itu

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

I think Victor Bailey did his most impressive work with a Pensa-Suhr. Pino with his fretless MM? Where was that fretless Jaco model when he was active? Geddy Lee and Rick, anyone? Where was Fender when these guys rocketed to stardom?

Some of those lacquered wires have nylon or similar thread inside. They melt or burn, while you need to burn that lacquer from the wire to solder the copper. Hate that material.

We dont need another hero.pdf (This is already elsewhere here.) I saw her once live, marvelous show from an incredible artist.

That Jabanez looks fab. Good colours and all. I suppose it weighs a lot?

Try a little bit of reverb after dist/fuzz. My need for delay is long... a looper is really good for training.

True, and a good point. Quite many combos have only the woofer, so my point was a simplification, as was my short text in general.

Hard floor... a magic carpet ride, maybe?

Beware pops with such switches. But maybe a ser/par might do the trick?

Sessionette 100 (15" combo) GK 200MB (12" 100 W second gen combo) Peavey Databass (15" 450 W combo) Glockenklang Soul (2x10" 450 W combo) Soul head from the combo and alusonic 2x12" cab GK had excellent sound. Soul combo has top sound too, but weighs a metric ton. I separated the head from the combo to a rack case and bought the alusonic. Easier to carry.

A PA cab, a powered speaker without the preamp of a bass amp. It still may have a simple eq, or some adjustments, like gain. Full range means wider response than of a bass combo. Flat response should mean flat, but I say that it is still far from hifi.

Really... we are talking about few decibels... if the 4 ohm version is much more sensitive, I'd buy that. Otherwise not. Sometimes an 8 ohm impedance speaker may be louder than a 4 ohm counterpart.

Ser/par? Then there's a good chance to have switches at hand which do nothing. That was the reason I suggested a rotary switch.

A g-word type of approach might work, too: the 5 pos switch, maybe?

What? There are only very, very few preamps for two pickups only. Most of the preamps are after simple blend and vol, or vol and vol. In a three pickup version you could have three volumes. If you want to put an active tone stack after every pickup, you just need more space. It seems that you have not checked my simple drawings of the bass signal path, once more: pickups - blend (or vol) - vol - tone stack - output In your case you just exclude the blend and put in there three volumes. The tone stack is up to you: a battery operated preamp, or a capacitor based, simple passive tone x 1 - 3.

Which screws? Machine, wood? For machine screws nearly any oil is better than no oil at all. The only exception is if you need thread lock (nail lacquer for soft, thread lock for hard). Thicker oils and greases tend to stick better in threads.

The first sentence should point out that the difference in dBs is minimal. So many watts, so little decibels. The second comment is feasible. Usually if your main cab is 8 ohms or more, another cab is a potential possibility for more loudness.

I have written a few times about signal path. Please find it if in need. The system that consists of many switches and maybe even ser/par option might be usable, if you make it happen with a rotary switch. Otherwise there will be many options, where the sound is off, or switches are excluded from the line. That would mean that you'd need to learn to walk in the switch jungle. I would start from feasible sounds: what is functional, what is not. After the options are charted, someone familiar with electronics finds the parts you need and puts them together. Otherwise there will be non-usable situations, and you may cut the sound in a band context just by accident.

Torx or Assy. Or a slightly filed hex.

Relative things: take a look at the price of a recorder, then find the price of a top end cello bow.

But... the picture of the whole bass?

Pickups are designed with some output in mind. If you want a buffer and some tone tweaking with the little help of a battery, it is up to you. True, EMGs need the battery because the buffer circuitry is molded beside the coil(s), but the pickup output can be doped with nearly any preamp. Find your favourite or leave everything out, it is up to your preference.

Start with a pic of your creation. Maybe two... What are your tools, have you burnt the vol pot? Is it log taper?

It has a body of a short scale, and ergonomics of a long scale. First position looks like hard to reach.

The basic idea is simple: you have two necks with similar screw holes and you make a change. That's it. Along came tolerances. It may be so that you need to shim the other neck to get the angle right. This is simple. Few plastic sheets, sized 1 cm x 4 cm x 1-2 mm or so. Neck pocket may be loose or tight. Your choice: the pocket or the neck heel needs some sanding. If the screw holes do not fit, consider using DIN 7965 slotted inserts after filling the holes of the neck, and drilling new ones that fit. The slotted end goes in first: Sure you have to change strings and check the fine tuning and string height, but that takes less than half an hour. You need a tuner and few tools.