Well... how to describe it?

Could you only imagine under the same skin the voices of Precision®, Jazz Bass® or even "P-J" systems, and if it was not all you add it a Sting Ray® character.
Once you've got all of them well blended, just consider the standard two-band preamp also offering the third band from a Sterling®. Are you thinking it isn't possible?
Okay. So if you're sure you can't believe it... you may also imagine that I use to check their final weights on a simple letter scale!
Are you still on line? Oops! I was forgetting one last point: You can boost or cut any range of frequency, bypass the mid control to come back to a two-band tone,
and if your battery's down (usually after six to eight months...) just switch on the true passive mode to keep on grooving.
Sorry; these are some of the main differences between a simple bass and a "stage tool".

Why re-designing the Stage Bass?

Here, all the efficiency of the standard version has been kept while a new goal was focused on another sound range serving the musicians looking for a more "fusion" stuff (i.e. Jazz, Funk, Jazz Rock, Afro...)
• Pickups: I switched to the "soapbar" style template to ensure a wider compatibility with many brands already using it (EMG®, Bartolini®, Seymour Duncan®, MEC®, Delano®...) but also considering the wider pace they offer for research with builders who can propose "top-of-the-art" custom builds.
• Electronics: here again the most popular heart of the system has been preserved as the "True Passive" and switchable "Mid-Pass". The main changes concern the midrange that now offers parametric frequency control. Lo-mid, middle or Hi-mid just by the flip of a three-position lever switch or the accuracy of a potentiometer taper (soft travel or detents indexation). Three controls on one move without requiring a user’s manual.
• Bypass-mode: More than the "true-passive" mode that allows you to forget you battery supply, now comes the Active "By-Pass". Using the "buffer stage" of the preamp without any control, it results in a smooth enhance around your sound: something like "passive warmer than passive". And then boost or cut as strongly as you want switching the three-band "Active Mode".
What about the sound?... An instrument that is able to sound "passive" as well as giving you tight deep bottom, accurate midrange and top end transparency: nothing else than the sound directly to your fingers!

As they were first introduced early during the 80's, the headless concept remains as a premium choice for those who look after light weight and fully handiness items.
As light as they could be and added to their location at the neck extremity, the tuners appear as a short limit in the reach of light weight.
Unfortunately "cutting a headstock" is not the only thing to do to achieve a real headless version. The frame of the instrument has to be fundamentally redesigned. Also the "string-lock" as been home-designed to accept both double-ball ends and standard strings sets.