itu

That is a very cheap solution, I think Neutrik had similar units. But the signal may be on the low side. I suggest a test, maybe some booster or preamp pedal could help.

Those big amps and speakers are tough, but a complete Hammond with Leslie is even worse. An ex-friend of mine had such a set during one tour. After that tour I have not spoken to him. And I will never speak again.

You clean and refinish the bass, change strings, and what? This sounds different! If you love your 50 year young serial produced instrument, but it does not look right, what should you do? Grab a RAL-code colour leaflet. If you have a friend working as an AD or similar, ask a rendering of the new design. By the way, what's the name of the band? Björn again?

But it is possible to make a bass from an upright piano! That's possibly the best future for an old acoustic, if the wood is wood, not particleboard. Like @BigRedX said, think about the tuning. If the piano was left without it for several years, retuning requires several times and some money.

Now thank you @tomread for the new set! I have to tell you this, as this happened last Friday: We set up a small band (3 singers, one of them playing piano, a g-word, drums and me) for a summer gig on an island. Two long sets (34 songs in total), and out of nowhere someone said during the soundcheck that we will play Born to be wild on the second set. Yes, I know the song, but... Hey, could it be on Tom's pages? With your transcription I played it once in that soundcheck and the second time in the gig. People went crazy. Keep up the good and very legible work!

The original question was about gigs, and my answer was about gigs, wasn't it? I don't limit the use of a particular instrument because it is worth something, or not. Last weekend I was playing in a small island with my Status MM neck, J body instrument because it was the right bass for the set. I played the same bass at rehearsals, as well as at home and hotel before the gig. This week my tool is the MG Genesis 5 because of the Windmills of your mind that has been arranged to a 5 string.

If I start fiddling with anything irrelevant over sound, I need to stop gigging. I use whichever bass is suitable for the gig. It may be possible a meteor destroys my bass (and me), but every instrument is meant for playing.

Yes, he is. I bought mine directly from him. A gentleman who has been working with boats earlier. He knows wood and fibers.

Start from the hi-Z (high impedance) sound. Then try to achieve the same with the preamp. If you love the hi-Z sound, you can tweak it with lo-Z (low impedance, "active") settings, like adding some more bass, or enhancing mids. Play with the settings! Mark King said in one magazine interview that he doesn't know what the adjustments do, he just turns them to the max. (Sure he knows, but the story was fun and a good reminder that do whatever you like.) Another reminder: If your amp or effects love one (hi-Z) or the other (lo-Z) output, use the one that works better. I have said it many times here that especially fuzz/OD/dist as well as some compressors work in a different way depending on the output impedance of the bass. Use your ears.

Sometimes speaker outputs have relays, or fuses. Such a device may protect the power amp circuitry, but without schema the only chance is to look inside and try to understand the circuitry.

I have a Status copy with a bolt-on carbon neck made by him. I modified the bass with Noll electronics. It would be nice to see all creations he has done over the years.

These products do not seem to be suitable for your hands. If the price is right, you can buy ten instruments to cover holes in the wall.

There are very different customers out there. Although your approach is humble, everyone does not think the same way as you do. Be prepared for similar customers, and raise the price accordingly. Think that you sell service, not instruments, and you may find a functional concept. Have you been considering some special neck shapes, light weight bodies, or something that would be your trademark? If I was you, I would learn the offering of few companies. One very good one could be Limelight. I have tried two, and if I was into J and P, the feel and price were very, very good. https://classicandcoolguitars.co.uk/limelight-custom-gallery/

Do you do the settings in the bass or amp?

If you are making all possibilities available, I do support the idea from @BigRedX . If you are intereated in loading the pickups with other coils, you can use simple switches. If you want to blend coils so that they keep their original voicing, consider active mixing of the coils. If your EMGs are battery powered, mixing can be done with passive hi-Z components, but I recommend using Noll Mixpot or John East blending between pickups. One hundred possibilities is a great idea, but most of the options are useless. At least in band context. You will most probably use two modes, like single and series humbucker. There you can hear the difference, and the sounds are useful.

...because of the wider and therefore stronger string vibration. Some manufacturers like bartolini make neck pickups weaker to balance the levels.

Why not try a .120? It opened my MG Quantum 5 SPi to sound super instead of decent. You need to make trials. There are no short-cuts.

Walking is easiest to start from the basics like what notes are in a chord. Diminished, minor, major, 6, 7, maj7. A good addition is to understand sus4, half diminished, as well as ±5. Learn in this order: 1) two beat 2) four beat 3) walking up and down, both up to 2 octaves, and in as small area as possible (like staying in half position) While walking when you see a maj7, play a 6 instead of maj7, or use it sparingly. It has a distinctive tone. These were the basics that my bass teacher taught me years back. (I am still pretty bad.) I had a few books like Modern walking bass technique by Mike Richmond that had better rhythmic ideas than simple quarter notes. I suppose any walking bass book can open your ears to better rhythmic approach: pauses can be as effective as notes at the right places. (I still have lots of issues, especially with rhythms.) And last but definitely not least: listen. NHØP, Brian Bromberg, Marc Johnson. They seem to play only the right notes in right places. Incredible playing.

Get well soon! Name this board REV M, and make two more: REV S, and REV L. Everybody has extra pedals lurking in the corners: one board is never enough.

Oh no, one more Yahaya here. These have to be rare: https://www.notreble.com/buzz/2016/10/10/bass-of-the-week-versoul-swan-8/

My Glockenklang Soul 2x10" is old, but it has been the best combo ever. 38 kg is the bad side. Before that I had a Peavey DataBass, around the same wattage (450), but one 15" BW. A super combo would be 2x12", some 500 W - 1 kW / 8 ohm, two inputs, and under 25 kg. HPF. Built-in wheels.

...and the neck is wide, 19 mm string spacing!

Sorry, I need to meet a pro optometrist! What I like in piezo is the versatility, but it also means quite a lot of adjustments. Wide frequency range gives possibilities, but there's that extra hassle. I think that two outputs and two preamps would be the ultimate solution, but who wants to carry all equipment to the gig, I don't know. All in all, Affirma is a different instrument if you are after something else and want to experiment.