itu

Inactive can push pretty much light in the activation phase, and it decays... you know it is a lot like ADSR. It gets lower and lower during next hours. I have tested an inactive material that was visible for around 75 hours in total darkness after activation. Super-Luminova is a Strontium based material, but as it wasn't available as powder (powder was mixed with a printing material, kind of a paint), the material tested was from another company. Active material (most common and practically only available to consumers is Tritium) has a sustain and release time of 12.5 years. Actually you can see some glow for around 25 years, but the latter half is already low. Some data can be found here: https://www.rctritec.com/en https://www.nemoto.co.jp/en/

Listening your own playing is easy with a looper. Really helpful tool while practising.

Tritium dots are functional for 12.5 years. I'd go for (Strontium based) inactive luminous material that can be functional for decades.

I started to wonder that if you heard high end up to 600 kHz, there was something interesting going on.

I try to nail the bass part in the very beginning. Then we (drs, b) can give the base to the others, as we are 11 in my main band. From that point of view it looks like I have not very much space, but actually more time to fix the tinier details (tempo and agogic changes, accents, colouring notes...). There's quite a lot of arranging within the band, and it is easier if the drummer and me can support arrangement work from the start. Besides many choices I do are subtle compared to winds (3) or singers (4) in the big picture. Not meaningless at all, but different.

Say what?

That wood looks so good, do you think it could be without a pickguard? The screw holes do not look good on that mahogany body top.

After reading the available material through, I am amazed that the material is downloaded only in so small numbers. Good text, lots of exercises to anyone playing bass.

Any headless is about the length of a g-word. If your background is violins, and your fingers understand very short scales, a fretless Guild Ashbory is small.

I hate these control plates without soldered ground wires. Cheapo. If any of the screws in that plate is loose, anything can happen.

Old music players with their violins, even worse. I try to keep my hands off of any fender based thread. The design is an old hat, electronics cheapo, and the whole concept was neatly described by @BigRedX. Leo did evolve, but there are lots of bassists here who - some of which most likely - believe that a P or a J is the ultimate weapon (no, not that Jaco thing again, because he decided to mod the existing fretboard severely). They were and are the stepstones, because they are so numerous and cheap (from many viewpoints). I have never played a P bass that I would have liked, because of quality (CS was far from its ridiculous price tag), or sound. The pickup looks like the design work was delayed and the result at that point was bolted on (sorry). Cumbersome weight and shape, as ergonomic as a violin. I have tried quite different basses during my playing years. I may not be a very good player, but I know what I want from my instruments. At the moment I play a Vigier Passion II the most, and for five string work I use an MG Genesis (I admit it could be considered as a refined J on steroids). These have super necks, and electronics that can really shape the sound. A P and a flatwound set may be the thing for someone else, not me. Basses have evolved if I haven't. Try a G&L if it has to be Leo's design.

If your need is one session, loan one from a friend. Constant use, go for something good. I've had my Countryman 85 maybe 15 years, and I bought it used. It is maybe +25 years old, but sturdy, uncoloured, and works on a 9 V battery or Phantom.

OK, how about spreading some powder between the top clear lacquer coats? Before the surface is dry?

Search from Amazon that Cherenkov bluish powder and mix it to the paint. Choose Strontium based powder over Zinc and others to get the longest possible glow. I've done tests with 2 - 20 % of luminous powder to paint. I might suggest around 5 - 10 % depending on your needs. Green is the most powerful colour, that's why you need more when using blue or other colours. Addition: I've only used whitish paints, but try it to some tinted colour and tell us about the results.

If you have two bodies, few @Kiwi necks, few pickups, and two electronics, there are already LOTS of choices. Add a painting and hardware scheme, and we can talk about a custom. A SHELL yellow P body (chambered or light swamp ash), an unlined MM neck, a J bridge and a humbucker neck with coil-tap, black hardware, V/B/T/B. Where to find one? Available in 3 months? I could seriously consider one. If @NancyJohnson sources pickup routings, I could source electronics and pickups myself.

For friction? Not touching the body surface?

tce has this three band comp in mono, 1 U rack format, Triple C? Very much like HyperGravity or Spectracomp. A quality Drawmer would be very tempting. Orban had interesting units, although most of them were quite big, and with screw connections.

It's not that expensive to ask some pro photographer to take pictures of you in the gig, or rehearsals, or some place... We have made it three times.

So far no one has mentioned those chinese basses with two necks on different sides of one body, like brand Busuyi: "8-string bass, 5 string fretless."

Guild Pilot bass was available with interchangeable fretboards, Novatone. Magnetic attachment. A short lived idea. talkbass.com/threads/crazy-project-still-in-the-works.482904/

No worries, Sir. I would love to see your necks available in bigger amounts. Status no longer exists, but @Kiwi does!

pickups - blend - vol - tone stack - output Pickup hots should be connected to the blend (double) pot which most likely is in the centre of the picture. (It is followed by the Vol.) Neck PU goes to another centre lug, and bridge PU to another. You can start the trial by connecting the plain preamp with a battery to an amp. Turn the amp volume up a bit, and touch the lugs of the blend pot. You should get some hum. Turn the pot to understand which way it works. You can also turn the other pots to get an idea what they do. Most likely T/B.

I think Ibanez MC-924 (AJ) made for Alphonso Johnson was one of the first ones with a vertically half fretted neck. Ashula is a horizontally half fretted. I had a white Ashula, but as I converted it to a 5 string, my bandmates were asking why the sound was changing within a song. I converted it back to a six and sold it. I think the idea is nice but there are obvious problems. If the song requires quite a big area from the fretboard, the sound changes can be bad for the music (record something and listen to the result). Sound is dependent on the electronics, too. That's why the change between the fretted and fretless notes can be substantial: one adjustment may not be ideal for both worlds. Fretless board after frets in a vertically divided board requires neat work from the luthier. When the fretboard ages, it may be complicated to level everything to original specs. I am not quite sure if a two neck monster would still be a better option if the instrument was light (like Basslab?). Putting both instruments to one single neck is an interesting idea, but I couldn't live with it - I am too old to learn new, or even old tricks. And no, I am not a very good player. My thinking of the instrument is maybe ancient and slow: from 4 to 5, from fretted to fretless, all changes require changing my attitude to the song and playing.

An old fart like me remembers hifi stuff that were equipped with tone defeat switches. The only thing was that there usually was something hidden behind that switch, like bass boost. Flat, what is a flat response if it wasn't measured? Even better, could the system (amp&cab) be equalized to flattest possible? I belong to the group of people that wants the electronics of the bass to be lo-Z and adjustable (if not transparent). Hi-Z electronics usually colour the sound and cut highs so much.