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Ritter667 said:

Sounds like a P with flats, and with a slight breakup perhaps, from a preamp or overdrive pedal, to me...

Perhaps a P/J bass with both pickups engaged, or just EQ'ed to be a bit brighter and snappier.

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Metal Sombreros said:

Jazz bass

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The OP said he found out it was a Scarbee plug-in of either a Ric or P bass (Sun Bass) plug-in. There are samples of the two on their website

I picked up the b3 and honestly it’s great. I won’t have an issue with app compatibility and software that will go dark when they want us on the new version. The metal is solid. It’s going to hold up well. It doesn’t sound dated it actually works great when you dial in all the effects. For bargain hunters this is the brand to look at. Zoom gets it right. I’m curious to hear the new version but it can’t be leaps and bounds over the stuff from the 2010’s. It’s like with cell phones and other devices. Nobody’s really doing anything that much better than they were years ago. Innovation is literally down to a crawl and it’s all apps now so to me it’s actually going backwards.

Here is my rig. Still looking for another folded Peavey 118S cabinet to complete the stack!

Storhaug?

I just picked up a P bass that has no brand. But the pickguard is about 1/2" thick past the pickup. None of my Fender/Squier PG's cover the extra distance (nor do they fit right near the pots). Anybody have an idea about another source? Sample pics are of an Icon bass (sunburst) and a 2017 Fender player (whiter. You will note the differences circled....thanks!

Frienderfi said:

It's just kind of weird and funny and strange to wrap my mind around because i've noticed on the way up it's only 1 semitone off on the 3rd from being the open string A-major scale and then it swaps back to the minor scale i have come to know on the way back down. it really is weird.

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Melodic Minor - derived as a classical compositional convention ascending with the 7th note 'leading' a half step to the tonic.
You can think of its construction as utilizing tetrachords of Min–Maj.

It can be confusing as to the origin and/or use of all the possible scales in western harmony.
The Asymmetrical scales we learn as Modes are derived from the 4 "Parent Scales" (harmonic systems); Major Scale, Melodic Minor Scale, Harmonic Minor Scale, Harmonic Major Scale. Listed below are the possible minor scale variations, but in general it could be argued that Aeolian, Dorian, Locrian, Phrygian, Melodic and Harmonic Minors are the most prevalent in our western popular culture.

• in the Major Scale there are 4 minor modes: ii Dorian, iii Phrygian, iv Aeolian, iiv Locrian
• in the Melodic Minor Scale there are 4 minor modes: i Ionian b3, ii Phrygian nat6, iv Locrian nat2, iiv Locrian b4
• in the Harmonic Minor Scale there are 4 minor modes: i Aeolian nat7, ii Locrian nat6, iv Dorian #4, iiv Locrian b4 bb7
• in the Harmonic Major Scale there are 3 minor modes: ii Dorian b5, iii Phrygian b4, iiv Locrian bb7

Frienderfi said:

oh thank you, would you know why I wasn't taught this melodic minor as my basis for minor scales and instead was taught the aeolian mode minor then? Is this just a difference in how music has been taught over the years?

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Depending the setting and teacher teaching you, Aeolian is the basic stepping stone from the Major Scale to learn the difference in harmonic qualities (ie Maj and Min). If one were to continue in this manor, one would expect to be taught all the remaining Major modes, then from there all the modes of; Melodic Minor, Harmonic Minor, the Harmonic Major.

These scales don't supersede each other. Each scale is its own 'sonic landscape' and is used to support a tonality (key) or used compositionally to support voice leading. Western harmony has evolved since the 1500s so new sounds/tonalities were developed to serve the purpose.

CryingBass said:

Do not open the return email.

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They actually didn’t answer, and I’m not expecting they do.
But if they do, you can be sure I’ll be very careful…

Plectrum72 said:

Some of you have never played a 2+ hour outdoor gig with temperatures in excess of 100°F (38°C ) and it shows.

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Yes, I had an ART pre-amp. You couldn't touch it. I don't know why it was working? We were joking around. "I have a 2nd fan I'll sell you, for $200!"

pdbass said:

Third, the gear thing definitely happened (even after checking everything, sir) which is often unavoidable. Thankfully Danette was able to help me out and I got something out of the trip to post.

Onwards and upwards.

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Ha, well I'm glad to know you did indeed check it.

Good on you for responding, you certainly didn't have to. I think we all appreciate how much your trip meant to you.

I ordered the black version this morning. It’s on backorder and I hope to receive it in two to three weeks. (Can‘t wait!)

Just another positive mention of the Shure PSM300 with the metal receiver pack. It’s up close to $1K nowadays new but maybe finding a used one for less would be a good option but will still be above your budget. However….as someone who spent hundreds of dollars on previous low end IEM systems over the years prior to getting the Shure I would advise to wait, save and buy once for the better system as the Shure. I have used it on well over 300 dates and have had zero issues, no dropouts, no interference, most likely due to the 500 Hz band operating frequencies and staying away from the more congested 2.4 and other much used frequencies.
As far as ear buds, I have used everything from cheap $25 ones to my current custom molded Ultimate Ears Pro 11 model but they cost me almost $1600 for the buds and audiologist impressions. For me the difference in the customs was significant. They stay in and never budge due to no silicone tips and the deeper insertion plus sound fantastic. I realize these items are way out of the budget that’s mentioned but my point is to try and go for as high end as possible and don’t jump into any system that you’ll more than likely want to upgrade at some point. My recommendation then is to try for a used Shure PSM300 and possibly the Ultimate Ears non-custom 250’s mentioned in a previous post. Best of luck!

Guess @ 800 Hz is your sweet spot.
Fuzz, Distortion, Overdrive in the Low-Pass.
FX High Pass.

I’m revisiting this old thread because I have one of these combos. And I agree that surprisingly loud and half decent sounding for the price and size I would not hesitate to take this on a gig, especially with PA support.

But surprisingly loud doesn’t mean it’s loud enough to keep up with like a metal drummer or anything like that

And I really wish you could run the internal speakers with an external speaker, but obviously they’ve got it at four ohms and they don’t want to run it at two ohms or anything like that so that’s that.

For the record the footswitch makes all the difference as far as usability. I have never once gone on the computer side and tried to mess around with the effects, but I know you can, but the basic effects are pretty good Boss standards that don’t need any tweaking.

I'm happy to report that I received the replacement Bass 800D, and there is no strange noise from the AUX input. Everything is working perfectly now.

It looks like the first amp had an issue after all.

Gal

An experienced, knowledgeable teacher can guide you through all of the questions, check out your bass, and give you good info to get you started, There are some very good suggestions here, but if I were just starting out they would totally confuse me. I will sometimes get new students who have done some self teaching or received bad instruction, and it can break my heart to see how many issues they have that need correction, even to avoid injury. Please find someone who can get you going on the right path. I have nothing against teachers who play other instruments, but someone who really knows the bass is the best IMO.

Get the best Fender Jazz or Rickenbacker you can and pay it off

Fix it up and play it thats a USA made vintage pro instrument

Once again as stated the Rumble Filter and Air switch were designed for acoustic guitar applications. You can certainly try to use those features with other instruments if you wish but the Rumble Filter's


RUMBLE FILTER

Engaged (in position), it removes unwanted sub-sonic frequencies that cause boominess and audible handling noises associated with acoustic guitars. Also complements other instruments, such as electric guitar, for a snappier, more inyour-face sound. Note: When Blend is at minimum, there will be no effect.

AIR

Engaged (in position), adds top-end clarity and sparkle to acoustics. Also complements other instruments, as well as vocals, for more definition and more open sound. Note: When Blend is at minimum, there will be no effect.

The Bass Driver, Para Driver and VT Bass DI's are amp emulators that can also be used as standard transparent DI's if desired when bypassed. They are flat response when bypassed. If engaged with the blend control off and the EQ's set to their null points they are also flat response and can be used as a DI with added EQ.

When the Blend is set at 100% the SansAmp circuit is engaged adding amp and speaker emulation which is the point of the product.

For myself I just plug the pedals in, listen to my sound in bypass then engage the SansAmp and adjust for the sound I desire. I'm lucky in the fact that I have access to all our products and can easily try them back to back but for the most part I can usually find a workable sound fairly quickly. I could ask our designer or engineer to put the pedals on the FFT or connect them to an oscilloscope but that seems somewhat pointless to me and a waste of time. It's much faster plugging in, playing and trusting what I hear vs looking at a computer screen. All our products are tuned by ear, measurements are used after the fact to ensure consistency from the prototype to production as well as for troubleshooting.

A couple thoughts on the OPs familiar challenge.

Are the loud band mates playing successfully with others in town? In other words, are they truly distinguished?

is the OP loud enough playing with others in town? In other words, is the OP loud enough?

I have a DHR110, which is a really strong powered speaker, and in the same power class with the DXR. Im a hard player. With high action, and I don't think id have trouble keeping up with any reasonable combo of musicians in a much bigger venue. Id look closely at your own setup, technique, and settings. Someone mentioned mids, that's what Id look for with a 10" rig, especially one that isn't voiced for a bass instrument. After that, If you want a scoop sound with a loud band, you need more or larger drivers.

Just yell "Do not redeem!" over and over. I assume that has traumatized the entire sub-continent. That or learn to swear in other languages. IME the more you eff with them the more your info gets shared. Yes, you waste your time to the benefit of other would-be scam victims, but there are people who do that as a day job (Kitboga/Jim Browning/Scammer Payback/Deeveeaar/Trilogy Media/Scam Sandwich/etc). The best move is to just hang up. Mr Buzzkill out...

Malak the Mad said:

At first blush, I didn't know what "vet wrap" was until I did a little digging. If I'm reading this correctly, it's the same athletic wrapping material I used on my forearms and knees after a considerable wipe-out on my bicycle. It's rubbery coating could grab onto itself well enough to keep my bandages in place, but was flexible enough to not interfere with me working on clients.

• https://www.cvs.com/shop/cvs-maximum-support-self-grip-athletic-bandage-prodid-1011658

Interesting stuff. It's basically a rubberized ACE bandage, but with no adhesive or metal clips needed. I'm curious to know how well it stays in-place AND grips onto the back of the neck simultaneously.

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Sorry, I was glib with my description. It's called "Tensoplast". https://www.amazon.com/dp/B005ESRLVY?ref=ppx_yo2ov_dt_b_fed_asin_title

We have used vet wrap a lot over the years, for our animals and for ourselves. This stuff seems to be essentially the same cloth, but with a layer of adhesive on one side (rather than being permeated with "stick to itself" stuff).
With the adhesive on one side, it stayed in place on my thumb extremely well, and was not grabby on the neck.

FWIW, my experience with vet wrap is that it would stay in place very well also, but would be grabby as heck on the neck and therefore a PITA to play with.

I'm going to try it at a jazz get-together (not quite a "rehearsal", e.g. no gigs planned, but not a "jam" either) tonight.

basebasser said:

TL;DR the problem is the venues and my own expectations of what a split coil can do to eliminate hum, not the bass.

I took it to the shop and we compared it to the others they had on hand. Like my home it was relatively quiet in terms of EM and my bass gave basically the same level of hum as a 4 string sp1 and some other random p-style bass we tested while at stupid volume. I had assumed that a p style split coil would act more like my jazz does in parallel, which absolutely eliminates hum, but that just isn't the case. It is still a bit weird to me that the bridge pickup has much less hum but who knows why. The other 4 string sp1 was like that too.

It's more than acceptable at home and some other places I've played so I'll have a chat with the venue next time and see what we can do, which direction is best to orient myself in etc. Maybe I can also convince my friend with dimmer switch lights in her house to practice in the dark

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Having played in a bunch of different places with varied levels of noise I think your tl;dr nails it. Although some basses will be quiet and probably more appropriate for said venue. At the end of the day it’s not worth bringing a noisy bass that doesn’t play well with their wiring setup or their LEDs.

Just catching up on the thread, interesting… when I was younger, I read an interview with Billy Sheehan who talked about cranking the neck screws as tight as he could get them. So that’s what I did for a long time. Not sure it accomplished anything tonally but I did manage to strip some screws. Now I just tighten until snug and it seems to work just as well. I can’t help but think that other factors, such as the relationship between neck and body woods and builds, is a far more significant factor, all else equal.

Also, trying to draw conclusions about what the instrument designers intended from marketing materials, as was done with the Yamaha basses earlier, doesn’t seem prudent to me. Marketing departments tend to use verbiage that will entice the customer without necessarily being accurate to the engineer/designer’s intentions.

A little late to the party but how close do your frequency centers have to be? could I get away with two parametric modules next to each other in my MS-60B+? Looks like frequencies available are 7-10hz apart until you hit 80. Then it's a spacing of 10-20 up to 200.