Baloney Balderdash

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.

Eric's Trip - "May 11"

T-Rex Quint Machine! Quite affordable, tracks great, really low latency, does both 1 octave up and a 5th up, sounds good (better for this sort of thing than any of the EHX POGs if you ask me, not quite as synth/organ like, a bit more natural sounding).

The music that offends me most is Top 40 pop. It is a sacrilege perversion of the most sacred and advanced form of communication we humans are capable of. Hell, it's even worse than that, it is legitimate capitalist and fascist brainwash.

Which reminds me, I don't be believe D'Addario one bit when it says "String Tension Pro under construction", when you try to access their former great online string tension calculator, it's been like that for years, if it was truly under construction it had been done and up and available years ago, Something tells me they don't have any intentions of ever fixing it and making it available again. I refuse to believe it is that much of rocket science project that it couldn't be done in a matter of at least a couple of month at max, if just they actually had someone working on it. Would have been more accurate if the old D'Addario String Tension Pro site said "We don't care a flying hoot about your stupid string tension *lol*", instead of lying about doing something to get the string tension calculator up and running again.

The absolutely phenomenal "Sea Song" by Robert Wyatt, from his 1974 solo album "Rock Bottom" : You look different every time you come From the foam-crested brine Your skin shining softly in the moonlight Partly fish, partly porpoise, Partly baby sperm whale Am I yours? Are you mine to play with? Joking apart - when you're drunk you're terrific When you're drunk I like you mostly Late at night you're quite alright But I can't understand the different you in the morning When it's time to play At being human for a while, Please smile! You'll be different in the spring, I know You're a seasonal beast Like the starfish that drift in with the tide So until your blood runs to meet the next full moon You're madness fits in nicely with my own Your lunacy fits neatly with my own, My very own We're not alone

How does that even make sense, why would it? As stated above racism and xenophobic doesn't mean the same thing at all, and I don't see how you came to the conclusion that they do, that is unless you don't know what xenophobic actually means. But even if they did there are numerous examples in the English language of several different words meaning more or less the same, with more delicate nuances in difference.

As I wrote in my previous comment to a reply stating something similar : Neither are black people, Chinese or American Indians. There is in fact only one human race. Racism is a term that stems from back when people wrongfully thought that several different human races actually existed. That doesn't however mean that racism doesn't exist. Today the term racism is defined by prejudices and discrimination based on ethnicity/nationality. And being American is an ethnicity/nationality. Worrying that so many people here are being ignorant of that fact. I guess that what can be concluded from this is that British people are dim (as if that had not already been proven by stuff I can not mention without going against the forum code of conduct).

This got to be my favorite doom metal song : Also I play bass in a bass and drums stoner/doom rock duo.

Neither are black people, Chinese or American Indians. There is in fact only one human race. Racism is a term that stems from back when people wrongfully thought that several different human races actually existed. That doesn't however mean that racism doesn't exist. Today the term racism is defined by prejudices and discrimination based on ethnicity/nationality. And being American is an ethnicity/nationality. Worrying that so many people here are being ignorant of that fact. I guess that what can be concluded from this is that British people are dim (as if that had not already been proven by stuff I can not mention without going against the forum code of conduct).

Melody Day - Caribou

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I don't like Muff type fuzzes in general for bass. They sound great for guitar, but for bass in my opinion they always end up sounding like a muddy unarticulated and undefined mess for bass, ragardless of what variation we are talking about, though some are worse than others. The Orange Fur Coat or Boss FZ-2 Hyper Fuzz/Behringer SF300 Super Fuzz is where it is at as far as goes bass fuzz, as far as I am concerned.