Baloney Balderdash

Yes, I utilizes and "amp-less" setup, predominantly exactly for the reason you mention, to keep as much consistency as possible tone wise between practicing at home with a high quality set of studio grade headphones, recording, band rehearsal with power amp and full frequency flat response PA speaker, and live going DI to venue PA. Check out my forum profile for a detailed description of my setup: https://www.basschat.co.uk/profile/50585-baloney-balderdash/?tab=field_core_pfield_1 What you need for this to work is something that simulates the amp, something that simulates the cab part, and then eventual, to actually to obtain consistency, for home practice somekind of headphone amp, for example a mini mixer, and a studio grade set of proper quality approximately full frequency flat response headphones, and for band rehearsal a power amp and then an approximate full frequency flat response cab or PA speaker, or active PA speaker.

These simple rubber washer strap locks works great, these specific ones are Harley Benton, which are the cheapest, though they don't cost much regardless, and Fender and Ernie Ball makes identical ones, comes in grey color too: Works like this: Super easy to put on and take off, but as said works really great and effective.

Then I'd suggest calling a Doctor and getting it removed ASAP!

Absolutely horrendous bad taste.

From Denmark! The title means "Friend" in respectively Kurdish and Danish, and the lyrics is in both Kurdish and Danish. She's Danish/Turkish/Kurdish.

Our Broken Garden :

J Bass is not really my idea of a bass, and certainly even less is your tone, too burpy and thin sounding to my liking, but looking beyond that fact the stock bridge to me does sound better. More top end definition and better overall articulation, the high mass bridge sounds dull and inarticulate in comparison, almost like dead strings.

Learn chords and scales, and practice improvising/writing bass lines on the spot.

HoTone MP-300 Ampero II Stomp!

Behringer GDI21, Tech 21 GT2 clone, for distortion (or alternatively Behinger HD300 Heavy Distortion, Boss MD-2 Mega Distortion clone) : Behringer SF300 Super Fuzz, for fuzz. Joyo Orange Juice, for overdrive.

I really like these knobs, PRS ACC-4246 Lampshade Knobs Clear : Though at the moment with a piece of respectively red and green electrical tape (also known as insulating tape) cut out to fit the top of each knob, like this:

As the title says this is the thread to flash those of your basses that are equipped with a tortoise pickguard! Used to hate sunburst finish, and especially tortoise pickguards, but after I got this Harley Benton GuitarBass (take on the Fender Bass VI concept, though, with its much flatter fretboard radius and fixed TOM style bridge, really having more in common with the Schecter Hellcat VI), that doesn't come in other finish option, it has really grown on me, and I actually really like how it looks now, at least on this instrument:

One that would be capable of running standard VST effects, and multi parallel processing.

I actually really like the visual design of these basses.

@barrycreed That's a matter of personal taste isn't it? I personally happen to love clanky and bright big piano/chime like bass tones. But if the person who asked the question doesn't like that, then no, probably not other single coil P pickups either then, they traditionally have rich upper mids and high end, the Quarter Pounder is just a little more extreme and with a bit more mids overall. Also I would think that since the pole pieces are much bigger on the Quarter Pounder pickup it would work fine, even with the Bronco's slightly more narrow string spacing (standard 19mm vs Bronco 17mm), pole pieces of pickups doesn't have to line up perfectly for the pickups to still work flawlessly, the magnetic field that picks up the string vibrations reach a good bit beyond merely the pole pieces radius, with regular single coil P bass pickups, which would have smaller pole pieces, you might be right though, maybe not so much. Also just to clarify to the one who asked the question, most short scale basses will have regular standard 19mm string spacing, with a few exceptions, the Bronco being one of those with a couple of mm more narrow spacing, namely 17mm.

I would personally stick to a single coil pickup, like the original stock one is, and would properly more specifically go for a single coil '51 P/Tele Bass pickup, and if you absolutely want high output then the Seymour Duncan Quarter Pounder single coil P pickup, which unlike all the other Quarter Pounders actually have quite a big mid content and isn't scooped at all, which I personally appreciate (perosnally I would go for a lower output, more classic voiced, single coil '51 P/Tele bass pickup though). If you insist on getting a humbucker I know that the Seymour Duncan Hot Rails Strat pickup is a quite popular pickup upgrade for the Bronco Bass.

Death To Everyone by Bonnie "Prince" Billy

Bridge tail piece string anchoring point to nut is about 82cm on the Harley Benton GuitarBass, that is about 32", so yeah 100cm is probably a wee too short to be able to reach and wrap properly around the last couple of tuning pegs for the higher strings. But the Daddario EXL157, gauge .014 - .018 - .026 - .044 - .056 - .068 , baritone string set will fit (the thinner gauge D'Addario baritone set will not, too short), and ought to be pretty much perfect gauges for A standard tuning on a 30" scale instrument, like the Harley Benton GuitarBass (I've seen a couple of YouTube videos where this set was used on a Squier Bass VI, which needs even longer strings, for this purpose exactly, that is A standard tuning, A to A). Otherwise I can warmly recommend having a custom set made by Newtone, they are even an UK business: https://newtonestrings.com/ https://newtonestrings.com/shop/custom-string-configurator/

If I was you I'd probably move the stock pickup to the neck position and install a Nordstrand Big Baldeman in the old bridge pickup cavity. Or, actually.... If I really was you I would make a middle position pickup cavity (traditional P pickup position) and just relocate the stock pickup there and call it a day, but that was not what you asked about, so...

At a very general basic, really simplified (and I don't think very helpful), level, yes, however different compressors in reality will react slightly different to different frequencies, might color your tone, and more advanced multi band compressors, or even just a compressor featuring some kind of pre compression EQ section, might be used as a tone shaping device as well, then comes the fact, and this even on a relatively basic level, that a compressor can be used to suppress or enhance the attack, or help increase of decrease the sustain, of your signal as well, depending on the settings of the various basic compression parameters. He also refuses to give the, in my personal opinion, excellent TC Electronic SpectraComp and Hyper Gravity compressors a proper review, I think basically, summed up, based on the fact that he, ironically, think TC Electronic are to not be viewed a serious/professional company, as if choosing not to give a pedal a review, but still choosing to list it just to declare you are not going to review it because you are butt hurt is acting professionally or can be viewed as a serious review. That said and otherwise, despite not agreeing with all his reviews (simply not humanly possible to stay 100% objective, so hard to blame him for that), I do actually think that homepage, Ovnilab, is a great resource for getting an overview of the different available compressors on the market's capabilities, pros and cons.

So I use my TC Electronic Sub'N'Up Mini for an effect somewhat similar to that of playing an 8 string bass, that is a bass with pairs of respectively bass and octave strings, and after a lot of experimenting, trial and error, I think I have succeeded at making a custom Toneprint that comes about as close to an authentic and natural sounding 1 octave up effect/tone as is possible by just using a simple basic polyphonic octaver and a minimum of EQ, without any more complex/advanced synthesizing happening, so though I would share it with you. The main secret is applying a LPF set at just the right frequency to respectively the input signal to the octave/pitchifter engine and then again another LPF set at just the right frequency to the pitched signal output, both for the sake of improving tracking, which in terms indirectly means less unwanted odd digital artifacts, and for the sake of directly cutting out some digital artifacts, which usually primarily will be in the upper frequency spectrum, but if the two HPF are set just right without compromising the resulted tone of the pitched signal too much. Mind it doesn't sound exactly like a guitar, pitching up your signal a whole octave with nothing additionally done to it other than EQ is always going to sound somewhat artificial, but close enough for it to quite decently work in a mix as a faux guitar (especially if you are going for an overdriven guitar) or faking an 8 string bass. Also expect it to sound most realistic on the 2 highest strings and most artificial on the low E (and eventual low B) string. So here we go (Faux Guitar/8 string bass custom Toneprint for TC Electronic Sub'N'Up Mini/Sub'N'Up): First load the "Deafult Poly" template, then edit it as follows : 1st tab (master levels/gain): Row 1 : -100dB :-: -100dB :-: [Wet Level Oct Up] (-13dB seems to work best for me, trust me it'll sound louder than you'd think, mind drive and EQ boost) :-: 0dB Row 2 : [Drive Gain Oct Up] (even if you want a clean octave up tone try and see how a bit of added gain works, 2dB gain seems to work best for me) :-: 0 :-: 0 2nd tab (equalizer for input signal fed to octave engine): Row 1 : LoCut = 40Hz (if octave up signal is too weak on low E set to 35.5Hz instead, or for 5 or 6 string with low B set to 30Hz) :-: Input EQ1 Cut Order = 2 Row 2 : HiCut = 3.55kHz :-: Input EQ2 Cut Order = 2 3rd tab (equalizer for 1 octave down output signal): Row 1 : LoCut = 20.0kHz :-: Sub EQ1 Cut Order = 2 Row 2 : [Bypass] 4th tab (equalizer for 2 octaves down output signal): Row 1 : LoCut = 20.0kHz :-: Sub 2 EQ1 Cut Order = 2 Row 2 : [Bypass] 5th tab (equalizer for 1 octave up output signal): Row 1 : LoShlv = 4.50kHz :-: +2dB :-: [Oct Up EQ1 Slope] (6dB Slope seems to work best for me (steeper slope gives a slightly brighter octave tone)) Row 2 : HiCut = 5.60kHz :-: Oct Up EQ2 Cut Order = 2 6th tab (modulation on pitched signal): No adjustments, that is Modulation: Enable = Off (though you might find that experimenting with adding a very subtle chorus or even vibrato to the 1 Octave Up signal might possibly help mimicking the slight intonation/tuning difference between the bass and octave strings of a real 8 string bass even more realistically, but mind keep it very subtle) 7th tab (knob assignments): Sub/Sub 2 [knob assignment] : assign to [Octaver - Drive Gain Up], and clear all eventual other assignments, set the range from 0dB to 8dB (0, 2, 4, 6, 😎)* Dry [knob assignment] : assign to [Octaver - Output Up EQ1 Slope], and clear all eventual other assignments, set range from 3dB to 12dB (3dB, 6dB, 6dB, 9dB, 12dB) Up [knob assignment] : assign to [Octaver - Wet Level Up], and clear all eventual other assignments, set range from -20db to 0dB (-20, -15, -12, -8, 0) )* If you got the regular big version of the Sub'N'Up pedal you might want to instead assign the "Sub 2" knob to control the Slope of Tab 5, Row 1, EQ, that is [Octaver - Output Up EQ1 Slope], otherwise in the above example assigned to the "Dry" output knob, and leave the "Dry" knob assignment to control [Octaver - Dry Level] Save the toneprint under whichever name you'd like and then load/save it to the pedal. You might get better results if you run a compressor right before the Sub'N'Up, otherwise keep the Sub'N'Up as the very first unit in your signal chain after the bass (except for an eventual tuner and/or buffer). If you try this Toneprint out please post a reply in this thread, letting us know how it worked for you. Other suggestion on how to achieve an as authentic and natural sounding 1 octave up faux guitar/8 string bass effect as possible is of course very welcome as well. Also I should probably add: The result might vary depending on the tone of your bass and how you otherwise have your bass EQ'ed, but for me at least this works exceptionally well, and sounds surprisingly natural/authentic/realistic. Using roundwound strings and having a fairly bright zingy unaffected clean tone with a lot of bite and snap, as I do, I believe does help the 1 octave up signal to blend in better and thereby contributes to it sounding more natural and realistic. Not having the 1 octave up signal dialed in too high in the mix (finding just the right balance) helps as well. I personally have the 1 octave up signal dialed in a bit lower than it probably typically would be with a real 8 string bass. Also note that if the primary purpose is to mimic a guitar it would probably be beneficial to split the signal and run two signal paths, one where only the 1 octave up signal gets processed, and a separate signal path for the "dry" bass signal, then eventually join them again, for instance via a Boss LS-2 or a dedicated mixer, whereas if the main purpose is to mimic an 8 string bass it would beneficial to run the joined signal through as many of the same tone shaping and otherwise applied effects as the "dry" bass signal (though just using the Sub'N'Up as is with the above explained custom Toneprint is absolutely capable at mimicking a passable second guitar decently without having to split the signal, just for optimal result when used as a faux separate guitar you should split the signal, to be able to process the 1 octave up signal further separately).

I simply don't agree, look at the Danelectro Longhorn 6 string bass, a 30" scale instrument meant to be tuned an octave lower than a guitar with guitar like string spacing, the first and original Bass VI instrument, which was made famous as the tic-tac bass that doubled the acoustic upright on countless of recordings, and which is what started it all and inspired Fender to make the Bass VI in the first place, it has a neck and a bridge pickup, and no middle pickup either. Music Man's now discontinued take on a Bass VI, which I even believe had a 45mm wide nut, also only had a neck and bridge pickup. And you can get beautiful clear piano like bass tones out of a neck pickup too, that are nothing like a Gibson SG Bass, refer to the 28.6" short scale bass I mentioned in a previous post, build out of Warmoth baritone parts, with a Seymour Duncan Rickenbacker pickup in the far neck position, that I once owned. I think your distinction is conceived, based on little other than marketing decisions and popularity, and has very little to do with actual reality. It all depends.