Baloney Balderdash

This absolutely astonishing beautiful instrumental, with one of my absolute favorite guitarists, Bill Frisell :

From the, in my opinion, best album Will Oldham (Palace Brothers, Palace Music, Bonnie "Prince" Billy) ever have released, "Viva Last Blues", from 1995 :

I use the biggest Harley Benton SpaceShip 80 board, and as you say it's a great, solid, and all together well constructed and not too heavy pedal board solution. I wish it would have come with a greater quality carrying shoulder back though, I would have been willing to pay more, which would still have kept the price bellow any competitors, for a higher quality properly padded bag and shoulder strap. Not that big of an issue though, I just pack the board into a rug before placing in the bag and use a more comfortable shoulder strap from a gig bag. Here it is: (I since this picture was shot removed the Joyo American Sound from the board, as well as I swapped out the Behringer UT100 Ultra Tremolo with a Boss TR-2)

Stina Nordenstam - "Parliament Square" (The Knife remix) :

Stina Nordenstam :

The Danish band Kliché from their 1982 album "Okay Okay Boys" :

Matt Elliott, the guy behind “The Third Eye Foundation” :

The above deleted settings resulted in an extremely way too thick and muddy chorus that practically was unusable and didn't sound anything like the Boss CE-1, the bellow described settings doesn't result in a chorus effect that sound much like the Boss CE-1 either, but it is non the less an amazing and really lush sounding one. I apologize if anyone wasted their time on the now deleted old instructions from my original post, and was given wrong expectations, as said though, the bellow instructions should result in an amazing sounding chorus,. that I use myself in my current setup, if still not sounding much like a Boss CE-1 though. Much prefer the chorus I was able to get out of my TC Electronic Shaker Mini vibrato, by using the vibrato modulation type and then blend with clean signal, rather than choosing any of the actual chorus algorithms that the Toneprint editor for the Shaker vibrato actually allows for as well. If anyone is interested in the exact settings I used for the TC Electronic Shaker Mini vibrato based chorus, the Toneprint editor settings are as follows (I am writing this off memory, so might have gotten some names wrong, the settings though should be correct) )* : First of all chose the "Pete's Vibrato" Toneprint template from the "Template" menu (not sure if this actually matters though). Then in the actual editor do as follows: First tab: - Turn "Kill Dry" "Off" Second tab: - First chose the "Tri-Chorus" from the "Modulation Type" menu, to get access to adjusting the "Pre-Delay 1" parameter, and then set that to "4.9ms", this parameter is grayed out and not adjustable when choosing "Vibrato" as the modulation type, but the setting still remains when it has been set using the "Tri-Chorus" (now I am not sure if this actually got any effect whatsoever on the "Vibrato" modulation type, but as said, the value once set remains visible when you switch the modulation type, just not being adjustable in "Vibrato" mode) - Now chose "Vibrato" from the "Modulation Type" menu - "Modulation Active" to "On" - Then chose "Triangle" from the "LFO Waveform" menu - And set the "Modulation HiCut" to "6kHz" - "Output Level" to "0dB" (unity gain) - Set both the "Pre-Delay 2" and "Pre-Delay 3" to "0.1ms" - The "Feedback" to "0%" and "Feedback HiCut" to "20kHz". - "Vib Ramp Time" to "0.1ms" - The rest of the settings doesn't matter as those will be controlled with the knobs anyway, as assigned in the third tab, but just to be 100% sure set the remaining parameters not mentioned above to minimum position. Third tab: - Assign the "Rate" knob to "Modulation - Rate 1", and nothing else, then assign the range of the knob to go from "800Hz" to "4Khz" in the graph. - Assign the "Depth" knob to "Modulation - Depth 1", and nothing else, then assign the range of the knob to go from "0%" to "100%" in the graph. - Assign the "Ramp" knob to "Modulation - Clean Mix", and nothing else, then assign the range of the "Clean Mix" to go from "0%" to "100%" in the graph. (for the graph assigned to the "Rate" knob you'll properly want a less steep climb on the graph to start with, and then increasing for the higher more extreme parameter values, though a straight line with a completely even climb should work as well, and most likely this is what you would want for the "Depth" and "Mix") )* If you got the regular big version of the Shaker vibrato then you already got a knob dedicated to "Clean Mix", so you can eventual assign the "Ramp" knob to control the "Modulation HiCut" instead, as a sort of tone control.

More from “The Third Eye Foundation” : "If You Treat Us All Like Terrorists We Will Become Terrorists" : "Lost" :

These two fabulous remixes from The Third Eye Foundation remix album "I Poo Poo On Your JuJu" :

Also the Ray got a few more frets, namely 22, whereas the Mustang only got 19, I think, if that matters to you. Would to me. Oh, and I think the fretboard radius is bigger on the Ray too, meaning flatter fretboard.

Not sure if I chose the right sub forum, but if I didn't I'd appreciate if a moderator move it to the appropriate one. First I want to make clear that it is not my intention to ridicule anyone, I genuinely just don't understand the appeal of a bass tone with scooped mids. I am also perfectly aware that personal preferences differs between different people, but that doesn't necessarily mean that we are not capable of understanding what the appeal of those different preferences are to those other people, even if we value other qualities, I don't expect to be converted, it's not that, I am pretty sure I will still very much prefer to have plenty of mid range in my bass tone, no matter how well you explain the appeal of scooped mids to me, but I really just would like to understand better what it is that makes scooping out the mids attractive to other people, since it seems to be quite common, but I non the less fail to understand. So what is the appeal? Personally I tend to boost the mids, and prefer a quite mids heavy tone, as far as I m concerned and can tell it gives better definition, since the majority of the fundamental range of the bass is in the mids frequency spectrum, and it is also the frequency spectrum that human hearing perceive as the most well defined, articulate and present, which is also why scooping the mids is the certain ticket to getting lost in the mix. A bass tone where the mids has been scooped out on the other hand to me sounds seriously lacking in definition, dull and inarticulate, and frankly the best way I am able to describe it in one word, no offence intended, sounding like a wet fart.to my ears. So what is it that so many people find attractive to a bass tone where the mids have been scooped out to a lesser or greater degree, sure they can't possibly enjoy that what they play can't really be discerned in the mix, or sounding like a dull wet fart, or do they really? Or do a scooped bass tone really only sound this way to me, does it not actually sound like a dull wet fart to others, does it on the contrary sound perfectly clear, full and lively. well articulated and present with great detail and pristine definition to others? Please do explain, what exactly is the appeal, how does it sound to you, what is it that makes you think, "wauh!", this is a great tone, that makes me sit just absolutely perfect in the mix and sound absolutely sublime? I do realize that it is not all that easy to translate tone to words, but please do try, cause I genuinely want to at least do an attempt to understand what it is that makes a mids scooped bass tone so attractive to what seems like a lot of bass players.

This guy, which the post you quote me for was a reply to, knows what he is talking about : You know what, why not make it even better and put on a gauge .130 string for the low E, now you are at it! It'll work so great with that tight string spacing, and sound so good as you go up the fretboard with that short scale length. And don't worry about the neck, you know, it is mend to bend like a banana. If it gets too much you just keep turning that trussrod till it snaps. Don't worry, that is what it is supposed to do.

*sigh* You know what, forget it! Yes, I admit, I was obviously making it all up, and got no clue whatsoever what I am talking about, and that I forgot what it says on the package should be a clear proof of that. Go **** **** ****! So much for trying to help.

Coil - from the "Winter Solstice: North" EP : "Magnetic North" : "Christmas Is Now Drawing Near" :

It's 100% not something inherent to short scale basses, and if your guess on why you got this issue is right then this effect would be even worse on a long scale bass, due to the relatively longer length of the string on the nut side compared to the bridge side of the tapped note, not less. And if it really was due to the short scale for some strange reason, then what, guitar players shouldn't be able to tap? Also I tap perfectly fine on my just 28,6" scale Ibanez Mikro Bass. So this issue of yours got to be something related to either your technique, specific setup, the tone you have dialed in, strings, or something inherent to the design of your bass model in specific. My best guess is that it might very well be something related to your strings, and that you might have gotten a somewhat faulty set. Could be your technique too though, you can't expect copying the way you execute a technique 100% identical from one instrument to another and get identical/optimal results, you always have to make slight adjustment based on the individual instrument you play. Also that you didn't have this issue on your regular 34" scale bass tells absolutely nothing, as long as the pickups, strings, string tension and setup e.t.c was not 100% identical, which it obviously couldn't possibly have been. One possible way that it could actually be related to the shorter scale is if you used too heavy gauge strings, since as you go up the fretboard on a short scale the active vibrating length of the string will be relatively shorter and therefor stiffer/less flexible, compared to on a regular 34" scale bass, which is why one, contrary to common misconception, shouldn't use thicker gauge strings on a short scale bass to compensate for the lesser tension, but instead adjust ones technique accordingly by applying less force when plucking/picking and fretting notes. As far as I am concerned a gauge .105 to .045 roundwound string set to a short scale is too heavy in E standard tuning, and the low E string will sound like stinky poo as soon as you approach the 12th fret and above, for me the ideal short scale set of roundwound strings is .095 to .040, and you shouldn't go beyond a gauge .100 to 45 set, instead, as said, adjust your technique to accommodate that you are actually playing a different instrument, cause one thing is 100% certain, the instrument won't automatically adjust to your technique, and trying to force it to do so will only bring less than optimal results.

New shot, new visual mods, and the DiMarzio Model P P pickup swapped for an EMG Geezer Butler P P pickup : Strung with gauge .080 - .060 - .045 - .034 regular D'Addario roundwound nickle plated steel core XL strings, and tuned in G1 standard tuning, 3 half steps above regular 4 string bass E1 standard tuning. This tuning together with the exceptionally short scale length really making it function more like a downtuned 4 string baritone guitar than a bass, though still capable of filling out the sonic space of a bass instrument in the psychedelic stoner/doom rock bass and drums duo I use it for, also running it through an always on 1 octave up effect, to fill out even more sonic space, and giving an effect somewhat similar to that of an 8 string bass with pairs of respectively bass and octave strings. Love this bass to bits, and even though I usually don't name my instruments I did this one, "Dud Bottomfeeder", it is.

Playing with a pick first an foremost gives you an unique very specific snappy emphasis on the attack, that is the main difference tonally from finger picking. Be aware though that there is a big difference in sound depending on the gauge, flexibility and material of the pick, which will all have an influence both on fell and tone of a given pick, and choosing the right pick is very much entirely a matter of personal preferences. As an example picks made of Nylon will produce a warmer tone, mainly the attack, and be more flexible relatively to thickness compared to Tortex picks, which in comparison will produce a brighter tone, more clicky sort of attack, and be less flexible relatively to thickness. . Many prefer a relatively thick inflexible pick for bass, like 1mm and above, some even 3mm totally inflexible picks made of stone, but then again for example Bobby Vega prefers the .73mm Dunlop Tortex pick, and personally I prefer mine even more flexible, namely the .60mm Dunlop Tortex pick. Regarding overall playabillity, once you've mastered both finger picking and playing with a pick, and have found just the right pick for you that makes you play optimally and give you the tone that you prefer, you will find that some stuff will lend it self to, sound better and be easier to play with, a pick, other stuff more to finger style playing.