Baloney Balderdash

You mean 5th tuning, standard tuning is in 4th. And it would definitely be easier to manage the extended reach this tuning would result in on a short scale bass. Edit!!!: Also regarding the need to buy single individual strings for this, which often only comes in regular long scale versions, as long as we are talking roundwound strings with a hex core, like for instance regular D'Addario XL strings, as long as you before cutting make an abrupt 90 degree bend on the string bellow the cutting point, I have never had any issues whatsoever, neither unwounnding, intonation, or otherwise, with cutting regular long scale strings to size to fit a short scale bass, and I've done this a lot, if you are really anxious eventual you could dip the bend end in a thin layer of super glue as well, just to be absolutely 100% sure, and let it cure for 24 hours (yes, most super glue will cure in a matter of seconds, but actually to bond fully and reach optimal binding strength most super glue needs a curing time of 24 hours). Don't do this with any other string types though, especially not flats, as you otherwise are most likely to end up ruining the strings.

A 5 string short scale tuned E to C sounds like a great idea for your use. It is not common to tune this way, usually it would be low B to high G, but a few professional bass players do actually do this. Usually referred to as tenor bass tuning, 4 string tenor bass tuning would be A to C, which of course is also an option if you don't need the low E (Stanley Clarke utilized this a lot, and Victor Wooten use it sometimes too, both having a dedicated bass tuned this way that they bring to all their live show, but also use on recordings). My main 4 string is tuned G to A#, 3 half steps above regular 4 string bass E standard tuning, or you could tune F# to A, as in 2 half steps above regular 4 string bass E standard tuning, the latter actually being a traditional tuning often used for upright bass solo pieces in classical music. Another option is getting a 4 string short scale bass with better upper fret access, maybe even one with 24 frets, yes, the Fender Mustang is really bad in this regard, and the reason why I will never get one, and eventual tune it in 5th like a cello, again a few professional bass players do actually do this, to get more range out of it. Just be sure to string it accordingly, with string gauges fitting the tuning for proper tension, this might help with that: https://wahiduddin.net/calc/calc_guitar_tension_from_size.htm

Anyone knows how close the new Trace Elliot Transit B preamp that is supposed to recreate the original classic Trace tone actually gets to the real thing? I should maybe add that while I am a big fan of the classic Trace Elliot tone/sound, I've never been a fan of the Pre Shape, or should I say mid suck, button.

Anyone knows how close the new Trace Elliot Transit B preamp that is supposed to recreate the original classic Trace tone actually gets to the real thing?

Congratulations. I miss my 1x 15" Trace Elliot GP7SM 130 W combo, that easily could compete with a loud rock band I played in at the time. Best I've ever sounded (I liked it back when I played though the Ampeg B-15S that I was stupid enough to sell at some point as well, much to my later regret, but a quite different beast, and honestly I personally still prefer the Trace tone). I think I might need to pick up a used Trace Elliot head soon.

Crazy - Gnarls Barkley

Broken - Sentridoh/Lou Barlow

Well, this was Westbury Standard guitar, but same basic body and headtsock shape as the bass in the OP. Fairly rare to find on sale though.

In chronological order, every bass I have ever owned: Aria Pro II Laser Electric Classic (still own and love it) Rickenbacker 4001 (vintage 70's, that I quickly came to absolutely hate, went under the couch at the band rehearsal space to stay there, until it eventually it got stolen, don't miss it one bit, but do regret missing out on the resale money, most expensive piece of crap I ever bought) Jerry Jones Neptune Longhorn Bass (loved it, but was suppid enough to sell, still regret) Westone Violin/Beatles Bass (great for what it was, but just wasn't for me, short acquaintance before selling again) Dan Armstrong Plexi Bass (didn't care for it, neither the sound of any of the two swapable pickups it came with or the feel, sold it fairly quickly, kind of regret though) Warmoth 28 5/8" scale 4 string bass, made out of Warmoth baritone parts (loved it, but was stupid enough to sell, and for pretty much peanuts compared to what it costed me to have build, still regret) Ibanez GSRM20 and GSRM25 Mikro Basses (still own, and absolutely love the 4 string) Egmond vintage late 60's short scale bass (worst piece of crap that I should never have bought, pretty much completely unplayable, that I am now stuck with) Harley Benton GuitarBass (great take on the Fender Bass VI concept, still own with no plans to ever sell)

I used to own the guitar equivalent, with a DiMarzio Super Distortion bridge pickup and a DiMarzio PAF neck pickup from stock. Greatest guitar I have ever played, and was my main for many years. Felt no less than amazing in my hands, just absolutely perfect, and sounded astonishing too. Unfortunately at some point I was stupid enough to sell it. One of the greatest seller remorse experiences I've ever had (up there together with the Jerry Jones Neptune Longhorn Bass and Ampeg B-15S all tube 60W bass amp). Still regret it to this day.

Me in the music school band I was playing guitar in when I first started to learn how to play guitar. Though that was more a case of them having to suffer my playing. Did however also force me to play quite a few tracks I would otherwise never have dreamed of suffering to listen to voluntarily, let alone do covers of, so suppose to some extend it was a mutual painful experience.

Very unlike Reaper, where the creator, bar a slight 5 seconds to get access annoyance (no commercials in that time span though) after the initial trial period, offers a fully functioning, full featured, amazing music creating tool and DAW completely for free, including full free access to all updates, and being exactly just as great as any of the commercial offerings on the market if you ask me. Unfortunately however, to my knowledge, there are really no such alternative when it comes to great drum VST's. That said I don't miss an EZDrummer grid editor.

Reaper/Midi and EZDrummer 2. For electronic music, if I want a more electronic/less realistic/authentic drum sound, I often also use Reason 5, though including some external 3rd party drum samples. Hardware for playing/recording the drums, in those cases where I'd rather do that than program them: a M-Audio Oxygen Pro 49 Midi keyboard that features weighted keys as well as drum pads.

Don't have any suggestion regarding inexpensive drums, I'd warmly recommend EZDrummer, but that's not exactly cheap, for programming midi though I can't recommend the free DAW Reaper enough (do have the decency to pay the maker the small amount of money (compared to commercial solutions that isn't one bit better) he optionally asks for though, for making such a great music creation tool available for free), in my experience as great as any commercial DAW (it's my preferred one).

Another thing you should be aware of technique wise, other than what BassAdder60 mentions, and the part about gripping the pick close the tip for better control that I mentioned, is to not use your arm to strum the pick, by far the majority of the movement is supposed to be in your wrist, not your elbow.

Maybe try different picks (a lot of brands offer variety packs). The actual pick, thickness, material and flexibility has a larger say in not only tone but also feel than most people realizes. You might find that simply finding the right pick for you will make picking a lot easier for you. Most bass players prefer relatively thick picks, but there are no rules, or such a thing as the ultimate one best pick for everyone, and I for instance really prefer the Dunlop USA Nylon .73mm, which is relatively flexible. Also to add what other people have already suggested, grip the pick close to the tip for improved control.

Is this a "find the two basses that got the P pickup oriented the proper way" kind of puzzle?

It might work on a modeler. Since a modeler will only replicate the EQ of the speakers not the actual excursion of them. And your small 10W combo amp might had been different too. But as someone who actually tried to play bass, and not very loud even, and not even a very bassy bass, for a recoding, through the Roland JC120 Jazz Chorus amp I once owned, I wouldn't recommend it. The speakers didn't like it that's for sure the way they behaved and violently moved about, and sounded pretty donkey too. To OP: As someone else has already pointed out I would hook up the actual amp part of your combo to an external cab made with bass being played through it in mind instead, that is unless you want to build the amp into a completely new combo cabinet with a design and dimensions fitting an actual bass speaker. Guitar amps can make great bass amps, guitar cabs and guitar speakers not so much.

No! Never! I am always right, even when proven wrong! And I have never unintentionally made myself look like a jerk! Never! Just ask your mom.

Happy as can be! Let's see how far off topic we can derail this, right? 🙋‍♂️👨‍🔧🦹‍♀️👩‍🎓🥷👩‍🚀🧛‍♂️🧙‍♂️👮‍♀️

Context, context really is everything: So does guessing right when judging people make it right to base your judgement on pure guesswork? In my book the decent thing to do is giving people the benefit of a doubt until proven otherwise. And I by far prefer to be proven wrong over being a jerk.

Ah, well, in that case I would say that the people here pointing out it not really being the right approach would actually be right. Get a more efficient active HPF to place in the effect loop, an extra one, or set the frequency of your current one to cut at a higher frequency.

A passive HPF will introduce resonance peak, not really the same as a regular EQ pedal at all. Also how exactly would a passive EQ be less complicated? You might as well ask why they just doesn't swap strings or use the amps EQ instead. I don't know what it is with certain people being so eager on various OP's getting it all wrong, and that they should rather do it their way, cause certainly that is much better and not least not stupid. It's like these people presume that people don't know what they are talking about by default, frankly it's rude.

I assume the active HPF that they are running in the effects loop of their amp currently is for filtering out unwanted sub bass, to get a tighter bass response and have the amp and speaker work more efficiently, whereas he passive HPF that they are asking about here and plan to place first in their signal chain is primarily for tone shaping purposes? Sort of like an extra, but working in reverse and being more flexible, and possibly switchable too, external (reverse) tone pot.