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Thanks for Your response! Ok, but I have noticed that it is problematic to mix different brands. Like the EB cobalt flats I mentioned have much higher volume output than for example rotosound monel jazz flats.

Yeah, shoved some skinny rounds on it as I hate roto flats.

Wow. A handsome brute indeed.

Reasons to use a 15” bass cab these days are rather rare. Possibly ok if You play in a pub with unmiked drums, couple of unmiked guitars and a vocals amplified trough couple of small speakers on a pole. Add decent small subs to this setup and a 15” isn`t necessary in a pub. In a club-sized venue there’s usually bigger P.A. (making Your 15” or even 8x10 unnecessary) and a pro sound engineer for FOH mixing and if You are lucky another for monitors. In most of the cases they make Your band sound better to the (paying) audience quieter Your stage volume is. If You get booked to some artist`s tour You must discuss these things with the artist and her/his soundcrew. To my experience You can manage most gigs with rather modest setup. Of course it must be decent quality gear. Best solution for great sound for the audience is in-ears for the whole band. I know all of us can’t get used to it (including me). So mostly I use my 12” MB wedge, even raised closer to my ears. Can`t complain, very ok for me.

That's what I'm trying to figure out, I think. The stray wire isn't from a volume pot, as there's a second wire seems to be still connected and eventually runs to the jack, but not the hot pole. I think the tone pot is wired up a bit differently to a Jazz, but without seeing another B2 I'm not 100% sure what goes where. There are a lot of connections to the tone pot which all seem to join to one of the lugs via a big bit of solder on the top of the tone pot where various wires meet. So I'm wondering if the stray wire got broken off from there.

46 and 2 - Tool

That's much better. Yes, the posthumous hit hardly sounds like a reggae track. Thanks Tony 👍

Following too.

Haha, yes, that’s a good point. Probably under £300 - so more than likely something used to get the best bang for my buck.

If 6 Was 9 - Hendrix

I reckon it’s to make the B string seem bassier than it is - take some of the ‘boom’ out of the next lowest strings so that the B sounds half decent by comparison… 😄

Very nice work @BigRedX, actually does take me straight back to 1984 👍

Def, I don’t think my Mustang/Behringer BDI21 that I use in venues with big in house systems would have been any good in my old punk covers band PA - a vocal PA with two 1x12 speakers- especially if said PA had the guitars and drums in it as well. I’d venture it might well have conceded defeat.

Thanks for all the kind comments. The original mix is actually a re-purposed version of something I wrote back in 1984 for the synth-pop band I was in at the time.

Urgh. I'm a total convert and I kind of agree but like, dude, I almost want to disagree on principle. Richard Dawkins. He's right. But he's an ass.

Maybe a way of styling out headstock damage. Notice there is no visible headstock decal. That or he played with a pushy guitarist with a Telecaster who insisted on the matching showband look. Another mystery bass is a P Bass played briefly by Chris Hillman of the Byrds: I wager there is the remains of a split Fender headstock under a new veneer, plus extra wood to make up a 2 x 2 headstock. The bass has never surfaced, so pure guesswork on my part.

No, Watt. James Watt. ☺️

To my experience mass of a bridge doesn’t matter much, actually a heavy slab of metal can make Your beloved vintage bass sound and feel strange. I think most important feature in bass bridge is its rigidity. Meaning that bridge saddles must hold their position in every axis, front-back for intonation, height for proper action. Sometimes there`s a problem with bad bridges when saddles are slightly sliding sideways. That’s where strings are loosing their vibrational energy.

As far as I know this would be one of the original versions before it was remixed in around 91 I think, it’s a lot slower and you can hear the basssline , it’s on the album Songs Of Freedom Rarities , is this the one you heard myke?

Exactly. If you go ampless and use IEMs, you really need a high quality PA. Many bands are using decent but not outstanding vocal only (or mainly) PAs, which are perfectly adequate for pubs, bars and clubs. They will cope well enough if fed a small amount of kick and bass to augment the sound from onstage rigs, but would struggle if required to do all the heavy lifting. It's a different matter when playing large venues with a serious PA, of course, but many do not do that.

Three is family - Dana Dawson

If I’m wrong, I’m going to get my apology in well early,,, and where’s @Dad3353?