3below

The natural looked good, body joints well matched for grain. Like @PaulThePlug I am very partial to natural finishes or even better brown natural

All parts now re-assembled into the form of a bass. An excellent job by @Andyjr1515 with outstanding discussion of potential issues and options during the process.

Exactly the opposite here, Glasses on to read, rest of the time perched on head.

A really super clear explanation, well broken down and demonstrated Great work.

Bought a set of Schaller M4L machineheads from Ian. Super transaction, very fast arrival, well packed and great communication. Thank you very much, another great member of bc.

I have been using it on various bass builds and repairs with no apparent problems yet. Your point about high spec products vs cheapo stuff is well made.

An interesting page https://www.sciencedirect.com/topics/engineering/superglue I did not know that CA glue bonding is inhibited by acidic hardwoods e.g. oak nor that they are thermoplastic in nature and thus joints will creep over time when subjected to stresses significantly below the brittle failure stress or yield stress. You may be (or may not be) surprised to know that that cheese and superglue will show the same creep behaviour with aging time (I spent 3 years stretching thermoplastics in my ill gotten youth).

^This, plus, to help the superglue to wick in better, force the crack ever so slightly open - lever it with a nail in the adjuster hole? Screwfix do a low viscosity superglue at a sensible price. If you were so inclined to strengthen the repair, you could: Plan A: make up small aluminium or wood fillets (grain running lengthways to the crack) and glue this over the crack (both sides) or the hoseclip around the crack area idea or a few cable ties around the crack Plan B: Drill a through hole, taking care to miss the adjuster hole/insert, 4mm stainless socket flange head bolt, washers and nyloc nut. picture shows what I am aiming at

Bought some TruBass strings from Sean. Excellent communication, well packed and arrived faster than a fast thing. First rate transaction.

I suspect the two way truss rod has been turned anticlockwise a fair way putting relief into the neck (I have built a bass with such a stiff neck that I have had to do this). Slacken the strings, turn it clockwise a bit at a time (1/8 turn?), re-tune, assess relief. Keep going until you are happy with it. It will go loose then eventually feel tight as you start to counter the string tension. Prior to having an unfortunate experience with one of my G&ls I never slackened the strings when doing truss rod adjustments. These days I do following the advice of Jon Shuker who replaced the G&L trussrod and fretboard. I really rate my SWB-1, playabilty 5*, build quality 5* etc etc ..

It certainly gives a starting point for further experimentation, armed with the right kit

Bought a pickup from Andy. Well packed and rapid arrival, all is good. Fuss free easy transaction. Thanks

As I am now a rusty retired Physicist (and was cra*p at resolving forces, always found it difficult to draw the right diagram in anything complex) I would be interested to see what dimensions and numbers might apply to this problem. If we can identify where the effective centre line that the forces act about (in a simple model) then the bridge height and nut are easily identifiable. Body to neck heel treat as a rigid non bending body. Guestimate the tensioning cable length and distance above (below?) the effective centre line as per my earlier diagram and we might get some order of magnitude answers. In reality it not simple since the beam (neck) has finite depth and is not isotropic. Any takers?

Due to the complexity of the situation I wonder if an a priori calculation (finite mesh analysis? or first approximations?) is reasonably possible, I suspect it would be quicker to make the neck up and see.

You could try the Headway, set the impedance to active/ low. It may or may not work satisfactorily. You would still need an xlr (from mic) to jack cable.

I agree with your description and reasoning, as always a diagram helps clarify the situation

This both so sad and yet uplifting about the good in people. It is good to know there are people who care and do the right thing despite the times we live in. I hope it works out well for all.

Used this type of setup recently for about 4 years in gigs, would still do if my band was in some functional state. Tech 21 Sansamp RBI rack mount or Tech21 Sansamp Leeds pedal > QSC (until it died) then Crown or Peavey power amp > Barefaced Dubster or Sherman Audio custom 15 / 6 / horn cab. Really like it, works well, the Leeds pedal in particular gives me the essence of the Hiwatts (100 & 200W) that I owned in my youth without the weight or price these days. Some (Crown to name one) power amps have selectable input sensitivity. The DSP high pass filter to prevent speaker damage with the Crown is really useful if you are in a loud band.

Well noted, I had forgotten about this factor (largely due to not having to deal with it, conversely the other way round, guitars into HiZ inputs I am still well on it) . An example impedance matching transformer on Ebay here. The other way round the problem is to find (borrow) a cheap two / four channel mixer (Ebay/Gumtree etc, Behringer / Peavey or something like this) @knirirr were you closer to mid Wales I would lend you the necessary kit.

I have that very LP. Saw them at Hereford College sometime in the late 70s if my memory serves me correctly. Guitar player had a reverse firebird which for some reason impressed the guitarist in the band I was in at that time.

XLR to mono jack cables are readily available £4 upwards e.g. https://www.ebay.co.uk/itm/312632018630?hash=item48ca5206c6:g:tTcAAOSwZidh4pkL. Your plan should be ok, try it and see. The mic you mention gets lots of good reviews.

This?

Blackwood Tek? I used this same material to make a new fret line marker board for Mrs 3below's Ronnie Bennett lap steel. It finished really well with Tru oil, like a glossy ebony.