Baloney Balderdash

There was a time where I used to despise gold hardware on basses, but now I really love the look on black basses. And if I get the money to spare at some point for some non practical music equipment, I could totally see myself equipping my main black bass with gold hardware. Still think gold hardware looks tacky on white basses though.

Am I Evil? - Metalica

Maybe it is the specific plucking technique I use, more so stroking the strings, in a slightly inward light slapping motion, with the outmost tip of my fingers/nails, rather than really striking or plucking/pulling the strings, but I've found that it is of the upmost importance for my tone that my nails are cut at a quite specific length, just about flush/aligning with the tip of my fingers, too short or too long and it just doesn't sound right. Any other people noticed this as well?

Is the front instrument a guitar, or? And what brand/model exactly?

Now that really depends on the specific number of instruments involved, the specific instrumentation, and not least the specific type of music and individual track/song, doesn't it? At least that is my experience with composing and mixing music. If it all could be fitted down to one specific formula for each type of instrument and for all music, regardless of any form of context, we wouldn't need sound technicians and producers, and we could leave all that work to a simple computer app.

Well, you can connect the pickup wire to already exciting soldered wires with solderless wire muffs/terminals, which can be bought at Ebay or just about any hardware or electronics shop, which would solve your issue with being no good at soldering and make the swap relatively simple and painless, and it would be just as sturdy as if it was soldered.

A tip on how to improve the mix when you blend high gain distortion or fuzz with clean signal via for example a Boss LS-2 is to place an overdrive pedal that retains low end well, and preferably dynamically sensitive, in the clean loop. This helps the "clean" tone and distorted tone to blend better, and prevents it from sounding like there's a clean signal sitting on top of the distorted tone. Personally I use a Joyo Orange Juice dialed in with a sort of medium gain overdrive, with the Tone dialed down to about 10 o'clock position, and the Voice at about 1 o'clock, in the clean loop of my Boss LS-2, with a Mosky Balck Rat (which already retains low end and blends with the clean tone exceptionally well), switched to the Turbo RAT mode, dialed in with a high drive setting, and the tone filter knob exactly at noon, blended at an about 40/60 "clean"/drive ratio, and this works perfectly for a beefy and heavy high gain distortion with retained low end and individual notes definition, without sounding like there's a clean signal sitting on top of the distorted tone.

You know it's a cause for concern when your package arrives at the Gang Show in China. It's probably in the possession of the Chinese Mafia now, and a ransom will be demanded soon.

Drifter in the Dark - Ween

Just an absolutely astonishing hauntingly beautiful piece of art, both the song, and the video, which was instructed and played by the artist as well:

As said white wire should be soldered to the center lug of the middle pot, and the red wire to the sleeve of output jack socket.

In that case I would probably place the SLO before the Zoom, so like this: Compressor -> Octaver -> Chorus -> SLO Reverb -> Zoom ambient effects -> Sansamp Preamp But if you use the Sansamp for dirt I would recommend placing it before the Zoom, like this: Compressor -> Octaver -> Chorus -> SLO Reverb -> Sansamp Preamp/Dirt -> Zoom ambient effects

I would go: Compressor -> Octaver -> Chorus -> Mooer Reverb -> Zoom ambient effects -> SLO Reverb -> Sansamp Preamp Octavers usually benefits from having a compressor before them, and reverb doesn't sound good with compressor after it, but I do like the sound of reverb into delay, which you would normally do the other way, produce a bit more washed out bigger sound. Depending on how exactly you use the Zoom and the SLO one could argue they'd swap spot as well, and one could also argue one of them going after the preamp instead of before. In the end it all depends on how exactly you use these pedals and what kind of sound exactly you are going for, there are no rules set in stone of how to order pedals, in the right context pretty much any order goes. But given I get the impression that you do a lot of ambient stuff I would recommend the first above order I stated.

I suppose he is right though, if the purpose is just to make any content for the sake of content, but inset the word "quality" in front of "content", and the statement becomes absolutely absurd. Nothing new about shit costing next to nothing to produce though, unless of course it is expensive shit.

Or you could get a Boss LS-2, that would allow you to have two basses plugged in at the same time, and it would allow you to individually adjust the volume of both and to swap between them simply by pressing the footswitch. And if you got another setup where you only use one bass, the LS-2 can also be used as effects loop and signal blender, for instance for blending a distortion pedal with parallel clean signal. Or if you feel adventurous mix for example a flanger pedal in parallel with a phaser, that combination sounds pretty amazing. A bit of a swish army knife utility pedal. Can both work as a line/signal path selector with volume controls for each individual line/signal path, or as an effects looper with parallel blend functionality.

Well, I think they still ought to dig someone up and animate their corpse.

And what about Sid Vicious? I think they should dig him up and animate his corpse with AI, can't possibly need to be too advanced to nail it.

Buy a cheap graphic EQ pedal, put everything in center, except for the volume slider, adjust the volume slider so that the output of your Sandberg matches your other basses, engage said EQ pedal each time you swap to the Sandberg. If you still want to go through with the pickup swap though I'd suggest an EMG Geezer Butler signature P pickup.

I have painted some of my pickguards before with acrylic paint, and with great results. For best results you should finish with a couple a sprayed clear coats.

NPD (New Pickup(s) Day) maybe? Anyway, congratulations. I've personally made a NOBD (New Old Bass Day) thread before, with a rediscovered bass I'd already owned for years.

They can't... That's when you get people complaining about not being able to hear them self with an 800W amp, and asking for more power, where a 200W amp under normal circumstances would have been more than plenty. And honestly I have never really got what it is that is supposed to sound so great about scooped mids, sounds like wet fart to my ears. Trace Elliot are some other amps that sounds amazing, as long as you refrain from pushing the dreaded, so called "Pre Shape", mid suck buttons.

I think it looks good, though it would have looked better, even awesome, without the yellowish "scale" patterns, which admittedly does make it a bit tacky looking. But love the green color and the fonts.

Well, the point is that not all fuzzes and distortions are dynamically sensitive and actually has an audible change in tone and gain structure according to how hard/soft you play, this seems to do that. Most fuzzes and distortions sounds the same but just gets quieter/louder when you play softer/harder.

By that logic we should all play digital samples via a midi keyboards hooked up to an iPad and we should throw all other instruments out with the garbage and never play them again. I honestly don't get your point at all. They are all tools, all with some unique sounds and timbres that opens up for different unique possibilities and options of tonal expression and broadens the tonal palette when creating music.

That sounds pretty damn awesome!