spencer.b

Jon Letts?

I've sold vintage basses but only cos I'd fallen out of love with them , currently using an all original old p for all my gigs , even sh!tty bar gigs , I justified buying it by saying to myself I'd never leave it home cos it was too valuable, if it picks up another ding then so be it , don't fly with it mind you , fair play to the OP for selling up cos of the burden , I get that but what I don't get is never gigging them but keeping valuable instruments

Ahhh of course, the beck guy's signature Mustang as opposed to the standard Mustang , all makes sense now! Thanks mate

I know MIJ is made in Japan, I assume CIJ is crafted in Japan, does this refer to a specific period of Japanese fenders? What's JMJ?

I really rate sire V7s for the money and way more versatile than a stingray , I'm not really a stingray guy but based on some of the comments on here maybe it's worth upgrading the pre amp in the sterling to get closer to the musicman tone ?

I can see that the fender rumble is all wrong for you, how about a gallien Krueger rb700 head , great for sparkly high end , into a vanderkley cab maybe , very expensive but super accurate and open sounding

I had it on done on a p bass and it transformed it , think changing the break angle over the saddles made it way more resonant

Surprised epiphone are going for a pantera sig! TBF I don't know if rex is still in the band? Great band though, huge groove for a metal band IMO I don't wear my t shirts anymore though https://www.theguardian.com/music/2023/jan/26/pantera-shows-cancelled-after-frontmans-nazi-salute-prompts-fan-backlash

Excuse my ignorance but is the profiling thing on bass about going ampless? I get it if it's IEMs and I get it for guitar but a lot of gigs the bass is a DI going foh in front of the amp , sometimes a mic' d or a DI from the amp but IME often not even on big stages with an SVT So would a bassist with a kemper give the engineer an out and get it back in the wedge and the kemper signal go FOH ?

Looks like he uses a Fodera PJ with Aguilar pups

Great amp , had one for a bit , suppose it's heavy and bulky by today's standards though

I agree with the OP to an extent and don't get involved however over on talkbass I see loads of people getting really arsey about someone asking a question when there may already be a thread about it and the tone is often harsh and a bit nasty , I love that on here people will always point a newbie in the right direction

I often fly with a bass for gigs and it's never been checked or cross referenced with what I had when I flew out , can't see why you can't just come back with one ??

Nice one , just ordered it

Anyone know if there were any 34" scale basses pre fender?

Excuse my ignorance and apologies if all this stuff has posted before but I always thought Leo fender pretty much invented the bass guitar as we know it ( I guess he kind of did) yesterday my mate sent me this ad for this Bud-electro bass https://www.retrofret.com/product.asp?ProductID=9917&name=BudElectro-Serenader-Solid-Body-Electric-Bass-Guitar-c-1940s1960s I then went on a deep dive and it led me to this , it's a fascinating read about Paul and Bud Tutmarc and there part in early electric guitar history https://jivetimerecords.com/northwest/paula-tutmarc/ Here's a 1936 audiovox that was on eBay!!! https://www.seattletimes.com/seattle-news/on-ebay-the-worlds-first-electric-bass-guitar-forgotten-and-made-in-seattle/

They're alternative chord changes, the chromatic descending chords go with the melody and the bracketed ones I think get played in the solos on the original recording, they are technically tritone subs but I think of them as a different route to get from chord 1 (Bb) to chord 6(G7) so although different chords they have the same harmonic function and are in that way interchangeable, the bracketed chords are 1,4,3,6 which are pretty common changes for the first 2 bars of a standard and they work better for a walking line in the solos as opposed to the 2 feel with the descending chords when playing behind the melody Don't be embarrassed just to discuss it with the piano/guitarist before you start, with these tunes there's often not really a definitive version, the more you do it the quicker you'll be able to recognise the harmonic function and make confident choices about your route through and also you'll be quicker to hear if one of the others is playing the alternative changes, it's often the case on gigs that some people are reading a charts and others are not which makes listening even more important