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Would I like this bass? :)

Yeah, If that’s your style I would snag that up. I played aerodyne for years but for some reason the binding started to get to me. I still have a few but I prefer curves on my basses.
I am thinking about it. But info I have found also says it's an "entry-level" model? Not sure what that means, exactly. Also the shipping and tariff fees could make it north of $900.

For real...I hate that bound edge...whoever thought of that didn't sit down and play it for an hour before they settled on it! I found an Aero identical to mine a couple hours away. Has the badass bridge on it (which I love and mine also has), but missing the OG pickups (looks like they Aguilar DCB-4PJ pickups...don't know much about those but saw a couple poor reviews). It's pretty dinged up but the seller says the neck has no dings. Since I KNOW I love this bass, it already has an upgraded bridge, and it's dinged up, about snagging it, rounding over the bound edge and repainting it. WHITE! But leave the black headstock, bridge, jack plate, pickups....that would look sick.

The only way to answer the question is to play a comparison if possible?
Yeah there aren't many of those MIJs lying around these parts!
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Sterling by MusicMan Joe Dart Vision

I did some math. Their direct to market strategy is probably way more profitable and less risky than other methods. Fender could learn from them.

I had some fun with math today...



Selling 543 basses at a retail price of $599 generates $325,257 in total gross revenue.

For a mid-range offshore bass priced at $599, direct factory labor accounts for approximately $30 to $50 per unit (out of a total manufacturing COGS of ~$100 to $130).

Cost & Profit Breakdown (543 Units @ $599)​

Financial MetricPer Unit Estimate543 Units Total
Gross Retail Revenue$599.00 $325,257.00
Estimated Direct Labor Cost$30.00 – $50.00 $16,290.00 – $27,150.00
Revenue Minus Labor Alone$549.00 – $569.00 $298,107.00 – $308,967.00

Well, I've collected the study materials...

Over the years I've accumulated quite a collection of electric bass books and study material. A lot of it I worked through 'back in the day', starting in the early 1980s with Chuck Rainey's 'Complete Electric Bass Player' series, and 'one-off' things from Clive Harrison, Rick Laird, Joe Hubbard, Adam Novik and the like. Others I've picked up more recently, as much out of curiosity as well as to try to keep things fresh. Taken alongside each other they all start to look very much alike - different takes on the same 'stuff'.

In terms of methods, the 'Complete' version of Friedland/Hal Leonard Bass Method (HLBM) sets the current standard, but over time and in a "GOAT Shoot-out", I would place the 1985 Chuck Rainey Method (book 1 in the 'Complete Electric Bass Player 'series) at the top. Both are Standard Notation and both include more than enough to get a non-reader going - the HLBM has slower start from a lower level so is probably better in that regard, but overall the Rainey book will take you further. Compared to the HLBM, the topics covered by Rainey go to greater depth and within each topic there are several exercises which start simple then go on to be more challenging than anything in HLBM.
The Jeff Berlin reading stuff is good material but really needs to be used either alongside a method book or under the guidance of a teacher - it is devoid of anything connecting the music on the page to the physical execution of the music on the instrument.
For someone looking to sight-read, the Sight-Reading Studies collections from Robert Anthony are excellent, and Rick Appleman's "Reading Contemporary Electric Bass" is also pretty good.
I have a few of the 'Walking' books (Pattitucci, Berlin, Fuqua, Tate, etc.) - the principles of Walking Bass are long established and largely unchanging, so any one of these would have done fine.
I have a handful of 'deep dives', such as "Standing in the Shadows of Motown", Ed Friedland's "Reggae" treatise, the excellent "Latin Bass Book" by Oscar Stagnaro & Chuck Sher and a couple of the "<Insert Name of Your Favourite Player Here>" transcription books that I would hazard everyone has and rarely opens.

Through all of this, whilst I've had a good deal of music education and training, I've never once had a bass lesson. Electric bass tuition didn't really exist when I started out, so Rainey was pretty much the only thing going apart from one-page articles in magazines. Thankfully, back then, Guitar Player had some pretty good bass contributors - Jeff Berlin, Herb Mickman, Carol Kaye, Stanley Clarke, Bunny Brunel amongst them. In 1984 they put out a book with all of the collected bass articles in one place, called simply 'Electric Bass Guitar'. There was no structured or progressive 'method' to any of it, but on some level or other it covered pretty much anything you could think of. By the late '80s it was out of print and the original 1984 edition is pretty much lost in time. But a revised edition was published by Hal Leonard under ISBN 0881889075. I suspect it is out of print again but IME is worth a look, if only for the Mickman stuff.
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Pictures of you

I just came to browse the forum a little bit today and got a bit nostalgic. It's crazy to think I joined this forum when I was still 14 in 2001. I got a bass clef tattoo when I was 21. Started playing guitar in bands when I was 22.

I'm 40 now, I have a 15 year old and a 13 year old. My kids don't have much interest in playing music, but they are big music fans.

I still consider myself a bassist at heart, even though it's my least played instrument lately. Heck, I hardly play anything lately unless it's at practice or getting ready for a once in a while show I play. I still have my first and second basses, a 1970 Fender P-bass, and my 1984 Aria Pro Explorer, but no rig to really run them through. I think eventually I'd like to do a mild restoration on the Aria with new pickups, but it still plays well enough to record with.

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First Parts Bass. MJT / Nash build

Put together a parts bass for the first time. After purchasing all of the parts from the forums here, I ordered a body from MJT. A few months later it was ready to go! A little disappointed in the finish work from MJT but the bass plays and sounds killer. Just wanted to share some photos of it … because it’s talkbass and that’s what we do here.

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What didn’t you like about the finish?

Fond gig memories

Probably my favorite gig was the bachelor's party for the singer of my rockabilly band, years back. It was planned to take place in Louvain, a university town with a LOT of pubs, and people. We'd tiled him up about having to do all kinds of crazy stuff, so he was really dreading the evening.

What he didn't know was that the guitarist and I had gone scouting for a place to host a gig. We found a very (and I mean very) small bar that was sold on the idea immediately. They gave me the number for some guy who could provide a (Very basic) PA, mostly for vocal amplification.

On the day of the party, I'd arranged with his fiancée to go get one of his guitars, and me and the drummer and lead guitarist went to set up the "stage" for the evening. It mainly meant hauling the pool table away while the bartender was changing light bulbs over the bar. When we asked why, he said: "You'll see"

We arrived late at the afternoon BBQ, and the singer joked: "Hey, it's my favourite band!" We 3 left early, and had agreed that by hour X we would be IN the pub, and playing music. So at some point the rest of the bachelor party arrived at the pub, and the singer heard us vamping on some Johnny Cash. It only dawned on him then, what we'd "set him up" to do.

It was a great gig. I had to play my bass like an upright, cos of the lack of space. People kept pouring in from other pubs to come watch us, and stood outside the venue to hear us. I hadn't prepped a setlist so I called em as we went, based on the crowd energy. At one point the lead guitarist launched into Ace Of Spades, which we didn't play, but we all rolled with it.

One thing we sometimes would do, was a sort of mashup of Beastie Boys "Intergalactic" and Vanilla Ice's "Can't Touch This". Yes, we were a rockabilly band, so this always went down a storm. It was bass, drums and vocals, so I went to the mic, told the crowd that this was a bachelor party and we'd "pass the hat" for tips (which the guitarist then did). Apparently we made enough to keep drinking all night, so the whole crew was happy!

Oh, and those light bulbs? There was this weird thing in that pub, that wen the patrons liked the band, they'd start knocking out the light bulbs over the bar. After our set, all lights had been knocked out. Good times!

Who has chained 2 Rumble 100 Combos together successfully?

It's been 7 yrs. Crazy. But I'm back. Going to renew my Studio 40 and Rumble 100 stack again today. I purchased a Rumble 200 some time back just to have the 15". Nice and round. I should probably record with it but everything is routed from the Studio into my Tascam D008. And I don't want to plug unplug from the recorder often. I use the Studio for drums, bass and soon an electric guitar.

Anyway, its great to be back.
Tom
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Double Bass Hogslop String Band at Pickathon

I had the good fortune to spend last weekend at the Pickathon music festival in Happy Valley, Oregon. So much great music all weekend, this video is from 3am Monday morning, final set of the festival. Hogslop String Band did a completely unplugged set, and I landed front and center. Great band, great vibes, and their bass player Pickle is a joy to watch and listen to! This song is an old Doc Watson tune, "That Was the Last Thing on My Mind".


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MESA/BOOGIE TT-800 Questions

If I didnt already have my TT, I wouldve gotten the BD800 no doubt about it. But im very thankful I got my TT. What I love the most is how well it works with my pedals and how it gets super clean with flavor. Im still fiddilng around with the subway channel. I got it set to the reggae preset from the manual at the moment and found that my ray5hh that Ive been really considering trading/selling really sounds good through that channel. EB Coblalt flats and soloing bridge pickup sounds freaking amazing through the subway channel.
Iv owned a tt800 for about 2ys (?), I'm still 'fine tuning ' both channels, with my 3 basses. I recently bought a Walla Walla Maverick,which iv strung with the new Labella Super Polished (presure wound type). That Maverick was made for the Boogie channel. It's replaced my trust old LPj DC with flats, for my old school 60s tones.
The TT800, sounded great, out if the box, but iv found, with time and a continuous tweaking, it just sounds better, and better.
Iv mainly played guitar, for most my life.
And, think of my experience with the TT, it mirrors my experience with the Boogie guitar amps iv owned (mk2, mk3, and a mk3 simuclass) . The were all very responsive to settings, they all took time to dial in great sounds, as opposed the Marshalls , Voxs, ect, that gave u 1 sound, no matter what eq you dialed in.

How many cars have you owned and driven?

Ugh, insurance. Mine’s always treated me well but I knew a guy whose ‘63-1/2 Ford Galaxie 500 XL Fastback was stolen, maybe ‘78 to ‘80. Factory 390 automatic, factory air conditioning and power brakes. At that time the car had less than 50,000 miles because Fred (retired by then) lived a block from his work and walked. That car looked exactly like it was sitting on the showroom floor and they gave him something like $300 - the average price of a ‘63 Ford Galaxie. Fred used to trade with my father and he’d come sit at the counter for an hour or two, and his favorite pastime was pretending that (A) he was thinking of selling it and (B) that he had no idea of its worth so I’ve seen him turn down up to $10,000. He used every offer as a chance to list where he bought it, every option it had, and why he didn’t buy the 406 or 427 engines. (I seriously doubt that Dayton TN’s Ford dealership ever saw one of those engines in a ‘63-1/2 but in Fred’s version it was a conscious decision to pick the greatest version.) Worst ripoff I’ve ever seen in auto insurance. He always told me “One of these days I’ll come down here and let you drive it” as though he and I and the car weren’t all there then (and pretty much twice a week) but never did. He’d also have me look up and price parts his car didn’t need, if we weren’t too busy, just as an excuse to talk about his car. Great old guy and they gave him less than half a year’s premium for that rare, showroom condition Ford. Ought to be criminal.

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