Stub Mandrel

Wild!

I haven't played that HB, but I have an HB MB5 and an HB Marquess and they are both excellent.

I wonder if they use cheap hardware? I had to trim 1mm off the end of the speaker jack socket on my Elf head as jacks wouldn't engage properly and vibrated out when I played it! They now 'click' in place.

It sounds remarkably like my Westone Thunder 1 - which is a compliment, I always say it sounds more like a Precision than a Precision.

I am surprised but the fact is I have to tune it evry couple of weeks instead of a few times a year! I think they are now vulnerable to being knocked, or to temperature cycling. This is mainly the B2 I keep at my partner's home.

I'm intrigued by these markings: I assume the holes were to adjust presets. Overall gain is obvious. The other could say 'shape depth', if so did someone have it adjusted for maximum scoop? Or have I grabbed the wrong end of the monkey?

I did this to both my Hohners and it makes tuning a breeze but at the cost of losing that long-term tuning stability. I have a plan to see if I can recess the knobs to restore the original appearance.

Just loving Adrian Shaw's walking line on this.

This. Every time.

Do you have any interestingones to share? My first Hohner bass had a fairly ordinary tort scratchplate nearly 40 years ago. My brother now has it... this is the same scratchplate!

You play floating thumb on both hands? 😁

Not Lynx? With the great smell of unwashed teenager.

The idea you can sweat your b*lls off in leathers round the track then 'freshen up' with a few splashes of Brut... 🤣 What's worse... Amazon recommended Old Spice to me yesterday. I remember coming to work a few days before the holidays in the eatly 90s "Oh wow! Has someone brought in a Christmas cake?" Turned out to be the (late middle aged) Finance Officer's Old Spice 🤣

It's almost as if different people are differrnt shapes! And like different things!

But... none of the playability elements you list are determined by price. There are playability elements that are - such as neck shape, finish, fretwork but these can be excellent on inexpensive basses (some Squiers for example).

He's played a lot of different things including a Hohner headless in the 80s and a Precision.

At Uni we used to do the Mud Dance whenever Status Quo came on.

I had to look up mn pots.

Mud had a 'MUD ON ROAD' sign on Top.ofthe Pops once. Funny that I remember that after about half a century!

Those would all benefit from a tort scratchplate. 😁

Hard to give a rational reason but it puts me off too... Not an issue with Adam Clayton, I like the bass but I'd want it to look more 'vintage' - like the Flea that just has an engraving on the neck plate.

I'm reminded of the old Arion effects that were all 'stereo'. Fine for the Chorus, but a stereo compressor? As far as I could see it split the signal into wet and dry channels. Wish I still had it, I used that pedal live for years. It was probably crap... But the point is the three easiest ways to make a mono source stereo: Use the pan control to position it on the sound stage. Use a true stereo effect to split it into two close but different signals in each channel. Use two microphones (or di and one mic) to record so one is close up and one is 'roomy' with more ambience.

Blend means you can't get either of the classic 'hollow' both pups on full sound, or my usual neck full on, bridge ~20% sound. It's interesting, I often gig a p-bass and rarely back it's tone off, butwhen gigging a Jazz I often tweak the settings. Being able to set both pups full when stuck under an electrically noisy light fitting is gold too.

Nice mwah