Baloney Balderdash

Project by Daniel Stavne and Jacob Læby (me). Mind these are demos, and the tracks are to be mixed and mastered professionally, and is going to be part of a full length album, to be released at some point in the future. Lyrics: Light Station The storm rages on, Your lighthouse stands in silent woe, Its light a mournful lonely song That speaks to ships that come and go. The sea, a writhing beast of gloom, Whispers dark secrets 'neath the foam, Where ancient terrors seek their tomb, Yet find in waves no final home. Upon the cliff, the tower high, A monolith of fate unknown, Bears witness to the starlit sky, Where eldritch stars and moons have shone. Its beam, a ghostly, pallid stare, Pierces through the veils of night, Guiding souls with none to care, Toward a doom devoid of light. The rocks below, where shadows creep, Echo with forgotten dread, The tides that wake from dreamless sleep, Are drawn by forces long since dead. And as the dawn begins to break, The light fades into ghostly mist, A fleeting glimpse for those who wake, Of realms that no man should exist. For in that light, so cold, so vast, Lies not salvation, but despair, A warning from the ancient past, To fear what lurks in open air.

Not a fan of this comment, but thanks for sharing.

So I tried it out, but was kind of disappointed that it didn't work for me. It did as advertised, but I thought it just didn't exactly fit for my use, like making everything sound a bit too rounded, and loosing clarity. And I planed on sending it back, to get my money back. However, for whatever reason, I let it stay, and just a couple of days ago filed it for a return with Thomann, and received a document so I could post it back without shipping costs yesterday. I planed on sending it back tomorrow. But then I decided to give it one last chance. Sounded much better than I remembered from the first time I tried it, but still made everything a bit too rounded for my taste. That is until I decided to try it out with my bridge J pickup, rather than my go to middle reverse orientation P pickup, and that actually sounded pretty great. Then I decided to see what it would do to my 5 string bass, which have just one J bridge pickup, wired directly to the output jack socket, and damn, it sounds absolutely gorgeous! Definitely not sending this back!

Nothing's Gonna Change My Clothes - They Might Be Giants My funeral song!

Hey There Fancypants - Ween

Jesus Was An Alien - Electro Jar (an electronic duo I was part of)

I have always used rounds, and personally I prefer the light gauged balanced tension set by D'Addario, the gauge .095 - .070 - .055 - .040 set. Has a so much richer tone than flats. Until fairly recently I even hated the tone from flats, but have since learned to appreciate the sound of them, even if they are not for me personally. Flats absolutely do have their place. But anyway congratulations on your discovery. Perhaps worth trying out a lighter set rounds, if your fretting hand fingers are struggling, just as long as you remember to adjust your picking technique to a lighter touch, to accommodate the lower tension, who knows might lead to another revelation.

Who Knows Where The Time Goes - Sandy Denny

I would think so, but I am nowhere nearly knowledgeable enough about electronics to say so with certainty. I would think it would for someone with proper experience with tube circuits. The issue is that it makes a very prominent hissy, sometimes crackling as well, noise, and this get's worse, to the point where there is nothing but hiss and crackling, when turning up the Post Gain (which would be output volume). I tried to clean the pots, as that helped last time I had noise issues with this pedal, but it didn't help one bit this time (and yes, swapped out the tubes as well, to no avail, and yes, with tubes I knew worked perfectly fine). The thing is it actually works as it is intended to, as long as one doesn't turn up the Post Gain pot up too high, except for the background noise, that is so bad that it makes the pedal practically unusable at any point. As far as I gathered, and with my limited knowledge about electronics, my best bet is a busted capacitor somewhere in the output gain stage circuitry.

Yet another EHX Black Finger, which will be my third. Reason is that the one that served me well for about 20 years sadly died recently, so I am now using the one I bought as a backup a while ago, exactly for the case that my beloved old one should stop working. So now I bought a backup for that one as well. A practically mint condition one, with original wooden case and all included, and for a price at under 2/3 of what they usually go for (not including power supply though, and the original EHX tubes having been swapped, but no big issue since I got the power supply from the deceased one, and extra EHX tubes (which is really my preferred preamp tube)). For those who don't know the Black Finger is a tube driven optical compressor, with its two preamp tubes operating at proper high 300V plate voltage, I however use it dialed in so that the compression basically never kicks in, more so as a tube preamp stage, with the gain set to drive the tubes to just at the edge of breakup. Amazing pedal, in fact the most important pedal in my setup, and crucial for my tone, just makes everything you run through it sound better. This is the one: Also I just yesterday got the One Control Crimson Red Preamp, that I ordered from Thomann, but it is going back. Mind it work flawlessly, and is a great piece of kit for someone who plays dub or reggae, or just really likes their bass super deep with subdued highs. And the lows, while massive, aren't floppy at all, you can get some proper low end punch out of this. Just not for me. Here is what that looks like (mind just a random Google image):

I actually gave this quite a lot of thought: A custom made 4 string, 28,6" scale, bass, with a slim modern C profile, bolt on, clear satin finish, 5 piece laminated Jatoba/black Ebony (just 2 relatively narrow layers of Ebony in between 3 wider layers of Jatoba) neck, with graphite rods enforcement and a double action truss rod, a tilted 2+2, gold plated tuning mechanisms, classic B.C Rich inspired, headstock, but overall slightly more narrow, and with the "devil horns" slightly shifted, so that the upper slightly larger "horn" is sitting a bit more forward than the slightly smaller and slightly retracted lower "horn", and a 24 medium jumbo stainless steel frets, 12" radius, figured Ebony, fretboard, with an ESP LTD F-204/F-1004 style inspired Mahogany body with a spalted maple top, in a transparent matte black burst finish, with a blood red solid circle figure with a black OM sign in the middle, placed approximately right above the bridge, and equipped with an EMG Geezer Butler reverse P pickup in the neck position, and in the bridge position a gold plated DiMarzio Relentless Middle reverse P pickup with a gold plated series/parallel switch, with an active stacked LPF/HPF tone filter control for each of the 2 pickups, and an active pickup blend control, equipped with knobs made of solid transparent red plexi glass encapsulated in hollow gold plated cylinders with a thin spiraling gold rib going upwards around them, gold plated steel mono rail bridge pieces, milled from solid brass, with a string spacing of 17,5mm (or perhaps instead even a wammy/tremolo bridge with 17,5mm string spacing), and an accordingly more narrow neck, with a 38mm wide graphite nut. Equipped with Elixir Nanoweb guitar strings of the gauges .074 - .056 - .042 - 030, and tuned to tenor bass, A standard, tuning, as in the upper 4 strings of a 6 string bass tuned to regular B standard tuning.

I am pretty sure it is 17mm.

Preliminary poll results fits its name "Dud Bottomfeeder" well.

A tenor bass would usually be defined by a 4 string bass guitar, normally between 30" to 34" scale length, tuned to A1 all fourth standard tuning, while a tenor baritone would typically be around 26" scale length, have 4 strings, and tuned to C2 all fifth tuning, and a baritone guitar will typically be a 6 string guitar with a scale length of 27" to 30", most commonly 27" or 28", tuned in all fourth B1 or A1 standard tuning. However I play an 28.6" scale 4 string bass tuned in B1 all fourth standard tuning as my main instrument of choice. So do I play a short scale tenor bass or a long scale tenor baritone, or simply a 4 string baritone guitar? The tenor part of these names refers to the name of a short scale 4 string guitar, typically in all fifth tuning, higher than typical all fourth E2 standard tuning of a regular guitar, not the frequency area it operates in, just to avoid confusion. Also I would like to point out that, no, this is not something that keeps me sleepless at night, just curious as to how people would define the instrument and tuning. Here is what it looks like, by the way: I should maybe add that it is strung with regular nickel-plated roundwound guitar strings of the gauges .068 - .052 - .038 - .028, but very much sounds like a higher tuned bass.

Where Is My Mind - Pixies