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In case you haven't already seen this..

They're not intended to be adjustable but it may be possible. Depends on the construction of the pickup. If the coils are wound directly round the magnets then it's risky, but if the magnet is in a plastic sleeve then it's doable. The fact that your A pole has already dropped but the pickup is still working suggests that it will tolerate some movement so I'd be tempted to remove the pickup and see if you can push it up with your fingers.

My very first thought but I didn't want to be the first to say it! The 1930s is the only one that's remotely got something different, and even then the blurb ( "until now the market has not offered a true high end example of a 30-inch design") is a bit disingenuous. Has he not heard of Serek basses?

The G and E poles should be flush and D and A poles should be slightly raised. Pic of my USA SUB below. These are great basses. The pickup and 2-band EQ on the SUB is the same as a USA Stingray.

Rule of thumb for setting nut height/slot depth is string clearance above the first fret of .003" (top of the first fret to the bottom of the string) while fretting the string at the third fret. That's about the thickness of a piece of paper. It basically just needs to clear the first fret by the tiniest smidge when fretted at the third fret.

It's a Sentell 'Big Sis' pickup, a 4-pole replacement for a Musicmaster bass. They also do a 'Lil Sis' with smaller diameter magnets. See pics below. Website is here - https://sentellpickups.net/bass.html. Scroll about halfway down for the Musicmaster pickups.

The Hipshot Vintage bridge (18mm spacing version) is a good replacement. You'll need to drill new mounting holes but it's pretty straightforward to install. Pic of it installed on my Bronco below. https://hipshotproducts.com/products/4-string-vintage-bass-bridge?variant=35112332296

The 200pf cap across the vol is a treble bleed to preserve higher freqs when you turn the vol down. It has no effect when vol is fully up. The 6.8k resistor on the treble prevents the cap going directly to ground and gives a smooth treble roll off with no resonant peak when fully down. Without the resistor (ie. normal Fender config) you get a bump when the tone is fully down.

I expect it has internal circuitry to step up the voltage. My Dave Hall VT1-Pro valve pedal is very effective in adding tube warmth and harmonic richness to a solid state amp and that runs on a 12v power supply stepped up to 24v.

Here's an interesting video showing the difference in sound between the HCT and German made models, before and after swapping the HCT pots from 500k to 250k.

Ah, thanks for that!

Do you know what pot values are in the HCT vs the German made models?

Would be interested to hear more about the Bricks-O or Bricks-A, has anyone tried one yet?

Instead of winding the string in a neat downward spiral, if you run the first wind on top of the anchor point and then cross it over and continue down on the next wind that should help to lock it in place.

Can you post a pic?

Be warned that the holes in most 'Stingray style' control plates on the web don't line up with the genuine MM fitting. The holes in the copies are evenly spaced but the holes in the MM one (particularly on the inner curve of the banana) aren't. DV247 list the genuine MM control plate on their site for £26 but have no stock at the moment. https://www.dv247.com/en_GB/GBP/Music-Man-StingRay-Control-Plate-Chrome-The-Banana-/art-GIT0008768-000

A higher value cap will cut more highs. Eg. a 0.1uf cap will give a darker sound than a 0.47Uf cap with the tone turned down. What's in your bass at the moment? If you also want a brighter sound with the tone fully open you could use a no-load tone pot which effectively removes the pot from the circuit when fully open.

It's straightforward enough but obviously needs to be done with care. A few things to watch out for: 1. If the neck is shimmed the shim will fall out and need to be replaced in the same position (providing you were happy with how the neck was set in the first place). 2. When re-assembling, gently turn the fixing screw counter-clockwise first and you should detect a point where it 'clicks' into the hole. This indicates that it is lined up with the existing thread in the hole in the pocket. Then screw in as normal. If you don't do this the screw may tap a new thread in the hole which chews up the wood. Better if it can screw back into exactly the same threaded hole. 3. Before tightening the neck screws, put the strings on at very low tension and check that the neck is properly aligned from the front. If the pocket has any wiggle room it's easy for the neck to become slightly misaligned so best to check before tightening. 4. Don't overtighten the neck screws. Tighten gently but firmly. When they just feel tight stop, don't be tempted to try and make them super-tight which will just risk stripping the threaded hole.

Not done it but yes should be easy, just disconnect the pickup and rewire it to a 2EQ using the same front plate. Use the output jack on the front plate and leave the side jack disconnected. I've recently acquired an SR 2EQ and love the preamp. To my surprise I have to say as I generally like to have a mid control. The SR 2EQ is very musical and sounds more open and organic than the 3EQ to my ears.

The Rumble 210 and 115 cabs are both 8 ohms. If connected in parallel that will be 4 ohms. The BQ500 has a min 4 ohm load so all will be well.

They're a bit on the heavy side I think. I've been looking for a 735 for a while but they've all been in the 4.3 to 4.5kg range which is a bit weightier than I'd like. The maple sandwich construction of the body probably bumps the weight up a bit.

Are they both series 1 models with the offset hi-mass bridge as in the pics below? As mentioned above, every piece of wood is different in grain structure and mass. The additional overall mass of the 6 will also be a factor. And even small difference in construction and setup can make a significant difference to the sound. Taking the attached pic as a reference here are a few other factors: 1. Width of neck - the wider neck of the 6 will most likely be generally stiffer than the 5. Also the construction of the neck is slightly different in that the two darker strips are wider apart. 2. Neck to body join - these are both neck through in construction but the bottom cutaway on the 6 is much deeper than the 5. 3. Intonation/saddle position - in the pic, the saddles on the 5 are further forward than the 6. If yours is similar, the smaller length of string between saddle and anchor point on the 6 will make it sound tighter. 4. Strings - are yours both wearing the same strings and of similar age/brightness?