itu

Coca-Cola has phosphoric acid in it. It has been used with gunsmiths for ages. Let the bridge be in the coke for 24 hours and if the result is not good enough, repeat. Maybe a shorter trial first to some smaller part...

A quick look and I would say it is a Steinberger. Ibanez has started to produce nearly a look-a-like. There are some older and a bit similar looking instruments popping up every now and then.

Anything from The Cure... oh dear, where was my coat?

A secondary battery (i.e. rechargeable) lifetime is around 500 - 1000 charging cycles depending on the usage and chemistry. Then it has lost around 20 % of its capacity. Active usage may result even greater loss in performance. I would change the current one now and write the replacement date to the battery. A visible reminder.

I have put some 16 prototypes together from ready parts, mostly. They are far behind from my fretless 4, that a local young luthier built to me. We were drawing the shape for one month, and when he found out what I was after, he made it real. His ability to read my thoughts was the key to a succesfully designed instrument for me. And definitely one very hard task. She is one bass I will never part. And she signs like a dream. Can be seen in my pictures. Keep going. You are making great progress all the time and the next may already be your key to success.

bartolini has or has had these multi coil versions during years. Study their offer.

A bag type Li-Ion battery. Evilbay or Mouser may have something similar in their storage. Remember that size matters (LxWxH), because you have to fit it in there. Thickness is important, as the battery gets slightly bigger when charged. If there is space, you can put even bigger cell instead of this one. By the way, how many times have you charged this old one? Over 500 times?

When I first read the starting post, I was thinking this guy knows G. Lee, but no. Still, a Rick and those Taurus pedals make me see this famous trio. I do not understand how he could play bass pedals and guitar and sing at the same time.

In Bass Player there was a story of Jonas Hellborg holding a Schack 10-string. If the bass was just a really wide headless, Hellborg's face looked like he was totally amazed. I do not know whether he ever played that spade in public. A friend (?) of mine sent me a picture of an instrument that had a backside of a woman's body carved to the backside. Grouse...

I think Mingus could be counted in.

Iron Ether Nimbus is a bass specific reverb with functional eq. You can exclude frequencies that do not need the processing = no mud.

You do can mix and match an amp and a cab. Consider portability (weight as well as size), dBs (sensitivity + wattage = loudness), and versatility (from jazz to metal and anything in between). Amp = adjustments and the driving power. Cab = sound. If you will be a gigging bassist, the amp power output might be 300 - 1000 W. Cab is very personal, but two elements (or two similar cabs) is better than one and 4 can be considered (4 x 10") if the size is not an issue (yes, an 8 x 10" exists, but...). Of course if your gigs were with a folk band, a single 12" can be enough. My preference has evolved from 15" to 2 x 10" to 2 x 12". And few others in between. But I like the power and the sound of two elements. Still the box is reasonable in size. 10" and 12" are flexible, 15" is a bit too dark for me. Your music suggests a 4 x 10". If the loudness is not enough, buy two similar. Remember to cut the lowest frequencies to get that power efficient and loud scream out feom your system. Very low freqs (<50 Hz) are truly power hungry stuff.

Iron Ether has the Divaricator in a small pedal format, and KMA has the Tyler, which is a bit bigger. I have both and they are in two different pedal boards. Especially chorus/flanger and fuzz can be turned close to insanity through those X-overs.

Six strings and such a short scale... aren't these called something like, erm, guitars, maybe?

Would there be a place to share that HB in mscz-format, Mr. @stewblack? By the way, it looks a bit like that Maruszc¥xz$cts#xcz luthier had its own file type.

Me neither. It would be two rests and that's it. But notes over the bar lines, many.

I think this comes from the same direction:

How about the raw material choices? How about the modern technology, that can produce a balanced set, if needed? D'Addario has a book of strings, where tensions are listed to certain tunings. It is of interest, please study it a bit. You can buy a ready set, or build your own, just do some research which suits you best. http://www.daddario.com/upload/tension_chart_13934.pdf

https://www.skinnerinc.com/auctions/3007B/lots/34 This was the bass of the late Victor Bailey. Sold for 10455 U$D.

Bailey's original was sold in auction for lot$ of dollar$. These are like hen's teeth, the price may be $ubstantial.

Congratulations, sir Q!

How about the separate knob versions? And every pot is not a must to connect and use, isn't it?

How about John East? Too many knobs?

When I have been in contact with local luthiers, they have had local timber in their storage which certainly is not under any restriction. Local wood is one choice of making something different. (And not producing one more J/P copy is another.) While the player tries to find her/his sound, it is up to you to find yours in instrument making. Please consider something novel instead of a "Jazz with figured flafla and a cultivated blabla and how-many-times-i've-read-the-same-since-1950's-boring-boring".

...and one more, if you have a three position or a rotary switch: you can have a bypass, where the pots are excluded from the circuitry. Clearer tone, more highs. Good for studio work, where the desk can be your preamp.