I've wondered if there is anything meaningful to be said about "alternate constructions" in double bass. I wouldn't want to get into discussion of whether or not there are subtle tonal effects (whether positive or negative) on world-class instruments - but what about midpriced ones? Here are some things I have wondered about. 1) String tension is always trying to pull the neck into a bowed shape; trying to collapse the top of the upper block toward the saddle and lower block; and tending to pivot the neck about the neck-to-body joint. In the double bass, we rely on the stiffness of the body box and the inherent stiffness of the neck/fingerboard to resist these forces (around 250 lb). Wood is a material that is prone to creep under long term sustained stress. 1.1) Truss rod in the neck, to allow adjusting out the bow that gradually forms? Certainly a standard practice in steel-string acoustic guitars. 1.2) Adjustable neck to body joint? Not very common, but I have a steel-string acoustic guitar that has this feature: the neck is held down by a couple of big honkin' bolts through a steel plate, and the angle is adjusted by two jacking screws. Now that removable-neck basses are becoming gradually accepted, at least at the midgrade instrument level, could adjustability be built in? 1.3) has anyone ever tried to tie the upper block and lower block together to resist string force? I imagine a wooden beam, possibly laminated, possibly in I-beam shape. If the box had to do less resisting of the string force from north to south, and was mainly resisting only the downforce of the strings against the top as transmitted through the bridge, then could the top and bottom plate be made lighter and more responsive? (I have never seen this kind of construction in any other acoustic instrument but banjo, but banjos are so different from basses that there may not be any analogy.) 2) We all are familiar with the top bracing of a double bass which is the bass bar, with support on the other side from the soundpost. I have seen references to two sound posts, but I got the impression this was for durability when standing on the instrument and other such stunts. What if you replaced the bass bar with a second post, but planned for tone rather than durability? What if the bass bar were replaced by a bracing pattern more like what you see on guitars? What if you had two bars, one on either side, and a post in the middle to transmit vibration to the back? And so on, and so on... Obviously what we have now works pretty well. But it's the nature of some people (like me) to wonder about experimentation. Hopefully rather than smarty comments, people with some knowledge on various things that have been tried will comment, and maybe we can have a conversation.