Baloney Balderdash

Another issue with "tonewood", or at least one of the common arguments against it, is that no two pieces of wood, even from the same species will be or sound exactly identical. But while this is indeed very true it does not mean that specific species of wood doesn't have general tendencies and traits, tonally as well. Also the argument isn't really about all same types of wood sounding exactly identically, or that some types of wood objectively sound better. So yes, you can probably find a specific rosewood fretboard out there that sounds very much like another specific maple fretboard out there, especially if the body wood and other (con)structural choices of each of those instruments makes them individually lean in a common direction, that is counterweights the characteristics of the fretboard wood somehow, but that isn't the norm or how those types of wood will sound on an average.

Isn't taste in tone very subjective too? I don't get why people are insisting on this being some kind of scam, resonance is a very real phenomena. It's basic physics really. That you can't hear the difference doesn't mean it isn't there, it means you have bad hearing. But maybe that is hard to accept for someone who consider themself a musician, so it got to be a scam. Also this discussion isn't actually at all about exotic woods somehow supposedly sounding objectively better, no one claimed that, except the people who are trying to make this look like a scam.

As I already replied to you once he got a MS-70CDR, which is also stated in the OP, which allows for using up to 6 effect slots per patch. Also I would claim that pretty much no digital multi effects really excels at anything but being versatile. But I still stand by my claim that the EQ models are as good as anything, and that most of the compressor, modulation, reverb and delay models are genuinely great in these Zoom multi effects, and for a lot of them it is really down to a matter of making the right adjustments and personal taste whether they are any worse than any more recent, more expensive digital multi effects, or standalone pedals for that matter. As I also stated earlier in this thread some of the very sought after digital reverb effects has lesser CPU power, resolution and bit depth than these units. For some effects it is simply more important getting the algorithms right (amp and drive emulations does seems to be more picky about the capabilities of the hardware though). Also you should never used the premade factory patches of any multi effect, they are usually horribly exaggerated.

Personally I have been pondering for a long time about getting the DiMarzio Split P, but wiring the two halves, which already individually got 2 humbucking coils each, in parallel, instead of wiring them in standard series connection, for a flatter response, with less boomy low end and more high end. I've pondered on the Herrick multi coil P too, as it seem like a really interesting concept, and I am extremely curious as to how it would sound. JBE/Joe Barden pickups are blade pickups as well. This I can warmly recommend, will balance out the tonal difference between low/thick strings and high/thin strings, instead of emphasizing it, as a traditional orientation P pickup will actually do.

Just bought an EHX English Muff'N on Reverb, which despite it's name is tube based Marshall'ish preamp/overdrive pedal, for just 100 Euro, which is nearly half the price of what they usually go for used : Edit/Update!: Send today, and as the seller lived in Denmark too I should have it already Monday or Tuesday, probably Tuesday though. Really exited about getting to try this out, I kind of plan for it to become part of my main setup. Not sure if I will use it as an overdrive effect, or it will be used mainly as yet another tube preamp stage. Probably will end up as either my main pre reverb overdrive effect, or possibly replace the Joyo Orange Juice overdrive that I currently use as part of my main high gain distortion setup, mixed in parallel with a Mosky Black Rat in Tuebo RAT mode. Edit/Update 2!: I have received the pedal, and not only does it work flawlessly, it also sounds no short of amazing, both as cleanish preamp and as overdrive! I had high expectations, but got to say they have been exceeded, I am blown away with how awesome this pedal sounds.

I can prove they don't! I've figured out a cunning setup where I play without any compressor whatsoever, but still sound great, and that'll prove once and for all that compressors are a scam!

Piggy - Nine Inch Nail

Rise, rise to glory! I am necromancing this thread, partially because my beloved Boss MT-2 has changed position and function on my setup, partially to see if anyone else in the meantime has discovered the glory of the worlds most (un)popular metal pedal. So as for the change my Metal Zone is now placed after my always on subtle reverb, to give me a huge thick wall of sound tone, especially monstrous for chords, with a Joyo Orange Juice after it, dialed in to a medium gain type of overdrive, and when stacked into that the distortion of the metal zone changes character into something more grindy and grunty. Pretty much same settings on the Metal Zone though as descriped in the OP: High = 11 o'clock ; Low = 1 o'clock ; Mid Freq = 9 o'clock ; Middle = 1 o'clock ; Dist = 10 o'clock My regular high gain distortion tone is now provided by the Mosky Black Rat alone, still on the Turbo RAT setting, mixed in parallel via a Boss LS-2 with a medium gain overdrive from a Joyo Orange Juice, at an about high gain Turbo RAT distortion 60/40 medium gain overdrive ratio.

So is playing 5 string bass, or even bass at all. Billions of people, and even millions of very successful people, heck even some of the most successful people on planet Earth, doesn't and get along just fine.

Yes, it proves that strings extended between two points with a pickup under does indeed make a sound, and therefor got tone. Big news. Who would have known. It doesn't however prove that wood has no influence on the tone of a bass or guitar, that is not how logic works. But it's impossible to argue with people who are ignorant to the basic laws a physics and how logic works. Or well, I suppose not impossible, but nothing constructive will come out of it at least.

Hey There Fancy Pants - Ween

Don't Let's Start - They Might Be Giants

I hate when my strings gets noticeably software too... Also your string action should ideally follow the arc of the fretboard radius, but tilting slightly downwards towards the highest/thinnest string, and not be dead straight, otherwise the middle strings will have considerably lower string action relatively to the frets that the outer ones. And strings will feel somewhat softer to fret with straighter neck and lower action.

Because it is not very hard or sturdy and don't offer anywhere near the same structural support as real hardwood strips, which might cause the fretboard to move in unfortunate ways over time. That said Jaco allegedly used wood filler for the empty fret slots in his Bass of Doom, after removing the frets with a butter knife. He did however also successively treat the whole fretboard with a layer of Epoxy.

Yes, they are proper rubbery, and works great.

Who by Fire - Leonard Cohen

!!!This is NOT a Precision Bass!!!, and even short scale, and that is even sub-short scale, just 28.6" scale length, which though would be the same scale length as the discontinued Fender Precission Jr., or the current production Squier Mini Precision, basses. And it does have an EMG Geezer Butler P pickup installed, wired directly to the output jack socket, though in reverse orientation, which I prefer for the balance it gives across the strings, rather than emphasizing the difference, as the traditional orientation of a P actually does. But also I did entirely remove the J pickup. My point with this however is that I do love the sound of P pickups. Not growly like J pickups, and with a somewhat more limited frequency range, but fatter, punchier, snappier, and somewhat raunchier/cheekier than J pickups, definitely slightly more compressed tone, though usually still fairly sensitive to playing dynamics compared to regular humbucker pickups. And they just sound good. Compared to J pickups they are far from as picky about strings, EQ settings and amps/cabs, perhaps because of the narrower frequency range and slightly more compressed tone, they will sound good almost regardless what you throw at them or what you run them into. So here's my not very faithful or authentic impersonation of a Precision Bass, but the closest I got to the real thing, and very much loved, my Ibanez GSRM20B Mikro Bass, named "Dud Bottomfeeder":

I use these Harley Benton rubber washers, and they work perfectly as they are supposed to: https://www.thomann.de/gb/harley_benton_strapmaster_pack1.htm 1.7£/2 Euro for a pack of 4 (2 pairs). And comes in grey too.

And remember the notes you feel like hitting are almost always the exact right ones! This goes for both 5 and 4 string bass though.

Fire of the Mind - Coil

Perhaps you would appreciate a Wedgie rubber pick. They come in two gauge, 3.1mm and 5mm, and three hardness grades, Soft, Medium and Hard:

Just saw off that wood blob/tumor with the Squier shaped mole on hanging off the end of the headstock, and it would actually not be too bad.

Ibanez does a couple of genuinely great affordable 6'ers too. The cheapest Ibanez 6'er plays and sounds great. Which would be my personal choice over the Squire. Actually the Harley Bentons as well.

The Zoom Ms-70CDR allows for using up to 6 effect slots per patch, the B3 only 3. Also while I genuinely think a lot of the this generation digital Zoom effect models sound genuinely great the octavers and pitch shifter effect models definitely aren't among those, pretty terrible sounding if you ask me. The 160 comp model is a great sounding compressor though, good call. The EQ models are as good as any, and most of the modulation, reverb and delay effects, with the right amount of tweaking, are genuinely great as well in these units (the effects in these units in general is all about allowing for much more tweaking than most other digital effects in other multi effects including the later Zoom generations, and part of why I love this generation of digital Zoom effects in particular). Amp and drive emulations are pretty crappy however, unless you are going for a crappy digital sounding drive effect, and the octaver/pitchshifer effect models are truly horrible, again unless what you are going for is a crappy glitchy pitchshifting effect. And while the synth models are actually decent in these units, the Boss SY-1 definitely would be a much better choice if synth sounds is the primary concern.