The shape of the Toma_Hawk is the most valid feature for my playing style.  In Normal play, I get the same comfort from my Small Body Series I, where I am resting my forearm on the basses most extended part of the body...   My body is basically in a neutral position, with movements only from my arms, hands and fingers. Thus I am not exerting much energy from other parts of my body like my legs, and back.  I call this: "The Neutral Position" in playing an electric bass.    Again, the Toma_Hawk plays like any Small Body Series bass in Normal Play. (See caption)  In Slap/Pop Play mode, the Toma_Hawk action is distinctly different from my Short Body Series I.  The Toma_Hawk was designed to support the Slap/Pop Play forms of bass playing.  The Toma_Hawk will add greater balance between both Normal Play and Slap/Pop.   When I play in the Slap/Pop mode, (The Attack mode) the Toma_Hawk's wedged back is less restrictive and resistance of my arm movements, and this is what makes this body wonderful form me!   Also, in the Slap/Pop Play mode, I am exerting many more muscles and I am getting a great workout too, and I need freedom to move! (This is where the bass becomes my percussion instrument, and I get a true jazz-exercise "Jazzercise" ) for the groove!     To some it all up:   I definitively feel this shape supports both styles more equally to support my cultural musical style.  "The Toma_Hawk is like having (2) Alembic Basses in (1) cool design!"  Peace,  Hal-    

Jonathan,  
 
The significance...hummm
 
Symbolically, the name (Toma Hawk) is above or over the line, or a cut above the line.
 
Literally, an underscore (_) is a character while the hyphen (-) is a math symbol.  
 
Thus, Toma_Hawk is (2) twice correct (Symbolically and Literally) above the line, and is a character or has it  
 
It's also a habit.

To sum it all up: (remix)
 
I definitively feel the Toma_Hawk shape supports both styles more equally to support my cultural musical style.
 
The Toma_Hawk is like having (2) Alembic Basses in (1) cool design!
 
Peace,
 
Hal-

So, has the order been placed?  I'm confused.  You said it was approved, but it looks like you then were discussing electronics tweaks after that.
 
I guess I understand the performance intent of your design now.  The conservative among us would add a bevel to the upper body of the small standard body to gain some of that freedom of arm movement you're looking for.
 
Are you sure about your knob positions?  One thing I would consider is whether I am more likely to be making pickup configuration changes (pickup selector switch) or volume changes (master volume) during an individual song.  For me, it would be volume changes and I would probably want that master volume swapped with your pickup selector.  The fact that I do most of my right hand work closer to the neck than the bridge would also factor into the decision.  If I played anchored at the bridge, I might still go with your layout as the master volume would then be better accessible with your layout.
 
With the pickup selector then placed between the Q switches, I would want the point aimed straight up for the both pickups position, forward for the neck, back for the bridge, and the off position would fall wherever it falls.
 
Of course, nothing is perfect for everyone, but it pays to consider how you're going to use it, if the order isn't already in.
 
-bob

The order has been placed, and the whole paper work, has been settled. The Opening Kickoff for this game, starts Monday!  
 
As for a bevels, I factored their usefulness, and found them great for strumming electric guitars like my Fender Strat.  But when I play them in Normal Play, I want the support and not something beveled. The Toma_Hawk shape is my definitive answer.
 
Susan and Mica will get my measurements for the Toma_Hawk and the model templates.
 
As far as the control knobs, that was the biggest headache because I had assumed ideally I could use double functional pots... which would be only two or three knobs at best, and two Q switches, and a pickup selector switch. Less is more.
 
So, after having the traditional diamond pattern, and looking at it and letting it marinate in my mind, I got some very good advices from other Alembicans to add a Master volume, then I kicked that around, and finally came up with the arraignments, and then edited my final cut to Mica. What you see, is the final rendering. I am completely satisfied, and I don't think there will be anymore changes from this perspective.  
 
The pickup selector will be at the front of the other controls but will not be placed at the horn like with the olders Small Body. People complained about hitting the selector switch including Stanley Clarke, so Susan mandated a change unless special ordered.
 
I agree with the change whole heatedly, thus the Toma_Hawk design will not have the selector control on the horn.
 
The Master Volume in my mind, should be in the middle of the controls. Once I get my pickups in in the correct intonation, I can simply crank it or damping it to a hum. This means, I don't need to re-tweak the tone if I slightly change the volume of a pickup. This was my direction, but with the Master volume in the middle, I don't need to look for it.
 
The Q switches are as a point, in a triangle with the Bridge Volume and Tone. It like what home designers speak about when you are in the kitchen. You want the triangle of the sink; the fridge; and the stove/oven. Using the triangle map, made sense for each pickup controls as well.
 
I like the whole idea of controls following the body symmetrically. So for the most part, I am pretty happy with the layout. I don't see a reason to be concern at this point.
 
The 1/4 connection will either be on top of the lower end of the bass, or it will be between the bass.
 
I think we are pretty set.

A very remember-able quote from Susan I will always remember was when she said:
 
When you get your new bass, your older Series I, will get jealous.
 
That was scary, because it was like she read my mind...for she's right.

Let there be light!!!! Or should I say thunder???
 
Greg

The 1/4 connection will either be on top of the lower end of the bass, or it will be between the bass.
 
I'm sorry, I don't understand what you mean.

A typical  1/4 connection inlet, are generally located on the top surface, at the tail end of the body...
 
I like this position, but I am not sure if there will be enough space there.
 
The other option, is like shown here on the Monty:
 
https://club.alembicguitars.com/info/fc_monty.html
 
I hope this makes better sense.

Yes, thanks.

Control Change:
 

It was great for Mica to have a section dedicated for people with dream basses.  
 
I can't tell you with words, how useful the Dreaming... for now sections on Alembic.com (thread) was for me.
 
It took 2 years, and a few months, to have a palatable concept and shape I believe suited my playing style. I now put this all on the line, and I am ready for this bass to be real.
 
Furthermore, I understand this bass may not be pretty to everyone, or have all the bells and whistles many people would desire; and that is cool with me and may God bless you, but with beauty, that from the only eyes of the beholders, and from my perspective, the Toma_Hawk will support me from both: form and function, and it look HOT to me!
 
That being said, and as of today, I would like to ask Mica to officially graduate The Toma_Hawk Build No.1 to:  
 
Factory to Customer section of Alembic.com
 
I will be watching with amazement and wonderment with every picture which develops from your fantastic and fabulous and very experiences experts.  
 
Thank you!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

 
Toma_Hawk archive...
 
This was a very cool shot of Mica and Ron Wickersham taken, while at Alembic HQ.
 
The Toma_Hawk templates you see, were from the extra templates I brought with me, and was reserved for Susan, Mica, and Ron's autographs on this momentous project kickoff.

That's a very nice picture,
thanks for sharing.

A sneak preview...  
 
Mica Draws the first (Flame Maple) laminate for the Toma_Hawk...