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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

cars - Gary Numan

Unless the strings are damaged, or they are La Bella low tension flats, then any other string will buzz if you are using regular high tension La Bellas. I owned a 2008 4003 for a while. I am convinced it was slowly folding around the neck pickup route. Rickenbacker removed out a lot of wood for the relatively small footprint of the neck pickup in quite a critical structural location for many years of production. I gather they revised the routing at some point, so this might not be the case in a 2013 instrument. Final thought is the trussrods. I didn't find I could use them independently and get more relief on one side of the neck by running one rod looser. I dialled out the relief with one rod but had to tighten the other just enough to stop it rattling. I think the rods themselves were tone thieves to some degree depending on how they were adjusted due to sympathetic vibrations, etc. Again, Rickenbacker take a lot of wood out the core of the neck to fit two rods to do a barely adequate job that is usually accomplished better with one rod. Good that RIC have recently seen sense and dropped down to a single rod. My 4003 always buzzed, but part of the charm of a Rick is that husky semi musical fret buzz, so I lived with it.

There is of course the easy 60s option, an oil wheel projector... Though LED is an option too https://optikinetics.co.uk/product/aura-projector/

Mustang Sally - Wilson Pickett

For tricky bass gear repairs, sometimes unconventional parts or mods can do the trick.

Last Year's Race Horse (Can't Run This Year's Race) - Little Richard