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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?

The Alleged Stranglers Superhomeless/ SuperNoFixedAbode Nosnowforyears Patrol #AntiVaxx (Cure deniers)

The sound is excellent

Sandberg and Warwick do 45-135 with the heavier A and E. You can buy a single 135 and add it to a stock set (e.g. Roto 66)

Great thread, I'll be watching keenly as I have a similar project here, albeit one that's on ice

I have a 500W Orange Terror, even though I have an efficient cab, I can't imagine anyone needing (as against wanting) more backline power, yet it's small enough to use at pub gigs. I've carried it over my shoulder in its bag, bass in one hand, light 2x12 in the other and walked a few hundred yards to a gig. I saw the bass player from Diamond Head using one at the Manchester O2, so I think that's 'nuff said regarding 'is it enough'.* *others in this thread will confirm the difference between the 500W and old 1000W versions is barely audible.

Fantastic. Love a bass project. My 1890s German bass had the same neck damage (it fell over). Also had ( mysteriously) some big brass screws holding the neck to the dovetale bit at the bottom. New neck, inc grafting the original scroll onto it, cost ( the insurance) £4000! Great to see someone doing a DIY .

What?

Them’s for these

I wonder why so many string manufacturers offer 45-65-85-105 sets for 4-stringers but only 45-65-80-100-130(or 125) for fivers? To my taste .80 A and .100 E feel little wimpy and sound too soft. In many cases I need to buy a 5-string set plus a 4-string set to get optimal set since single strings are not available. For example my favourite EB cobalt flats I must purchase like this. What do You think is the manufacturers idea, do they believe that bass necks will bow or is the reason to sell more strings?

The Out and Out Blues Band with our very own @ossyrocks on bass