My understanding of the physics of the "dead spot" is that every instrument has certain resonant frequencies which can cause certain notes to be lacking in harmonic overtones that would otherwise give the note sustain and fullness. The resonant frequencies vary in location and intensity from instrument to instrument. I own 9 basses, and they all (even my Sadowsky 4) have this phenomenon to a greater or lesser degree. Even my new Lakland 5, which has graphite rods in the neck, has this, although to a much lesser degree than an all-wood neck. After talking to several luthiers about this (including Roger Sadowsky) it seems clear to me that this is just part of the nature of wooden instruments. I think that one of the biggest challenges in trying out a new instrument is identifying these spots, and determining whether that instrument's idiosyncrasies will be a problem for you, given your style of playing.
I'm in 100% agreement here. I've been playing abojt 30 years and with the exception of graphite neck basses, I've never played a bass that didn't have a resonant frequency that couldn't be reproduced somewhere in the range of the instrument. I've had dozens of players tell me their bass had no dead spots and I subsequently showed them the spot (or two, or three). It can be very subtle and that's what you want. The reason graphite usually won't have a dead spot is because its resonant frequency is out of the freq range a bass can reproduce, but they have very different overtones that some don't like. The resonant frequency of wood is also what makes it produce the overtones that helps make a bass sound like a bass so it's not all a bad thing. It's just one of those laws of physics you can't change, but you can move the resonant freq to a less noticeable note/location on the neck.