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Thanks! It's an Eastwood Hooky Bass VI going through a Line6 Helix with Compression, Chorus and the Roland Jazz Chorus Combo SIM (something that would be completely unsuitable for bass in real life) plus whatever additional studio trickery was applied by our synth player during the mix.

Ahhh, that looks like the one. Mine may well have been hand painted and could easily have been a sunburst originally. This looks like the bass version of my uncle’s 6 string. Thanks!

I thought about Teisco too. My uncle has a Teisco 6 string (sunburst) that looks a lot like this bass. Same pickups and similar fittings.

https://www.rollingstone.com/music/music-news/beck-talks-mutations-going-solo-from-himself-248322/

Always a good thing when an artist's work is recognised, but all this Hall of Fame stuff is a load of corporate b/s. Imho obviously.

One here: https://richtonemusic.co.uk/teisco-short-scale-bass-sunburst-2nd-hand/

I think the argument is that mixing random speakers (by manufacturer or size/shape et al) can produce random/unanticipated outcomes. It isn't to say that it can't/won't be pleasing but there is an element of unpredictability in the resulting sound. If someone loves a particular sound and just wants more of it, then another identical cab will give the same resulting sound... just more of it. However, if you pair an alternative cab that wasn't initially designed to be paired (full range cabs rarely IF EVER are, even when we were throwing 4x10s on top of 1x15s), you could get results that aren't as pleasing. It should also be stressed that not all 5/6/8/10/12/15/18 inch drivers produce the same sound/tone. Speaking of real world experience not science, I've owned enough cabs and played through more, to know that when someone says that a 10/12/15 is their thing, what they are voicing is that they like the sound of that speaker (irrespective of diameter) in that size/ported cab and many similar cabs sound... similar. What you tend to find is that many 1x15 cabs actually have more internal volume/space. I'd surmise that cab builders make them standard width/height/depth and the speaker has more air, whereas 4x10" drivers crammed in the same box hasn't sufficient volume. Look at the 1x15" TE cab in Alex's video, it is massive and nobody these days is making that size cab. Also a 2x10 cab will almost certainly be built 'down' to a size as opposed to using the same volume as a 1x15. I did a recording of multiple cabs in a real world situation (mic placed a set distance from cabs etc) and nobody could correctly identify the 2x10, 1x12, 2x12 or 1x15 cabs. In fact the 1x15 in question was missed by everyone who had a guess and ALL said it was a 2x10 cab (experiment on BC somewhere). Saying all of that, if you put 2 (or more) cabs together and you like what you hear, then that is an absolute result which nobody can argue with because it is what YOU are wanting to achieve/hear.

Looks like a late 60s/early 70s Teisco 'Top Twenty' Short Scale or the Kay version. My money is on it being the Teisco.

I've used a bus configuration on a desk before, taking a pre-signal from all the channels with anticipated lower frequencies (bass, kick, keys and male vocals) and routing them all into a new channel where I have rolled off the highs and mids, and essentially used it just to control lower frequencies. I did this in acoustically challenging rooms when I did not want to touch the overall system EQ due to needing to control resonant frequencies etc. Also means that you can have more or less bass frequencies on a per song basis if you want. It's fun to do but I wouldn't say necessarily a game changer.

That's excellent. I love the sound of the bass on the first track, and it sits perfectly in the mix.

Me too. I’ve had this for ages and forgot about it. It’s got lots of character, plays and sounds great, even before I start working on it. It’s probably only going to need a clean up and new strings.

Wondering if a standard Fender Precision/Jazz neck will fit a PB550, there's some info on the web suggesting the answer is yes but it's a bit vague? Anyone who's done it, or who would be kind enough to measure the neck pocket, it would be great to have a definitive answer 🙏

Funny you should mention @Bassassin His info on another thread about these Jap basses was the inspiration for me posting this thread. 😎

I think I got scared off by people saying you shouldn's mix speaker sizes, and given I prefer the sound of 2 or 4x10s over 1x15, kind of went down that route for the last ten years or so. But then when I hooked a 15 up again a few months back I realised that actually regardless of what people say online, the combination of speaker sizes do sound really good. As such I am returning to the 20th century view of a stack with one big 15/18 and some 10s regardless of cancellation or whatever else scaremongers might say...

I'll hazard a guess that the "resonant boominess" that you get is a room resonance. That's unless you are getting it at the same time in the same song at every gig. Obviously that resonance is being set up by something and that can be by the guitar and bass producing the same frequencies. You do hear it in recordings sometimes so it can be a deliberate effect.. I see HPF as being something on the mixer which cuts hard at 24db/octave a real shutting down of power compared with a tone setting which will normally be around 3-6db/octave. Most tone controls will work at a max of 12-15db/octave but you don't usually turn them up to full boost or cut. 150Hz is too high to cut off the guitar that sharply. You can't really use the same calculations for guitar or vocals as you do for bass or kick. Our ears are nearly completely insensitive to quiet sounds at 50Hz so you don't miss them. You can clearly hear 150hz where our ears are much more sensitive and the guitar or vocal will lose all the 'body' from the sound. I HPF guitars at 80Hz, maybe a touch higher if I have an acoustic guitar giving me bass feedback issues. What you can do is try to locate the frequencies that are giving you concern and try to filter them using a parametric eq. Find the centre of the troublesome frequency, cut that a few db and then try widening or narrowing the width of the filter to make the cut as unobtrusive as possible. If it is only happening in some venues then you would probably be better doing this on the output stages. Also be aware that the boominess might just be on-stage if you aren't all using in-ears. The sound might be good out front. Check if you can as you don't want to be cutting the bass if the mix is just right FOH.

My money is on @Bassassin!

Cool bass! I love an old Japanese mystery. That scratch plate doesn’t look original - would look 10 times better if you made a new one that followed the contours of the body.

Hi I’ve had this bass for a while and I’m currently restoring it for my daughter to play. She has a Squier P-Bass, but she fell in love with this old thing when she saw it. I have a feeling it might be an old Jedson, or one of the other brands these guitars used. there are a couple of holes in the headstock that seem to have metal in them, as though a logo got broken off. many further help would be appreciated. Thanks, Rick