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De facto it will have changed one parameter, the cost of the bass . Any sonic parameters that might be changed by bridge replacement would seem to be highly variable since there are so many other factors in play from one bass to the next. Even two mass produced basses in the same production run can sound and play differently I also find that when playing live any subtle bass changes are lost with the effects of amplification, speakers and the venue. These days I just play the thing as it is.

Where are you based? The well known Internet auction site show £80 to £40 for sold TKO bass combos.

A As fitted to various Peavey basses. The front screw holes are good though wonder why no holes in the middle though (6 in total). I could also envisage a BBOT with folded ashtray edges (think Telecaster bridge) which would retain the saddles. Two days into new Lock down in Wales and this is what I am reduced to

Am I the only one? I really like the BBOT bridge, engineering simplicity and elegance. Yes it can be improved, Peavey (and others) have some grooves for the grub screws to prevent lateral movement. Another (simple) useful improvement would be the ability to top load the strings rather than feed them through the hole.

Many years ago, when I had mine (and they were cheap and unfashionable) it dropped off the strap with the ensuing headstock impact. It bounced and amazingly no damage. Then again I am only 5'3" so far gentler drop

Middle-ageing? You youngsters! Now pass me my SG bass for that 3 hour + gig (I think I remember those in pre Covid-19 days).

In addition to strings, bass amps and speakers have improved significantly.

Perfectly described by @blisters on my fingers This image might also help . When you put the scratchplate back on, fit all the screws loosely then give them all the final tightening. Makes aligning the holes easier.

Ditto, plus in my case, some motivation.

Bought a set of Weedwacker strings from @knirirr Strings arrived as soon as physically possible, excellent communication by seller. Deal with confidence. Many thanks.

Plan c) find a friendly local woodwork shop that has either a planer- thicknesser or sander drum of a suitable width, ask nicely and you may get lucky. Back to an earlier question, the Artec pre-amp is just fine. I used one to replace a dead vintage Aria pre-amp (I would have repaired it but the pots were unusual values and impossible to find). Does what it says on the tine, low noise and well made.

It all makes you feel sorry for some unfortunate who spends the money without knowing their stuff or do sufficient research or getting advice from those that do.

Left field choice, Tech 21 Leeds pedal. I like what I get with it and my Gibson SG, TI Flats and Barefaced Dubster. No shortage of mids, bite, punch etc with what might seem a 'dark' setup. The Leeds pedal really reminds me of the Hiwatts I owned in my youth.

You will be getting sustain after 6 bottles though not of the bass variety, more likely through the 'bass' without a 'b' region.

Rather than push-pull pots you could use dual concentric pots. Two choices, each pot does Vol & tone for one pickup, or, one pot does vol - vol, the other does tone - tone. Apols if I have misssed something. What will you do with the spare holes? I found this https://forum.gibson.com/topic/122705-my-sg-bass-master-volume-tone-awesomerizer-mod/ and did the mod to my SG bass. An excellent bass has been made even more excellent. Could be of interest?

Agree with the surprise at one being fitted to original p bass. It is not as if they were an aftermarket fitment in the era (think DiMarzio, Mighty-Mite etc). I used the Wilkinson alnico vintage type pickup in a recent bitsa P build. Seems OK to me.

An interesting article on some Tinnitus research. Usual caveats apply. https://www.sciencemag.org/news/2020/10/electric-shocks-tongue-can-quiet-chronic-ringing-ears

The string run off is the same that I experienced on my 77 P bass which I bought brand new. I complained to Fender (UK) and had a setup manual in return. Loosen the neck screws, tap the headstock to correct the alignment. Tighten screws, all was good.

Physicist here How many MT do you want the gadget to yield? In seriousness, much good discussion (and good Physics) above, imo it is about energy transfer and dissipation - the rate at which input energy (fingers, pick) is wasted into the body, bridge, bridge body interface, pickup magnets damping strings etc. My lifetime bass problem has been too much sustain, how often do I want more than 1 ~ 2 bars sustain. Attack / decay envelopes and no dead or live notes are of much more interest to me in a bass. Why do some basses (Gibson SG and Kramer Alu neck) 'play themselves' - have 'boing' and others on the same strings are just 'lifeless'? Why do some P basses (insert bass of choice here) sound great, why do others sound 'naff', this applies to copies and the real thing.

Phew, for a moment I thought you were looking at my Warwick Corvette

Pete Cruickshank, Groundhogs' Hogwash album (You tube does not do justice to CD on hifi) Dave Bronze? on bass, Robin Trower band Live Rockplast 2006.

During some recording today we started with the 4 mic method. As an experiment (following out of this thread) we reduced to 3 mics and got excellent results. Having noted how much snare the overhead mic picked up I then muted the snare mic during playbacks. So in answer to the op, you could get away with two mics: bass drum and and one overhead. Building any stereo imaging in the final mix would present a challenge

Horses for courses, if I did not need another bass like I need a <insert> phrase of choice </insert> I would be very temped

The skilled heel removing method would be using a suitable hand plane. Depending on your skill level some truing up / final levelling with sandpaper glued to a flat surface might be needed as well. If you have access to one, you could use a planer - jointer. If I attempted that I would make some sort of mdf sled to ensure the neck heel stayed flat on the planer table through the entire pass (and to ensure I kept my fingers!). I would also be wary of the usual lump of steel anchoring the truss rod in the heel. You would get a very tidy and true job however. If you do remove 2mm heel depth, remember to check the neck screw length, it would be unfortunate to have them appear through the fretboard or lift some frets

The 'biggest' five lessons I have learned from home /diy band recording* are: Tune frequently Get the mix / sound quality / tone right before recording. record at low levels, at the most peak at -6dB (digital) - noise is not an issue, it is a digital recording record everything - storage is cheap play with dynamics, think loud/quiet. As @TwoTimesBass states this saves a ton of work afterwards. Having done band recordings with the above in mind it subsequently takes me about 5 mins to master a track - bit of compression on bass/bass drum, reverb/echo to taste on vocals and finally some stereo widening. Then again I am not aiming for Steely Dan / Pink Floyd standards. * home recording - using a focusrite scarlett that has better performance specs than Abbey Road had when recording Sgt Pepper's. The skill of 1950s/60s recording engineers was/is staggering.