itu

Sounds like you're after a new bass. Easier, cheaper, faster.

This is so much fun this air warming. 1) materials 2) strings 3) electronics 4) mass of individual parts 5) density of materials 6) stiffness of the system ...and... 7) shape As long as we are talking about vibrations, shape cannot be overlooked. I have mentioned Chladni patterns earlier. Take a look at it from YT if you haven't already. Neck and headstock form a system that vibrates. And to be exact, every part form this vibrating system that we call a bass. You can continue the discussion about tonewoods and the difference of bridges while you should always look at the whole system. (Even the player affects the system, and I'm not talking about any playing style.) This is only the ninth page of the thread, please continue. This is hilarious.

...while @disssa has done this full parametric pre. Reminds me of tce creations from the 1980's, like 1140 and its variations (1144, 2240...) as well as their two band pedal.

Zon Hyperbass? Some Wishbasses looked as bad/ good. How many 3 octave fretless basses there are? Those two mentioned, Tune, and there was that excellent looking dark bass with the pickup hidden under the fretboard. Name forgotten, sorry.

I have played and still play through a Glockenklang Soul. My cab has been the 2x10" combo, and later 2x12" alusonic. Every bass and pickup has worked just fine. Not every pickup and string set has sounded good, but the reason has been in that end, not at the amp end. Disclaimer: my opinion is highly subjective, and someone else may dislike the sound.

And FX loop + cable has been already tested?

That looks fab, what's the scale length?

OK, some optional choices: tce Stereo chorus / flanger / pitch shifter (the original eats even piezo signals) https://www.kma-machines.com/m_queequeg2.html (don't let the simple looking UI confuse you) https://ironether.com/pedals/nimbus/ (treble and bass are H and LPFs) IE Divaricator is a X-over with which you can mix drive units (or a chorus...) to your sound without losing the low end Comp might be in order, check http://www.ovnilab.com/

And how do you measure impedance of a pickup? At which frequency? I have done it once but the system costs an arm and a leg. You have to be talking about DC resistance.

Of course tools can be used in advance, while playing, and afterwards. I love those tools (although my understanding is still modest). I can play moderately several styles from old music to jazz standards, to Motown. I can read notes and chords, I can listen, transcribe, and even understand compositional choices to some extent. Theory is one big set of tools, that help you and me to play. Without my limited tool set I'd be even worse, and as said, I am not very good. Root and fifth, two beat, four beat, some walking etc. There are and there has been masters who play anything, but not me. I need support. All theoretical understanding that I've learned, has opened up possibilities, and new, interesting territories. Why wouldn't you try something special, and understand why modal jazz sounds like it sounds, what is Schönberg doing with 12 notes, what is a chord progression, or a cadence? You may not need theory, and that's fine. I do.

Analyze is the first word that comes to my mind. Analyze scores, playing, chords, scales...

Bassists... I've seen some other instrument players that know exactly how and what a bassist should play, and some even say how should we look. Go that way and nobody likes you. Take your own path following your passion, and work hard. Someone finds your flourishing stuff, and finds it enchanting. Keep up the good work.

Victor Bailey played a lot of that link's koa Pensa-Suhr. My modest understanding of Pensa-Suhr is limited to a single bass, although it nearly got me playing a J. It was better than any Sadowsky I have tried. Maybe a (Tom) Stenback could be an interesting alternative but their waiting list is far too long. https://www.notreble.com/buzz/2017/04/28/victor-baileys-basses-up-for-auction/

I think Baloney is taking this a bit too personally. Paco de Lucia learned note reading because McLaughlin and Meola said it is about time. It is true there are top musicians that aren't formally trained. But... I suppose I am mediocre at best. Studies in music schools, lots of training and the ability to read and even write scores has been my edge. Some theory has pushed me far further than I could ever have reached by myself. I remind you that when I learned music, interweb, and youtube were non-existent. Players exchanged copies of scores, and copied LPs, CCs, and later even CDs. Now web is full of scores, lessons, whatever. As said, theory isn't a must, but as the tools are there, why not to use them?

Van Halen - Ice cream man I hear it right away, but not any of those mentioned.

No, it is not necessary to understand theory. It is not necessary to use all musical tools available. And tools do not kill your creativity whatever some try to say. For me those tools have been very important, and have widen my modest understanding of music. Next question could be about reading music...

HB has as bad pots as an MM Stingray. You can use them. If you want a pre, choices are numerous.

There seems to be an FX loop there. Have you tried a cable from send to return? (One of the most common issues with any amp: oxidized comtacts.)

606 was SS, and 303 maybe nickel. Is there a lion hitting the strings, and red colour in the package? Yes, here you go: https://www.rotosound.com/blog/cool_timeline/the-funkmaster/

Yes, my answer was probably not in exact line of your thoughts, let me open it up a bit. I have read a lot about people wandering in the jungle of tunings. That include those close to the basic (B)EADG(C). That D'Addario PDF helps a lot to keep the tension feasible, when changing the tuning and strings. Tune to fifths and you surely need to do a bit of research to find suitable strings of the same tension. (I had an Ashula that I converted to a 5 string, and tuned it to CFBbEbAb. But I was and still am too old to learn it, and sold the bass after reverting it back to original. Piccolo tuning and an octaver! No... it didn't sound or feel fine. If you're happy with your current tuning, keep it that way and learn to use it everywhere. You could also use several tunings - probably on different basses?

Find the old D'Addario string tension guide PDF, and start experimenting. Tune your bass to fifths and widen your reach. Or to double bass solo tuning, or tenor, or BEAD, or whatever.

That probably was rubber paint. It's really paint in the A: just some sunshine (UV), and it becomes sticky. Acetone sure is very aggressive, butter and oil work for many sticky materials but need quite a long time to act.

This was an issue few years back. My understanding of the current situation is that an instrument with an ordinary rosewood is not under CITES. Of course, if you try to use some rare, CITES controlled wood, that's another story. Papers do no harm, but the super strict times should be gone. A much bigger issue is furniture. Many exotic woods are used to tables and chairs, and it seems that their market is in the far east. One tree gives hundreds of fretboards, while a big table, well, you do the maths.

We have here three guys with over 2000 "patterns" to learn and play. Just check @tomread, @ChrisDev, and @TKenrick among other active transcribers. Their work is just fabulous!