Baloney Balderdash

Sounds great. Not to brag or anything, but, even though the music I make doesn't have a lot in common with this, my playing style is actually somewhat similar, the sort of hybrid guitar/bass thing, on my main instrument, a Harley Benton GuitarBass (a take on the Fender Bass VI concept, though being closer related to the Schecter Hellcat VI) tuned in F#1 standard tuning (that is 10 half steps bellow regular guitar E2 standard tuning, or 2 half steps above regular 4 string bass E1), which I think is a perfect match for this kind of instrument, so to me it totally makes sense that she would tune her guitar down to C for this. However, even though I do sing fairly decently, and have done so in several musical project, I couldn't play like this and sing at the same time, and, as the guy in the video note, I don't understand how it is possible either, even though I did play bass in a math rock band at some point where the guitarist, who was also the vocalist, could do this as well. To me it's a mystery, almost on the same level as if one could have an unrelated conversation while writing something entirely different simultaneously. And yes, the guy in the video is also right about this song (haven't heard any of her others) having a very Joni Mitchell-esque vibe, but maybe with a slightly more mathy, instead of Joni's jazzy, quality. Math folk?

Is that a black version of the GuitarBass, but in the Classic series, does that mean that there is also some updates to it, beside being black, or is it a baritone guitar, what is this and how did you find that picture/where is that picture from?

Bizarrely absurd. Why, just why, it should be obvious to anyone that that there is completely unplayable.

Run (the Japanese bass and drums duo Ruins)

This Japanese bass and drums duo:

Personally I like mids and have always done and never understood what exactly is supposed to be so appealing and attractive about an inarticulate undefined mess of mud and hiss. Taking the above two replies by @Beedster into account I guess that must mean that I am on a higher evolutionary step than most.

So if you use a pick to pluck the strings of your bass, whether that be always or occasionally, which pick do you then prefer to use? Personally I prefer the tone a pick gives me, that specific snappy emphasis on the attack that only a pick will give you, and while I do actually know how to use my fingers, even several different fingerpicking techniques, I will use a pick 90% of the time. After trying out a lot of different picks, materials and thicknesses, I always come back to the standard gray Dunlop Nylon USA .73mm one, either using the tip, after having pre rounded it slightly with fine grained sandpaper, or one of the round corners, depending (picking with one of the round corners gives a fuller tone with a cleaner attack, but is not as nuanced and snappy sounding. And the slight pre-rounding of the tip improves my control over the pick slightly, and allows for slightly smoother up/down stroke strumming). Just what feels and sounds best to me, the one pick that allows me to pick fastest, and for most dynamic range and nuances, and overall just giving me most control over my picking, while at the same time giving me the tone I desire. This one, as said though with a slightly pre rounded tip:

What I learned from this thread: 1. Everyone hears something different! 2. Ergo there is no flat! 3. Ergo EQ is a lie, an illusion, and doesn't matter, in fact nothing really does, we are all going to ultimately die anyway, so why not just get it over with, no one is going to care or be able to tell the difference in the bigger picture of things, your life is meaningless, stop lying to yourself and snap out of the delusion that anything matters, admit the pointlessness of everything, give in to the fact that it is in fact all totally meaningless and let the void consume you, it's better to burn alive than die trying!

No you was not saying that, but it does limit your options, and potentially might very well be at the expense of the absolute perfect effect for you from a tone perspective. But of course that depends on how specific you are in your taste when it comes to sound, if you just want a generic good sounding effect, and not the one absolutely perfect for you, then of course it wouldn't really limit your options. And that was kind of my point, beside most of all just being humorous in my initial reply and not too dead serious about it in the first place.

Eric's Rip O Depeche Ode Back Sabbath Lack Sabbath Pubic Enemy Ink Floyd Fathers Grizzly Bar Avid Bowie Age Against the Machine Earl Jam I think this game is kind of limited, but not my thread, I just think it would have been more fun to replace a letter in the name for another one, instead of just removing one, more fun possible outcomes, instead of just nonsense.

If it was me I'd get a '51 P Bass single coil pickup, perhaps the Seymour Duncan Quarter Pounder if you want something high output, which unlike all the other Quarter Pounder pickups for some reason actually is not muddy at all and also fairly mids heavy. And it should even be a direct drop in, without further routing needed. Then again I do personally really love that 51' P single coil tone.

I guess it is designed to only intonate perfectly with one particular type, brand and gauge of strings, and in E standard tuning. Or just never change the stock strings and you are good. But yeah, that still doesn't sound like the brightest idea to me either. Same concept as the wooden "bridge/1 piece saddle" of the Danelectro Longhorn bass though, but at least that actually allows you to at least adjust the angle of it.

EHX's 9 Series of pedals. For classic analog synth tones the EHX Synth9. Somewhat limited tweaking options, but it tracks flawlessly (or that is at least down to the low A, these weren't really made with bass in mind) with practically no detectable latency, and the sounds they are capable of all sound no short of absolutely amazing (way better then the Boss SY-1 in my opinion, which kind of sound like a toy to me in comparison). As for what I personally use, as of currently, though I do plan to get some dedicated more straight out synth oriented pedals, I use a combination of all analog modulation effects and digitally based reverb and delays to get my synth like sounds, though I do ponder on maybe adding my other TC Electronic Sub'N'Up Mini pedal, loaded with a slightly custom tweaked version of the Organ Toneprint Template as well for this kind of purpose. But even if I did get some dedicated somewhat more synth-esque pedals like the Digitech FreqOut, EHX Attack Decay and EHX Superego+ (or maybe rather really just the EHX Freeze), which in fact I do all plan to get at some point in the future, and all 3 of those pedals also actually being rather high up on my musical gear gear acquisition priority list, I would still end up predominantly using a combination of different effect pedals for my synth tones. Personally I am just not all that interested in premade standard synth tones and much rather create my own totally unique ones by combining several effects (I could really use a non nonsense classic organ sounding one though for one of my projects, which the EHX B9 Organ Machine would actually be perfect for). Still the EHX 9 Series of pedals does intrigue me, especially the mellotron, organ and classic analog synth one, but they are just not really on the horizon of my musical gear acquisition priority list, so not likely I'll get any of those in any foreseeable future.

The guy who installed the frets on those basses in the OP should be fired! Not one single straight one! Must had been heavily drugged up. Also one thing is to have crappy quality control, but at least don't display the failed units.

I usually love odd somewhat bizarre designs, but those ones... It's like the absolute worst of respectively 80's and 90's pop culture had a deformed baby together. Also: Hint: That black bass certainly doesn't look like an elbow to me... Should have named it B-Tocks instead. Though if I was forced to chose one of those I'd still take the black one over the blue one. Also I should properly add that I mean absolutely no offence to the OP, if they love the visual design of these basses, then more power to them, but definitely not for me, as the above honest personal reaction/opinions might indicate. Congratulations.

As the ancient Chinese proverbs goes: "When tone has to match the socks you are wearing music suffers" "Listening with your eyes is like plopping with your nose"

I got a friend who got a 6 string bajo, tuned in E standard tuning, exactly like a guitar, so totally doable with the appropriate gauge of strings.

Admittedly I use a custom made Newton set of roundwound nickle plated hex steel core guitar strings of the gauges .080 - .060 - .045 - .034 - .027 - .020, and have it tuned to F# standard tuning, that is 2 half steps higher than usual, though if I wanted to tune it to regular E standard tuning I would end up using a gauge .090 low E string for the same tension, as I actually prefer that low tension, and I even usually will prefer a gauge .095 string set for regular short scale 4 string bass, and just as long as the gauge doesn't get any higher than that I am quite confident that the string spacing still would be fine for me (with a gauge .090 low E string and a gauge .068 low A string, which would match the tension on the current low F# and B string for the F# standard tuning that I use, that would only result in something like just 0.009" (~0.23mm) tighter string spacing between the low E and low A, compared to the set I currently use for the F# standard tuning. And for a respectively gauge .095 and .070 balanced tension low E and A string that would be 0.0125" (~0.32mm)). But any higher than gauge .095 for the low E string, should one not be comfortable with the relative low tension, and I think the string spacing would become an issue, for me personally at least. And as far as intonation goes the saddle pieces in the TOM style bridge just barely have enough travel to get the intonation right, though if more travel room was needed it would only be a matter of buying a broader 3rd part TOM bridge piece, which wouldn't necessarily have to cost much, and be easy to install without any additional tools or modifications needed, it would quite literally be a drop in (on) replacement.

The Orange Burst is an Xotic BB Preamp clone, right?

I never really played with a mute, but from what you describe it kind of sounds like what I get from the technique I recently started to apply a lot when playing and really enjoy the effect of, that is cutting the notes short by only lifting the fretting finger in question partially, gradually (but this graduation in reality actually happening fairly quickly) slightly loosening pressure of the fretting finger on the string, so that the pad of the finger now will sort of mute the string in question naturally. The advantage of that over a fixed mute it obviously that you can freely alternate between this and then having then regular fretting, as well as this way you will also have full control over exactly how and how much the fretted string is muted. Not sure if we are actually talking about the same effect though, as I, as said, never actually played with a string mute. Edit!!!: Thinking about it I don't think the above technique will give the same result anyway, not sure what I was thinking when I wrote it, but it wouldn't be able to give that initial damping effect on the fretted notes as a mute would.

I think the current production Squier Bass VI's actually got a slightly wider nut width, but I was about to post a somewhat similar reply, that is that the nut width of the Bronco most likely being way more narrow than OP likely would want, or even quite possibly what will strictly physically allow for proper fretting of the individual strings near the nut. My Harley Benton GuitarBass, which is also a take on the Bass VI concept, but with a much flatter fretboard radius and a fixed TOM style bridge, in fact more similar to the Shecter Hellcat VI, has a 42mm wide nut, and that is about as narrow as can be for me to be able to still fret the individual strings properly near the nut. Mind while being a real issue when I first got the instrument all it took was a little practice and getting used to it, and the tight string spacing it is actually not really an issue for me now, not even at the first fret, but as said I would definitely want to go any narrower, as I think that would make it physically impossible for me to fret the individual strings properly at the first few frets. OP might want to consider the Harley Benton GuitarBass, it generally gets amazing reviews, and I was generally impressed myself with the quality of mine, some claim it is better quality than the over twice times more expensive Squier. The stock pickups sound great, the fretwork on mine was perfect from stock, heck, even the nut slots were cut perfectly, and overall it plays and sounds amazing. The Harley Benton GuitarBass is genuinely great instrument and not only for the money.

Just don't get the EHX Nano Small Clone, its' a different circuit and doesn't sound as great as the models mentioned following, get either the original big box Small Clone, which I think is actually still in production, the Neo Small Clone, or the Bass Clone.

So, as the title say, what is your favorite overdrive pedal(s) for bass? Preferably leave a bit information about your chosen overdrive(s) and why you like it as well. My, hands down, must be the Joyo Orange Juice, which is based on the Tech 21 Oxford, which again is an all analog emulation of an Orange amp type preamp/overdrive, but with the Orange Juice being seriously sized down, without the build in primitive analog cab sim filter of the original, this Orange Juice being more aimed for functioning as a drive pedal, rather than a preamp, and, compared to the original, with a simplified EQ section as well, to accommodate the truly miniature size of the Orange Juice (smaller than the standard mini size 1590A pedal enclosure). It can do everything from perfectly clean, to just on the verge of tube like breakup, to light low gain overdrive, and all the way up to seriously grinding medium gain distortion, it is quite sensitive to picking dynamics, and it retains low end exceptionally well, even on higher gain settings (no need for a clean blend really, as far as I am concerned). It is capable of a lot of different overdrive tones as well, but beside working really great as a very touch sensitive lower gain tube like overdrive it really excels at higher gain overdrive and distortion with a quite grindy quality as well. The controls are Volume, Drive, Tone and then Voice, the Tone control functioning as a regular standard post gain stage Tone control, and the Voice being identical to the Character control of the Tech 21 Oxford, which is a pre gain stage EQ control, which means how you set it has a great influence on the actual character of the drive (rather than just EQ'ing the already distorted signal it actually determines how the signal distorts, as in which frequencies distorts more or less). Not entirely sure exactly which specific frequencies the Voice control adjusts though, but it seems to scoop the mids progressively bellow the noon position, cut a bit of low end as well, and generally making the low end sound more loose or floppy, while it seems to boost the upper mids as well as tightening up the low end progressively above the noon position, that is generally loosening up the tone progressively bellow noon, and tightening up the tone progressively above noon. I own two Orange Juice pedals, and just ordered the third one, the two I currently own functioning respectively as an always on higher low/lower medium gain overdrive, mixed in parallel with about 55-60% or so dry clean signal, being part of what shapes my basic always on "clean" tone, adding a touch of light grit and producing more harmonic content, and then as a post reverb medium gain distortion, and my plans for the third one that I just ordered is to be part of my regular pre reverb drive section, functioning as a medium gain kind of distortion as well, with more or less the same settings as the post reverb one. That will be that no less than 3 Joyo Orange Juice pedals will be part of my current pedal setup. A random Google photo of the Joyo Orange Juice :