sensible cost and easily replaced. With some judicious design decisions the control software could be written to accommodate a build with knobs and/or touch screen? It is a good programming challenge

The Beano decoupage looks really good. Many years ago I built an Omni 15 widebody. Totally agree that the midrange horn was the hardest part to construct.

Just to add more fun to this is the issue of getting and keeping 'the tone / my sound' at home, small rehearsal, recording and war volume (if this is possible). Throw into this the effect of room acoustics and the situation gets even more complex. You could of course have a linear pre amp > pa amp > some FRFR (or what alludes to be FRFR) speakers. Once you get it into the room use a DBX driverack and autoeq at the volume you will be playing at (where will you place the mic for autoeq'ing is another complexity). Everything will be really flat (if the kit is doing what it claims) until the audience fills the room. Replace the linear pre amp with your pre amp of choice (Helix, Sansamp, whatever). Will it sound any good in the context of the band is anyone's guess. At this point I am losing the will to live so I will just plug it in, pray the guitarists are playing at a sane volume and tweak my eq until I get something I am fairly happy with. @dclaassen summarised it all very nicely for me.

Super looking bass I have just bought a uke bass (bc has a lot to answer for yet again) and am very impressed with what it will do and the ease of playing. I suspect the next build will be such a thing.

A guide and a reasonably standardised way of doing this (physicist/engineer here) would be really useful. In addition to amp heads I would like to contribute measurements of some pedals in my posession e.g Tech21 Leeds, VT, Joyo American etc. (if this is of interest). In semi jest we can then subject all the results to AI / machine learning and arrive at the universal eq emulator ranges.

Done that one, the cutting (bandsaw) and smoothing is easy enough. It did not look as good as I had hoped but that is a matter of personal taste. Ideally you will get machine heads with a small back footprint e.g. Hipshots. The Space at the back is a bit tight, I only just got Schaller BMs to fit.

So many excellent ideas have been expressed so far Not sure what is left to contribute on the ideas front. Might have missed this, it should also have some form of headphones out amplification or bt headphone connection.

Corvette 2006 - baseball bat neck, but easy to play. As @Kev states, not all are large, my fretless corvette has a totally different slim neck profile. USA G&L L1505, the largest neck bass I own or have ever played (other than db/eub). Left field mention: Chowny SWB-1 - slim, jazz bass like but deep, a rounders bat , really, really good to play, I have small hands.

Played (dabbled lol) guitar in a musical many, many years ago, the bass player used the same combo. As a bass player I was well impressed with what the combo delivered from a small package. @Downunderwonder has sound advice about avoiding hearing damage.

In my own personal possession universe are a 1980s USA standard strat and USA standard tele. Both are good, the build quality of the tele particularly so, the strat is light and really vibrant. I also have a knockabout Yamaha pacifica 012. Every time I play the Yamaha I realise how close it is to the USA Fenders for sound, playability and build quality. There is not a lot in it (I did change the machines on the Yamaha to Grovers).

As per @chris_b I have just looked up what the new P bass I bought in 1977 would cost in today's money - £1,964. Unbelievable that I bought it as a student! Seems like Fender are better value for money now compared to what they were.

^ this.

Bought a Gold Tome ME bass from Graeme. Excellent communication, bass really well packed and it arrived in record time. Smooth transaction, deal with confidence. Many thanks.

That is a very kind offer. Do you require some internal dimensions?

Definitely of interest, I shoehorned a Fane 8" Sovereign Pro into a Laney RB1 combo. I seem to remember modelling it (WinISD) and getting port sizes that were too large to physically realise so a proper conversion was out of the question. The RB1 cab is too small, it lacks bass and sounds boxy.

The small cab format would certainly be of interest to me. What speaker are you using?

A very nice bass you have there. FWIW my EB2 of the same era had reverse winding cloverleafs, all four worked the opposite way to modern variants. Hopefully someone here will have one and be able to give you a definitive answer.

Full size artworks - I was thinking larger area works, A4, A3, poster size, whatever size. I would happily have them hanging on my walls I am also a lifelong keen Sci-Fi reader.

@fuzzonaut I think we should be told how you do the graphics and get them onto the pedals. The quality is stunning Any thoughts of full size artworks?

Try the fix(es) above, nothing to lose everything to gain

A bad case I do understand, I can fully relate to this situation I keep repeating the mantra "I do not need an upright bass again, remind me why I swapped the last one for an EUB"

Tuff cab is your finishing friend here. For any edges that might take abuse, epoxy car fillers would be my choice. Just love it when a void emerges in rounding over an edge. Also plywood with a super thin weakly glued best face, what joy when your joints fail with the ply delaminating - never again purchased. Plunge saw and guide rails are a great thing for dealing with sheet material. Before I made myself redundant / early retirement I got myself on a woodworking machine tool course. Even with the training, table saws are not friendly machines and large sheets necessitate more faff with infeed and outfeed support.

Counterfeit instruments is one issue, are there more vintage Les Pauls (bursts) / 63 strats than the production figures suggest exist? Having been playing since the early 70s I have seen cheap copies cause change for the better. With a bit of care in choosing, the quality of (cheap) copies is now outstanding. Young / impoverished / beginners / experienced musicians can get good kit for next to nothing. The American companies had the market largely to themselves in the late 60s / early 70s, my view is that competition forced them to improve. New designs - yes please.