| I will say that the two only real constant basses on MOST every record are Starfire reissue, and '66 P-Bass. Both have flats.
I love all my basses, that's why it's so hard to get rid of any. It's funny though...you bring something awesome, like a Ricky 4003, and you think it's going to be perfect, but then you bust it out and with a certain amp, certain room, certain mic, outboard gear used, and the way it sounds in the track, and it will sound dead wrong, and you go into doubting if the bass was ever that good. A week later, it's blowing minds.
So things change all the time. I bring 8-10 basses down to sessions, depending on what is going on. But regardless of style, I always bring a couple of hollows with flats, a p with flats, a p without flats, a j with flats, a j without flats, then the more "character" things like Ripper, RD Artist, Guild M-85, JS100, Ricky, Wal, T-Bird, Epiphone Newport, Mustang, etc.
Funny thing is, producer and artist generally aren't fussy - it's all in my mind 75% of the time, and the first or second thing I pull out for a given track is just right.
Over at Beck's, he has a '70's Mustang that's perfect for a lot of stuff. With Jerry Finn, he has a '64 P with rounds that is a monster. So sometimes I'll just use what other people have too.
Does that answer your question at all?
JMJ | 
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