hooky_lowdown

I think this is a manufacturing thing, in the same way Japanese specs are slightly different from Western (i.e Europe and US), especially when it comes to Fender's. I have japanese pickups which are slightly bigger (wider), which don't directly fit into "standard" P bass covers.

The original bridge has a thicker base, making low action more difficult to achieve than the Wilkinson bridge, which has a lower profile base, and a more traditional look. The bass was customised to play in a Ska band, hence the two tone look.

Pictures, or it never happened!

Chowney chb-1.

Chowney swb-1.

Probably because the trebly bass is more audible to Joe Public then deep bassy low-end. As bassists our ears are more tuned in or have a low-end bias than those in the audience.

We used to sound check early, when there's a few people milling about. We have very long leads (which we only use for sound checking), and literally wonder about, around the space checking levels etc. We also had a great sound guy, which helped. Whenever we recorded live gigs and listen back to individual instruments, we always sounded rubbish, but somehow sounded decent in a live environment.

+1 for the Behringer v-tone. That's all you need.

This is pretty much exactly how I set up to get the best tone from them. 👍

I don't think they are cut down for Mustang's. Full scale they're high tension, but on short scale they're more like medium.

Fender flats sound great, specially on short scales. I changed the tuners on a Squier bronco, fitted fender flats, and wow, medium tension, lots of thump but still retaining articulation up and down the neck. I too like the old rounds tone, lots of low end thump, have you tried DR Sunbeams or Fender Pure Nickel's, both are fabulous for that vintage thump sound, even straight out of the packet?

I never understand why some bass players don't want to be heard. I've seen many bands and know other bassists who prefer to hide in the mix, but I just don't see the point. Even if you play poorly, no matter, a bassist has a job to do in the mix, and should always be heard. I play mostly Rock, Blues, some Motown and Ska. I mostly use a pick, so I can dig in when necessary, so I can drive the song along. Sometimes I play thumb style (a la Robbie Shakespeare) if I want a fatter or more rounded tone, rarely if ever play fingerstyle, doesn't work for me.

This is what I may end up doing myself. Bit of persepx, hacksaw, drill, wet/dry sandpaper - what could possibly go wrong.

Don't have the original. I could make one myself, but before I do that, I thought I'd check BC, see if anyone knew where to buy one, seeing as these are/were availble to buy from stockists.

Hartke sb15

Does anyone know where I can buy a black plastic cavity control panel the EXACT shape as the picture below? I ordered this one, but the company sent a different one (slightly different shape), and said that was all they had, and having spent an age searching online I can't find another supplier. It's approximately (L)142mm x (W)62mm.

Looks great. I too am partial to cream pickups, especially DiMarzio. 👍

To give the quote more context. The audience wasn't being allowed to move around by security, this is what frustrated Paul, and the cause of him smashing the bass.

Yup, fender flats are the highest tension, bright flats. Rotosound flats are slightly higher tension, but are dead sounding imho. If drop tuning you'll want to get the heaviest guage.

You have the volume pot the right way round, i.e the lugs facing the tone pot lugs?