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J Wilson said:

Can take or leave the setlist, but there's NO way I'd ever get in another girlfriend/ boyfriend band for any amount of money. Somebody in the crowd will hit on her, she'll see him eyeing that little number at the bar, and It's On. Or they were in an argument on the way to the job.

No thanks. Uh-huh. I've learned to not smoke in a

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Funny you should mention this.

The girl who initiated this project...
We used to play together circa 2010. We met when we were both hired on a different guy's project, her as a vocalist and me as a bassist. Following that, we formed a band and played our own songs, plus some heavily adapted covers. It was actually sounding pretty good and we hired a guitar player and drummer, started gigging and recording, etc.

Then, she started dating this guitarist/producer guy from New-York. All of a sudden, the dude was present at every one of our rehearsals and always intervening. Plus, he had that habit that I've always absolutely hated: whenever I'd leave the room to go to the bathroom or anything, I'd come back to find him playing my instrument without having asked.
Without surprise, years later, I learned that he'd been pushing her to fire me as a bassist all along... OUT OF MY OWN PROJECT !
The band broke down over this (and other band members' personal issues).

There is actually a history of such behavior from her. So, ironically, I'm approaching this a lot more relaxed. I'm only an unpaid hired hand and I don't especially like the material. I don't have any marbles invested in this thing. The worst that can happen is I learn those songs for nothing. But, no time spent learning new bass lines is lost time!
So, I'm going in without much expectations, except for an occasion to get back out there and possibly have fun.

RECEIVED! I posted the update here.

jeff7bass said:

Acoustic stuff is solid and very reasonably priced. 299 for this head. Reviews included.
Acoustic B300HD 300W Bass Amp Head | Guitar Center

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I bought one of these used at Guitar Center for $175 and it sounds great. I have it paired with an Ampeg B410HLF cab..and a Catalinbread SFT preamp pedal and EHX Big green russian muff and Behringer sf300 super fuzz and it's great for stoner/doom metal!!!

The thing that surprised me about the Luther/Marcus magic was that the bassline in Never Too Much was written out for Marcus by Nat Adderley. I remember when I moved away from the East coast and a year later I heard Never on the radio and just knew it was Marcus.

huck_finsta said:

These are great solutions! I have my guard coming in the mail tomorrow, so I’ll see how that fits and decide which route (no pun intended) to take. Thanks!

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If the pickguard is a good fit to the neck, that may cover the gap and you might not need to do anything at all.

On that topic... to those with more experience on this type of thing, is this just an aesthetic problem or is there a functional concern with the fit of the heel in the pocket?

Thanks so much for all the replies — Talkbass to the rescue again! Sorry for the lack of pictures — as I mentioned I didn’t have the bass in hand to take any more. Good news is that the seller will take a return and refund the money. My brother-in-law thought it might be a Junior from the 1990s, but there is just too much ambiguity about what this might be, so I don’t think it’s worth the money. The single pickup rout doesn’t seem to correlate with any of the Gibson LP basses that have been posted or that I know of. Thanks again everyone!

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.