Baloney Balderdash

You got a very iconic smile! Anyway, nice bass. Thanks for sharing. And, yes, I prefer low action and relatively thin low tension strings too, I more so stroke the strings, with the outmost tip of my fingers/nails, in a slightly inward light slapping motion, than really plucking, striking or pulling the strings, to me that gives a better tone, richer and clearer, but actually also more punchy and snappy, the attack is emphasized, but in a rich bell like way, rather than a dead thump-ish way, than if I had digged in, and it also gives me a much wider dynamic range at my disposal. I don't really need a ramp though, my fingers never dig in too deep, unless I deliberately want them to, and I use floating thumb technique, so no need for a place to rest my thumb either.

If that is the basses of your dreams, then yes, please. Though a bit of information about them and why they are the ultimate basses for you would be appreciated too.

Spiraling Shape - They Might Be Giants

Great looking bass for sure, that I am certain sounds amazing too. But no way I would ever pay that amount of money for that. If I had that kind of money I would have my own custom speced bass made. But if I was to get a signature bass I'd rather have the Cliff Burton Aria Pro II one, or ideally just an original Aria Pro II SB-1000.

I wish they'd made one in aluminum for a more permanent easy conversion, and made it to fit more bass models, or even offered making custom ones to fit whatever bass you wished. For sure a brilliant idea though.

Are You Happy Now - Sophia

As far as I am aware, although both are indeed intended to emulate a Fender type amp, neither the Joyo American Sound, or the Tech 21 Blonde, that the American Sound is based on but not an identical clone of, features genuine Fender tone stacks, but rather active EQ controls. I believe you are right about the other preamps you mention though.

Speaking of Ibanez, and seeing everyone posting pictures... This is the bass that sort of inspired my dream, even if considerable cheaper and considerably more modest and lowkey version of it, my lowly, but very much beloved, Ibanez GSRM20B Mikro Bass, that I named "Dud Bottomfeeder" (Though I suppose by now everyone would be sick of this bass popping up in just about any thread where it just remotely and be squeezed in on topic ) :

Well, good for you, genuinely. But I did not look at the date of the post, since this thread still seems very current (even if admittedly I did went off topic, but so did you).

Also you can't assign any given parameter of any given effect in each patch to be controlled by the expression pedal, at any interval or direction on the B3n, as you can on the B1Xon. They sure did make the B3n more "user friendly", if that is what you chose to call dumbing it down by removing, not only useable, but great features and flexibility. In my opinion the B3n and every proceeding Zoom multi effect was a step back in the wrong direction. The effects (bar the drive and amp/cab emulations, but then again they are also not great on the B3n) on the B1Xon even sound better (and again are more tweakable/flexible), despite using less processing power.

When I sang backing vocals in an original band I pretty much had free hands (same with the lead guitar and bass I played in the same band), but did take suggestions/instructions if required. Having sung in the local church choir in my youth (I think from I was about 12 till about 18), getting a lot of practice with musical pieces with several harmonizing voices, coming up with harmonizing vocals on the spot is pretty much second nature to me.

So what is your dream bass, whether that be totally custom, or a model that is already in production? If money wasn't an issue, what would it be? Personally, I've given it a lot of thought, and here are the specs I dream of, on a custom made one: 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.

Unfortunately I think by far most of these basses will end up as collector items, rather than players. It's unavoidable with the former Metalica bassist tag they have attached, beside the fact that most of them already being relatively rare items, despite that it does seem James is hoping they will end up with someone actually needing them and come into practical use, which, as far as I understand him from that video, is partially one of the reasons he is selling them off in the first place.

My 4 string Ibanez GSRM20B Mikro Bass, named "Dud Bottomfeeder" : And my 5 string Ibanez GSRM25 Mikro Bass, named "Mr. Growly - The Noodlemancer" :

Depending on where the HPF cutoff frequency is set and how steep the curve is it can also audible tighten up the low end, making it less floppy and boomy, and a bit more punchy, and well, tight, sounding.

It is not steeper, it's just that cut off frequency is higher on the Sushiboxfx.

Just this:

You mean a shim under the nut. However, as I, and since several others, previously pointed out in this thread, if there is buzz on fretted notes that is not a nut issues. In any case all that doesn't really matter, as the issue OP had have been solved.

Well, flat response is definitely very far from what you describe (it isn't noon position either though, which I called flat EQ), and usually isn't with cut or boost only EQ controls, entirely depends on how the preamp is otherwise voiced, which is usually set such that you that you can sort of emulate both boost and cut compared to flat response with the cut or boost only EQ controls. Also while the tone stack might be a traditional Fender tone stack, the preamp itself is based on a Marshall.

Also I've found out, the secret to using the EQ and making the pedal sound optimal is cutting EQ, rather than boosting, High at around 10 o'clock, Mid at around 11 o'clock, and Low around 10:30 o'clock sounds really great, in particularly. As an alternative to completely flat EQ (with that I mean EQ knobs at noon position) if you think that is too clanky.

He sure loves compression.

English translation of the Danish lyrics: Babble of the Woke [really the Danish tittle is a word play on the title of a famous poem by the Danish poet Søren Ulrik Thomsen] Spastic lamb chops against the brain's blown out meat clock 10000 Volt at low current, through 7000 years I will drown in your crotch of worms and uterine inflammation Gaia - Goddess of the Earth in spirit and flesh - replicates the keyboard's genetic pitter-patter of rye-haired monkey grunts and people who counts to 2 The sweet porridge flows with cream along grandpop's bloodless gums an inane scavenger in a desert of way too much John Denver and Povl Dissing [Danish folk singer] is dead: "We are in the year 3016, the end time's last gateway The new Stargate scandal, Arnold gets thawn out and made president He declares war on the Star Federation Him alone lay the Earth to waste!" "A horse and a man with a white trunk will appear and likewise a 10 legged pig with 7 heads of lions on dragon necks The Earth will crack open, and Satan who lives in its mid will throw a free barbeque party on his swastika shaped grill"

Japanese Cowboy - Ween

As I said, lots of popular TV series sound tracks include older music. My point was that young people are exposed to a fair share of older music. And yes, I don't think the fact that the TV series was set in the 80's have much significant to young people liking the song, that is is a very popular TV series I think it is safe to say has though, or at least explains how they got exposed to it, and why it could become a hit. There's a reason why it was that song and not any other used in the same show, and it is not that it is from the 80's, as most of the other songs used in that series is as well. But who knows...

Jazz is a very broad genre. As broad as rock, if not even more so. There are a lot of jazz outside of traditional jazz, just like there is a lot of rock outside of traditional classic rock.