Baloney Balderdash

I got mine ridiculously cheap from a local 2nd hand music gear shop back around the mid 90's. I think 2.500 Danish Kroner was what I paid back then, which equals approximately 300 British Pound.

I don't own any tube amps currently, well unless you count preamps, but back when I did own a 60W all tube Ampeg B-15S from 1968, which I very much regret being stupid enough to sell at some point, I used a Boss MT-2 Metal Zone, as my only pedal, for high gain distortion. Today my setup is "amp-less" and my pedal setup is rather expansive and complex, the Metal Zone however is still part of my main high gain setup (though now with a low gain overdrive stacked into it and then blended in parallel with a Turbo RAT clone). But if I still had the Ampeg I would still have had used more or less the exact same expansive pedal setup as I do currently, except from the NUX Melvin Lee Davis signature preamp, that also functions as a DI and IR cab sim loader, which basically is what I use in place of an actual amp currently (well my EHX Black Finger, tube driven optical compressor, is also a huge part of my current "amp-less" tone, but it would most likely still be an always on effect even if I had been using a tube amp). I actually happens to in fact be rather satisfied with my current "amp-less" tone, but damn I wish I hadn't been that stupid selling my 1968 Ampeg B-15S, such a legendary, amazing looking, and not least amazing sounding amp.

First of all that's quite a list of highly subjective opinions there that has very little to do with actual facts. Also how exactly does that help OP? Further more Victor Wooten uses a regular 34" scale bass as his tenor bass (as said the official term for this kind of A1 to C3 tuning on a 4 string bass guitar), and he seems to be doing quite okay, despite maybe not being quite as much of a real bassist as you from your perspective. Regardless a gauge .065 string still makes little sense on a 34" scale, or a 30" scale for that matter, instrument for tuning to G, regardless of octave (it will, as I said, end up respectively either unplayably tight or unplayably floppy), and regardless of how much of a real man and bassist you might not might not be (I'll let however you even are supposed to grade that up to you).

85 and certainly 90 seems a little tight to me for tuning A1, and in comparison to those A string gauges .030 seems a little floppy for tuning to C3, certainly not very balanced tension wise. I mean not ridiculously so, but certainly wouldn't be ideal for me personally.

Those gauges that @Hellzero listed makes very little sense to be honest, and certainly not at all in relation to OP's actual question. The gauges seems to suggest a tuning like this (following the tuning listed by Hellzero ) Gauge .145 = A0 Gauge .110 = D1 Gauge .065 = G2 (and honestly that would be ridiculously high tension and tight to the point on not playable, G1 tuning on the other hand would make it ridiculously floppy to the point of not playable, really seems more suited for a D2 tuning) Gauge .032 = C3 I can't think of anyone who would want to tune their bass like that, and as said the gauge .065 tuned to G makes little sense regardless, certainly not what OP asked for, and even if one would use this tuning the suggested gauges would result in a tension wise highly imbalanced set of strings.

Contact mics are not quite as prone to feedback as regular ones. But feedback in general is an issue with acoustic instruments no matter how you chose to amplify them, some methods more so than others though.

The official term for a 4 string bass guitar tuned A to C (as the top 4 strings of a regular B standard tuning tuned 6 string bass) is a "tenor bass" (I realize this is an oxymoron, but non the less the official term, and makes sense when you realize it is actually named after the 4 string instrument that is called a tenor guitar, rather than it's frequency range), Stanley Clarke makes a lot of use of tenor bass both live and on recordings, and got one of his signature alembics always being strung up and tuned this way, similarly such is also part Victor Wooten's standard live arsenal of instruments too, with one of his signature Ying/Yang Foderas always being strung up and tuned this way. I realize I am not really answering your question, but I am really tired, a bit more info in this thread that I started a few weeks back though: But to answer your actual question, yes, whatever strings and gauges you prefer for respectively your A, D and G strings currently, and then something like a gauge .032 or .030 string, depending, for the high C. You can buy strings individually, or get a 6 string set and just use the top 4 strings of the set, and you can compare gauges and tension here (based on D'Addario strings, but will approximate most other brands): https://wahiduddin.net/calc/calc_guitar_tension_from_size.htm Personally I prefer an as close as possible to perfectly balanced tension between all strings. If you are in doubt of which to chose I would probably recommend a string set made up by respectively gauge .080 - .060 - .045 - .032 regular nickel-plated roundwound steel hex core strings. Nut slots ought to be fine without any issues whatsoever, and by far most likely there will be absolutely no need to cut a new nut, do expect the need for a basic setup though, with truss rod/neck relief, string action, and intonation needing to be (re)adjusted/set.

There's something about the Bronco bass that I always found very attractive, something about the simplistic low-key basic-ness of them that i find extremely charming and appealing, and the only thing that I didn't like in fact being the two saddle bridge, which this version though does fix, and otherwise being a relatively easy and cheap fix anyway, and then it having a few frets too few for my taste, and those last couple of the ones it does have being rather hardly accessible, which still is an issue with this new version and an absolute deal breaker for me. A shame, cause I love just about every other aspect of this design. As is though I will probably end up getting one of those new Mustang, might I said improved Mustang, like basses Harley Benton offers instead. When that is said I think these new updated Bronco basses are cool, and if it just had had easier up frets access I would likely had gotten one at some point. The salmon one especially looks really cool.

Not quite, but I do like having quite an angle to the neck as well as having the body shifted somewhat to my left, makes it easier for me to play at the upper end of the fretboard (that is closer to the bridge), and also puts my right plucking hand naturally closer to the position I want it to be. As my main bass got a scale length of just 28.6" and a really light body, and since I always have it strapped with a rather broad strap that basically will have the bass stay in whatever position I put it in, I do tend to kind of shift its position a bit around depending on what i am playing.

Better than EHX's own Nano reissue of it for sure (yes, I have actually owned that too). Love mine!

His clever way of saying: - People: "But Jaco only needed four strings!" - "Hold my beer..." ?

Just what the... You win!

What you would likely want is one of those tiny flat contact microphones, and one of the good ones of them. Unfortunately I don't have much knowledge as to which are crap and which are great, so can't help you nay further.

No it wouldn't! Look at my updated message above, plenty of great affordable pedal form IR loaders on the market. See the one I suggested in my update of my message. While mini pedal format ones exists too, and most of them would do a great job as well, the one I suggested is particularly great and offer the possibility to run higher quality IR files than most other pedals on the market, even considerably more expensive ones, and it functions as a DI too, and unlike a laptop has latency of under 1ms.

No idea as to how those two pedals performs compared to the real deal, but I do know the One Control stuff generally is awesome. However what I also know is that the cab/speaker is a big part of the tone you get, so for it to work properly you would also need a decent IR loader (plenty of actually pretty great relatively cheap ones on the market (I recommend the big NUX Solid Studio one, amazing quality, and not just for the money)), and a proper IR cab sim file of that cab/speaker (which my guess is shouldn't be too hard to find either, since it's a pretty legendary amp/tone), to run "amp in a box" preamp into.

Can I drive both back and forth from A to B (and back to A) at the same time, using the same traffic lane? The answer is: YES You Can! If you just drive fast enough! But not without causing a car and space time continuum crash...

Not my intend with posting this, if it was I would have posted a video of an actual car crash and chosen the title "Have A Laugh At Unfortunate People 👍*LOL*". I am not laughing at the guy here, or pointing fingers, I am really just appreciating the oddness, might I say absurdness, of the video, and actually the whole implication of it, and thought others might too.

So you are one of those people who prefer being told the point of a joke rather than hearing the actual joke? It's really the whole video that is the point, it isn't just a one liner point, or at least that wouldn't be my point with posting this.

I am sure they don't do this a conscious design choice, and also fairly certain that either your unit is faulty, that is not working as intended, or that you don't use a proper isolated and filtered powersupply and that the unit it self isn't actually the source of the noise you are hearing.

You really need to watch the whole video to fully appreciate the strangeness of it. But yes, he only, and hard pressed, plays very little, and very badly by the end of the video, that however is not the entire point of my post, the video as a whole is, in the full context (plenty of bad bass players, nothing strange, or funny for that matter, about that as such). Really need to watch the video.

In my experience venues where a 200W amp with a decent cab wouldn't be more than plenty will have PA support, in the latter case effectively reducing your amp to nothing more than glorified stage monitor anyway (that is unless you mic it of course, in which case though my point of the wattage being largely irrelevant still stands). I've played open air festivals with a 50W bass amp head hooked up to a 1 X 15" cab and a 2 X 15" cab with PA support and stage monitoring, and have had no issues ever with neither hearing myself or getting heard, same with small bar sized venues with no PA support except for the vocals, and that is in the context of a loud noisy rock band with a pretty hard hitting drummer. It amaze me every time I hear of people with a 500W rig not being able to hear themself or being heard, and makes me think that either playing with such a powerful rig has made them deaf or they are using a feather to strum the strings of their bass.

This! A good set of studio grade (meaning FRFR) headphones with a decent cab sim in front is going to do a much better job at representing the sound of the bass, and at a lower cost, than any decent 1 x 8" cab.

No, the neck of your bass will always have two frets too many headstock side and two too few bridge side, and have an unusually wide fretboard on the useable side of the neck's length.