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The Squier Mini Precision Bass Club

What you really mean is 'stop playing with TB and start practicing bass'. <sigh>
Well, it is true that’s finger oil does the trick - eventually:). But I agree that Chromes never lose a certain high-mid emphasis not typical of Labella DTF’s or GHS Precision flats, for instance. It’s actually a pretty handy quality in a mix, but not everyone’s cup of tea. While I’m usually a Labella fan, I do like what the Chromes bring to my mini. In full disclosure though, the original mini electronics were swapped (by the previous owner) for an active EMG system. …massive!
 
More on strings

Fitted Chromes to my Mini and TBH I'm a bit disappointed. I'd read all the positive reports and hoped for more thud than the trashcan-hitting I got both with neutral EQ and after fiddling with the knobs on my Rumble 100V3.

I'd like something closer to the thud I'm getting from D'Addario black and LaBella white tapes on Ibby MiKros (for the record the LaBellas are smoother and the D'Addarios give a bit more growl). Any suggestions?
I've not tried Chromes (not sure even who makes them) but I have Pyramid Gold flats on my short scale p-bass copy. It's a 30" scale Samick, but it should be close to a Mini.

Best of luck!
 
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Thanks. I have a J&D sub-scale( 29" jazz bass on the way, and am already thinking about replacement strings. How well do the LTFs work on a sub-scale - intonation, floppiness, clarity of pitch?
AFAIC all of that is real good with using LTF's on my 30" Cat bass. I've read where LaBella's LTF flats have been compared to Thomastick's Jazz Flats, only less floppy and a lot less expensive! Other than that I've no definitive proof as to how they'd work on a 29" mini except to say, why not?
 
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I've not tried Chromes (not sure even who makes them) but I have Pyramid Gold flats on my short scale p-bass copy. It's a 30" scale Samick, but it should be close to a Mini.

Best of luck!
If I'm not mistaken that's the same INDY factory that makes Squires (although these things change at the drop of a hat) so it could be the same Poplar and the same CNC machines at work on the blanks. :)
 
Guess I’m ready to join the club. Work in progress.
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Me, after the power came back on...
1978-Prado-Park-Tex-Show.jpg
The 100 was clean all the way to 3 o'clock. It also has a DI out the back but I can't use it in the modest establishments I play. We're lucky there's power at all.
Speaking of losing Power...
In the summer of 1978 we were doing a festival backing Tex Williams in Prado Park in Corona, California. We were to setup on a giant Hay covered Stage (pine paneled walls inside a corrugated steel building with a tin roof) Unfortunately for us, it was a good 200+ feet from ANYTHING (including power. Yes, there were outlets on the stage, but they just didn't work!). So, we hastily rigged a 250 ft extension cord to the closest building and used that to feed the house mixer (out front) plus the lights, plus the stage for instruments and such. Tex started up with his biggest hit "Smoke, Smoke, Smoke that Cigarette" (look him up on Google, he was still a fairly big deal back then). So, as you can imagine what it was like when a slightly "alcohol influenced" lady accidentally "tripped" over that cable 2 minutes in, rendering us mute on stage! Tex (being a pro's pro) reached over and picked up his acoustic and kept on singing as loud as he could. The crowd (probably 400 people) quieted way down, and he finished the song (with 2 encores). He joked with the crowd for a while, and about 10 minutes later we had power again, and we finished the set. Scared the crap out of us guys in the band, but he wasn't even phased. To him it was just another gig, just another paycheck. VERY COOL guy to hang with afterwards too, probably second only to visiting with Tommy Tedesco at GIT. Those were the good old days... :)
 
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Me, after the power came back on...
View attachment 4684818
Speaking of losing Power...
In the summer of 1978 we were doing a festival backing Tex Williams in Prado Park in Corona, California. We were to setup on a giant Hay covered Stage (pine paneled walls inside a corrugated steel building with a tin roof) Unfortunately for us, it was a good 200+ feet from ANYTHING (including power. Yes, there were outlets on the stage, but they just didn't work!). So, we hastily rigged a 250 ft extension cord to the closest building and used that to feed the house mixer (out front) plus the lights, plus the stage for instruments and such. Tex started up with his biggest hit "Smoke, Smoke, Smoke that Cigarette" (look him up on Google, he was still a fairly big deal back then). So, as you can imagine what it was like when a slightly "alcohol influenced" lady accidentally "tripped" over that cable 2 minutes in, rendering us mute on stage! Tex (being a pro's pro) reached over and picked up his acoustic and kept on singing as loud as he could. The crowd (probably 400 people) quieted way down, and he finished the song (with 2 encores). He joked with the crowd for a while, and about 10 minutes later we had power again, and we finished the set. Scared the crap out of us guys in the band, but he wasn't even phased. To him it was just another gig, just another paycheck. VERY COOL guy to hang with afterwards too, probably second only to visiting with Tommy Tedesco at GIT. Those were the good old days... :)
Looking spiffy right there. Can't beat the 70s!
 
Looking spiffy right there. Can't beat the 70s!
Yea, Country Band members wore that kind of stuff back then... Playing my 1975 "neck through the body" Ibanez with a Koa cap. I know that because I ripped a 2" hole in the Koa the first night of a tour, at the top mounted jack. They patched it for me to finish the tour, but it looked like crap. So later I added Dimarzios, had it refinished in black with cloud inlays on an ebony board, and they added a side mounted jack and moved the toggle where the jack was (see the old split polaroid below). BTY That's a pristine 71 telly, leaning on my amp! I could trade that guitar for a small house, these days... I wish I had kept it... :(
1978-Alembic-Style-Ibanez.jpg
 
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