Baloney Balderdash

The tuner is digital, and also the drive and compression on the SpectraDrive preamp are digital too.

If I had that kind of money I wouldn't mind that Stanley Clarke Alembic.

Tuxedomoon cover :

How do I wire my brain to being better at multitasking, if possible? :

I wouldn't cut mids, but this is very much a matter of taste and personal preferences, it's a fact though that the mid frequency spectrum is what the human hearing/brain perceives as most defined and articulate, and cutting the mids can very easily result in muddiness and getting lost in the mix. Starting with tone all the way up on your bass and all EQ controls on amp set flat (noon position), and then take it from there, adjusting while listening and then adjusting further according to what you hear, is a sound advice though. In my experience, also with loud rock bands, 130W should be plenty, a bit depending on how hard the drummer hits and the sensitivity of the speakers you play through though, and Peavey's are known to generally being loud amps compared to their rated power (I am always puzzled when people claim not being able to hear themself through an 800W bass head, believe me I played in loud hard hitting rock bands and never needed anything above 130W and a single 1 X 15" cab, with no issues of hearing myself or being heard). Old Peavey amps are generally amazing for exactly that typical punk rock tone, which I personally love, but might not be the amp for you, still you should be able to get something acceptable that can pass for classic rock tone out of that Peavey, otherwise it might be time for you to invest in a tube head for truly classic rock tones. Eventual try cutting some higher mids (around 800Hz or so), boosting the bass slightly, and cutting the treble slightly, that ought to get you closer to a classic rock tone, but remember to listen while you adjust. That is set Freq at 800Hz, then cut Mid some, experiment with Bandwidth, if the Bandwidth numbers is listed as Q values try setting it around 2 to 3 to start with, and listen while you adjust, eventual readjust accordingly, Freq and Bandwidth relates to the Mid boost/cut control only, boost Low slightly, cut High and Presence a bit, and again all the while listening to what the adjustments you make do to your tone and readjusting accordingly (flat, that is neither boost or cut, should be with the EQ control knobs, except Bandwidth and Freq, at noon position, that is the 12 o'clock position, cut will then be bellow noon and boost will be above noon).

An old song with a psychedelic electronic project I had with a friend, where we both took turns in programming layers for the songs we composed together, predominantly utilizing Reason 5, and then me being responsible for lyrics, playing/recording vocals and physical instruments, as well as mixing using Cubase 5 and Reaper (DAW). This particular one featuring a sample from the soap tv series "Days of Our Life", from when the character Helena has been possessed by Satan and attacks the priest John (I am not kidding, that actually did happened). Also features a surprise (apo)calypso middle section with a latin inspired bass solo.

This seems like a great article for those interested in what exactly the concept of goldfoil pickups implies: https://stringjoy.com/gold-foil-pickups/ As some people already pointed out in this thread it does seem, from reading this article, that it is more about a certain style really than actual substance, as the term covers over a wide variety of different construction methods, though there does seem to be certain tone characteristics commonly associated with this type of pickup, which roughly summed up seems to be very full range, harmonically rich, and open sounding, but also having a relatively weak output, which I guess for most parts usually wouldn't exactly be considered great qualities for a bass pickups, but on the other hand definitely ought to make for an unusual and different fairly unique take on a bass sound/tone.

This looks absolutely amazing! ❤️

It's a great bass, regardless of price, and even the stock pickup, which is otherwise often cheap budget basses greatest shortcoming, sounds genuinely great. No need to be ashamed of that.

So do I (using my ears), and I actually think that was pretty clear from my reply, neither did I suggest you did (judging by looking at graphs). I don't know where you get this from. Yes, I mentioned graphs, but not in any way so that it could be intepreted that way in the actual context. Not everyone got the same preferences, taste or opinions, and that is perfectly fine. We clearly don't hear the same things either, but again that doesn't necessarily mean that there is anything wrong with neither yours or mine hearing, this could be down to personal preferences too. And just for the record I wasn't recommending the SCPB-3 either, not recommending against it either though, I will let that be up to OP to decide.

While it is true that just about any other model in the Seymour Duncan Quarter Pounder pickup series scoop mids big time it isn't true at all in this specific case, just exactly the '51 single coil P Quarter Pounder is an exception to this and is actually pretty mids heavy, not scooped in any possible way, and even actually has a more pronounced mids response than most other single coil P pickups out there. And I don't agree that different pickups can't result in a substantial improvement in tone either, though of course however we define substantial is totally objective, as far as I am concerned just about every change in this context will objectively measured be relatively minor changes when looking at plain numbers or a graph, however it is exactly those small changes that can make the whole difference between something just sounding decent and then something sounding amazing when we are talking the tone of a musical instrument.

You are not supposed to hit the pickups with the pick, that is not how playing an electrical guitar or bass works. And least of all if you are playing with a heavy gauge pick. You are only supposed to hit the strings with the very outmost tip of the pick. Not really Fender that is at fault here, as far as I am concerned. Edit!!!: That came off a little more harsh and snarky than really intended. I mean of course it sucks that your dad accidentally damaged his new guitar cosmetically. Just saying that it's not entirely fair to give Fender the full blame, and that your dad definitely is responsible for part of it himself. Which I assume he is fully aware of too, since he didn't just send the guitar back. Some equipment is just inherently more delicate than other, and it is the users responsibility to treat it accordingly.

My new favorite pick is the Dunlop Nylon Max Grip .60mm (I know, I know, this seems in sharp contrast to my last response in this thread, but please read on), which is actually a good deal stiffer for some reason than the regular USA Nylon .60mm pick, but using one of the rounded corners of the pick, which is actually a bit stiffer than the regular USA Nylon .73mm pick, and well, obviously rounded.

My beloved Ibanez GSRM20 neck + GSRM20B body Mikro Bass, with a just 28.6" scale length, the stock pickups ripped out and instead having just a single EMG Geezer Butler P pickup installed, wired directly to the output jack socket, also the stock side mounted barrel type output jack socket has been removed, and instead a regular front mounted jack socket has been installed in one of the redundant pot holes, other than that various visual mods... Without further ado: ...I represent you "Dud Bottomfeeder" ! : Edit/Update!!!: One of the knobs now features red electrical tape on top of it, instead of green, so here's a bit more recent, though far from as great, shot, reflecting that change:

Damn, a shame... But thanks anyway, appreciate.

Harley Benton Beatbass FL VS Vintage Series https://www.thomann.de/gb/harley_benton_beatbass_fl_vs_vintage_series.htm It sounds amazing, even when just DI'ed, all dry with nothing addtionally done to the signal, like the first half of this video: And the fretboard is Amaranth (Purpleheart), which is actually almost as hard as Ebony, and very very close to being just as stiff too.

I haven't, but love the looks of these basses and would wish they'd make a short scale version of it.

Where's the fun in that? Also I am pretty sure that a standard PJ bass is not what OP have in mind. Not to speak of the gamble if he loves how his current bass plays, especially considering the inconsistency between individual units of cheaper basses (due to lacking quality control, rather than consistently bad quality).

Those pickups are indeed absolutely amazing. I got one of those in my regular 34" Aria Pro II Laser Electric Classic, which was my very first bass ever, that I still own. Though mine is in the middle position, like the one linked to (as I don't know how to include multiple quotes from different pages of a thread in one single reply). I believe they are actually full regular humbuckers in the sense that the 2 parallel coils, connected in series, go the full length of the pickups, but then only got pole pieces on one half of each coil, arranged opposite to each, that is a pair of of dual pole pieces, one pole piece on each side of each string, on respectively low E and A string for one coil, and high D and G string for the other coil, just like a reverse P pickup. Not 100% sure, but think they are steel pole pieces, with a ceramic bar magnet underneath them, on the bottom of the pickups. It also features larger than standard pole pieces, as well as the top of the pickup is arced, following the fretboard radius for a more even output across strings. I'd wish someone would make a clone of this pickup, it is truly spectacular sounding. Super punchy and muscular, but at the same time really well defined, articulate and clear sounding (and that is all passive, which I actually prefer, even if my bass actually has got a build in active preamp). Kind of like a hi-fi (without for that reason sounding polite or sterile in any possible way, just in the sense of sounding very well balanced, defined, articulate and clear sounding) P pickup on steroids.

Leonard Cohen cover by Jeff Buckley There's a blaze of light in every word It doesn't matter which you heard The holy or the broken Hallelujah And even though it all went wrong I'll stand before the Lord of Song With nothing on my tongue but Hallelujah

Ah, of course! Thank you! Yeah, I never understood why anyone would have their high D and G string sound even thinner, and the low E and D string to sound even more boomy in comparison. But then again it is a known fact that Leo Fender liked to be contrary and do stuff the complete opposite way of everyone else, P pickup orientation defying logic and common sense, insisting on calling vibrato tremolo and tremolo vibrato e.t.c. And having huge success doing so I guess no one dared to question it and just mindlessly proceeded copying what he did.

Is this some sort of riddle?

Thank you Captain Obvious. Yes, and Coca Cola Light is a scam, it isn't actually any lighter but weights exactly the same as a normal one! Noticed how I put "amp-less" in brackets? This is what you call an "amp-less" setup even if in strictly literal terms it isn't (hence the brackets), and I don't think anyone is mislead here to think it actually is or claiming that it is for that matter. As I stated in my OP the obvious advantage of such a setup, beside usually being a lot lighter and easier/more practical to transport, is that you sound more or less exactly the same whether you are practicing at home with a good set a studio grade (here meaning approximately flat response) headphones, DI'ed on recordings, at band rehearsals through a PA or FRFR cab, or through a given venue's PA live, that is to say consistency of tone, and that you can actually count on the settings you dialed in on eventual additional gear/effects at home wearing headphones, at least largely (that is that there it is not going to be a day and night difference and most likely only relatively minor additional tweaks needs being made to make it work wherever).