itu

@godathunder, I think you are asking right questions. First of all, class D amps are measured in a different way than old A, AB, or B class amps. Then the distortion figures may differ a lot from manufacturer to another which offers a big variety to publish watts. Watts are funny, because everybody understands one figure - that is only faintly related to loudness. Where are discussions about sensitivity (dB @ 1 W/m), loudness (dB), frequency response (50 - 4000 Hz ±6 dB) and so on? The only reasonable way to measure loudness sure requires a system (amp + cab). Sometimes it would be very eye opening to arrange an open air test session where anybody could bring a system to the place and then someone with decent equipment and noise source would make measurements.

Phenolic resin?

Is this a factory fretless? Has to be a short scale, because of the Bendwell.

I might read the above like: Two speakers from the same manufacturer that look the same but have different impedances are two different speakers. Depending on the amp it is hard to say which speaker is really louder. Lower impedance may be harder load for the amp and therefore higher impedance cab can be even louder.

Exactly. While the theory about dead spots is true (nearly every particle and shape resonates) the snake oil thing is usually too easy to add to the texts. Bigger is bigger, and more is more. That product page had lots of text, even though the basic theory is about resonance, a stick attached from one end. If you change any parametres of it (length, weight...) the system changes. One way to tune the system is to change the tuners. One by one, or all at once.

@Bilbo: Does the amp still howl?

From KMA: Queequeg2 Moai Maea https://kmamachines.com/machines/

Good looking, but a pricey unit.

To keep the string in tune at both ends, it is wise to re-string the bass as shown here: https://scottsbasslessons.com/blog/how-to-string-a-bass-guitar The only thing I think in a different way is in step 6. I push the string to the bottom of the peg hole, and then bend it. Scott makes only a small bend to the string.

So this whole process takes something like an hour?

My uneducated guess is some connection desperately needing Deoxit. I would put cables to both FX loops, and if there are any other similar connections in the back (pre/power), put a cable there, too. If this doesn't help, the next place could be input jack solderings to the PCBA. After that the next steps would be all connections between boards, pots and so on. Deeper and deeper.

For me the difference has been the need to adjust the bridge height, while swapping from a set to another (GHS and D'Addario). Soundwise I cannot say anything reasonable: when changing an old set to a new one, the sounds are so different. But how about trying two new sets?

I have only owned two necks (and two Status bass copies), and I do agree. Quality stuff for a reasonable price. After all, compared to the old music instruments the prices are ridiculously low: I have been searching for a decent double bass for jazz gigs. A basic student bass costs the same amount of ££££ as a quality Status. Some £20000 is needed to a pro instrument. I don't have that many gigs.

I do not follow Fender or Yamaha or many other brands as they just do not fit me. That's why I didn't remember that it is a neck through. But my main point was that as it is a fine instrument, I would keep it as it is. Self made modification may be fine, but there are other possibilities, too. A skilled luthier can make a good fretless version of it. Same dimensions and everything, the playability between those two could be very interesting. And a good luthier may suggest some tiny modifications that support the fretless sound, too.