Baloney Balderdash

Bright Dead Star (by Current 93) (Edit!!: On second thoughts Live and Let Live by Love would have been more obvious)

This is the REAL clay dot myth! : Clay dots are said to add a lot of mojo to the brown side of the frequency spectrum, like they will emphasis the powerful fecal tone qualities that extensive scientific studies has shown have a huge and vivid impact on how we physically percept the sonical quasi dimensional structures that inhabits the neural link between general sound waves and the time/space continuum, as well as progressively alternating the concept of the transcendental relationship between the momental velocity of the imperative momentum and the lethargic nature of procrastinating contemplation. This comprehensive effect is speculated to drive women absolutely and utterly wild!

Look awesome... Here hoping Harley Benton will open their eyes to the popularity that short scale basses have got in recent years and make a proper short scale bass, as instead of their only current sorry excuse for one, the ultra budget 30" scale, only 19 frets, P bass. Ideally a 24 frets, 28,6" scale (like the Ibanez Mikro, Squier Mini P, Jackson Minion and ESP LTD B-4 JR, all currently on the market, as well as the now discontinued Fender Precision Bass Junior, which I guess the Squier is inspired by), perhaps featuring a Music Man pickup in the P pickup, kind of middle, position, or how about just taking the killer looking Thunderbird inspired bass of the OP, shrink it down a bit and slap on a 24 fret neck that'll add up with the 28,6" scale length.

Teardrop (by Massive Attack)

Too late, I was first! Well... Doh! Never mind, please proceed...

Love is... (by Dinosaur Jr./Lou Barlow)

Mamma Mia (by ABBA)

Not to me. Though they definitely wont fit in in all music and automatically sound good regardless of build quality and how you play them.

Easy piece: First set all EQ's flat, then dial in your basic clean tone as close as you can on the EQ of your amp first, then fine tune with the EQ of your bass, and eventual make small adjustments on the amp's EQ as well to make those 2 EQ's play well together (you might want to do it the other way around, bass first, then amp, but that's a question of personal preferences and not something that can be put into a standard instruction formula), then fine tune further with your EQ pedal. First then begin to adjust the EQ of your other pedals to make them sound good when engaged, according to that basic clean tone. If boosting a frequency band sounds good, find the amount of boost that sounds best, if it sounds bad boosting it then don't, but eventual try to cut it a bit instead until it sounds good, proceed from there to the other frequency bands, one at a time, and finally make fine adjustment to make them all sound good together. That's about as close to a recipe you'll get, the EQ settings that might sound good to me on my gear might not sound good to you on your gear, both because we got different gear, but also because we will have different preferences, ears and perception of what those ears pick up.

Tortoise :

Yinxianghechengqi (by Totoise)

I once tried to play a crappy violin, it sounded like crap, from that we can conclude that all violins sounds like crap. Actually my, even relatively budget priced, The Box 502, 15" woofer + 1,7" tweeter horn, full range PA speaker, works well a a s bass cab, in certain contexts sometimes even better than my SWR Triad I, 15" + 10" + tweeter horn, full range bass cab, though in other contexts it will be the other way around. Some PA speakers will work extremely badly others will work for extremely well for bass, as well as the context matters, as in what you feed it with and what your personal preferences are tone wise, if you prefer the sound of a 15" cab without a tweeter naturally no full range PA speaker will be what you are looking for tone wise, but if you like the sound of a full range bass cab the right PA speaker that has a good bass response potentially could be just as good a choice for you, perhaps even better, depending on the specific setup you use. Just as there are bass cabs that sounds like crap and bass cabs the sounds amazing, likewise are there PA speakers that sounds like crap and some that sounds amazing. It really all depends on the context, the point of the OP makes as much sense as concluding that all food objectively tastes like crap because you tried haggis once and didn't like it.

I though that was Beethoven. La La La Song (by Low)

Heart of Steel (Manowar)

Somthing that might be easy to overlook but sounds absolutely awesome and lush for bass judging from the few YouTube demos I could find covering it is the analog BBD chip based Ibanez Mini Chorus. For a bit more subtle kind of chorus I love the TC Electronic 3rd Dimension Chorus, which is based on the Boss DC-2.

Only You (The Platters, though Elvis is more famously associated with this song)

I guess this is not a thing that you can debate much really, as people will have different personal taste and preferences, but this post is in no way intended to stir up controversies either though, really just giving voice to my personal opinion and thoughts on this matter, as well as it hopefully will work as a way for me to toe the water for how common my take on applying distortion to a bass is, and if the fizzy thin distortion layer school is really as widespread and common among bass players as it appears to be to me, and finally perhaps it also might possibly open the eyes for some people to the fact that there are other ways to make bass distortion work than strictly limiting it to the upmost higher frequencies of your signal. I also realize that the way I describe the trend with only distorting the top end of your signal might seem like a provocation, but as said it is honestly not meant to be so, it just happens to honestly represent how it sounds to me, not telling anyone not to do it as they personally happens to prefer and like it, mainly just hope to get some replies from people who share my take on this matter to get an idea of how common it might or might not be. But I just don't get the modern trend with adding a thin fizzy distortion laying on top of your clean tone for your high gain distortion bass tone, I realize that not everything you play will work well with full on distorted bottom end, but there are other ways to prevent your bass ending up sounding like a muddy, undefined, blurry mess, without limiting your distortion to the upmost frequencies of the signal, like for instance as Lou Barlow from Dinosaur Jr. does, using a bass heavy overdriven SVT, mainly, but not exclusively, emphasizing the distortion of the bottom end of his bass signal, then a clean solid state Peavey amp, mainly, but not exclusively, emphasizing the mid range cleans, and finally an overdriven Marshall JCM800, mainly, but again not exclusively, emphasizing the distortion of his top end, and he has a massive sounding overdrive/distortion tone with plenty of supporting bottom end and no issues with cutting through the mix. I guess one of the secrets to get a relatively clearly defined bass signal when using full range distortion on your bass signal, rather than only distorting the top end, would also be to apply less gain than you might think is required, a relatively low gain distortion applied to the full signal, to my ears, will end up sounding considerably more heavy than a high gain distortion applied exclusively to the upper most top end of your signal, and in my experience, at least if applied, voiced and EQ'ed right and having the right amount of clean mix, will sound just as well defined.

Might work this way actually, depending on the specific bass cab and which speaker(s) is/are in it, though I would properly throw in a HPF set at around 40Hz or so on the bass signal, iedeally placed somewhere towards the end of your signal chain, after eventual effect pedals, to decrease the risk of damaging the speaker(s) by using it/them as a woofer.

So as the tittle says, which effect pedals related gear do you currently anticipate arriving with the mail service or plan to acquire in the nearest future (like in the time frame of the next couple of months) ? For me these are going to be my near future effect pedals related gear acquisitions : Later this month (October 2020) : - TC Electronic SpectraComp ( For the first in my signal chain, right after the bass, fairly subtle compression, for a slightly tighter and slightly more punchy signal to my other pedals (currently using one of the compressor models on my Zoom G1Xon) ) - Zoom B1X Four ( For my last in the chain (beside my 3 pedals/units "tone section", consisting of light compression/tube preamp stage -> equalization -> preamp stage, residing on top of my poweramp), reverb effects, placed right after my near future pedal board (which ends with a pedal that emulates a Roland Space Echo tape delay unit), planing to make 3 different reverb patches that I will stick to using, respectively being: a subtle plate reverb patch, a lush reverb patch, likely to be build up by following reverb models: (Early Reflections (not sure about this one)) -> Plate reverb -> HD Hall reverb, and finally a really thick reverb pad patch used with volume swells, likely going to consist of the same reverb models as the lush reverb patch, just even more prominent (as in higher in the mix and with increased decay time), and likely combined with a delay model of some sort placed in between the plate and the hall reverb ) - Harley Benton SpaceShip 40 ( My first real pedal board ever, for easing transport and general mobility of my effect pedals setup, now that I am finally rehearsing with other people again. Dimesions: 70-85 x 450 x 305 mm ) - 3 x Harley Benton Solder-Free Patch Cable KIT ( Solder free patch cable kit with angled, extremely flat plugs, for a tight fitting on the pedal board ) Next Month (November 2020) : - Fender Blender fuzz clone from "Made by Mike" [ : http://madebymike.co.uk/ ] ( Well, placing the order there at least, then it will be an additional 4-6 weeks before I can expect it to actually arrive Not sure how I'll fit it into my setup honestly, but have been wanting a Fender Blender fuzz for a long time by now, ever since I first tried one myself and fell in love with it's harsh, abrasive, somewhat out of control, wild and insane octave fuzz tone )

For a cheap solution (61£/69 Euro) that judging from the few YouTube demos I have watched sounds great, though I have no personal experience with it, there is the Eden Module Terra Nova bass preamp: https://www.thomann.de/gb/eden_module_terra_nova.htm To name just one feature that seems great about this is that it got both a low mids and high mids EQ control, which both additionally got a sweepable center frequency control. Big as hell though, and even though I think it looks pretty cool, I'd imagine the look might not be in everyone's taste, if that is something that matters to you. But otherwise to me it seems to me like a regular steal for the money. Here's the 2 of the just 3 YouTube demos I was able to find featuring this pedal : (Excuse my Japanese )

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What prevents you from daisy chaining the pedals? Buy one cheap power supply with as high rated amperes (A or mA probably, 1000mA or 1A should be fine for running 10 pedals) as possible and then 2 of the daisy chain cords from my second link. Go to Thomann's website as I linked to, I am sure they got an adapter that makes it possible to use the power supply I suggested, or that they got a cheap one with the plug you need, just find the "Power supplies" category and then chose "Price: low to high" from the drop down menu.

This: https://www.thomann.de/gb/harley_benton_powerplant_adapter_pack_1pro.htm + This: https://www.thomann.de/gb/palmer_mi_pwc_6.htm Will do it, and then you will even have plugs to feed 3 more pedals with power. This power supply should be powerful enough to quite easily handle 10 pedals (or 20 for that matter, at least as long as they are analog, as digital pedals typically will require considerably more power to run properly, still this power supply should be able to handle 10 of those easily), and from my experience daisy chaining very rarely cause issues, and if it does it is usually just 1 pedal being the issue, solved by giving that pedal it's own dedicated power supply, while leaving the rest daisy chained.

Well, as it happens to be I swapped to now mainly using Thomann's The Box PA 502 passive 8 Ohm, 300W (96dB SPL @1W1M sensitivity), full range PA speaker with a 15" woofer and a 44mm (1.73") titanium tweeter horn (I think the crossover is somewhere around 2.3 or 2.5 kHz) for the project described in my previous post, quoted above. The reason is that the low G (for you that would be the low E) string on my bass snapped (due to me being stupid and accidentally over tuning) from the D'Addario NYXL set described in my previous post, and when I went back to the regular XL strings I used previously I discovered that the less clear, less clean and less sort of pristine/hi-fi tone of the regular XL strings, in comparison to the NYXL ones, were better suited for this project, and with that change I discovered that the PA speaker mentioned above with these strings actually also was better suited than the SWR cab of my initial post (was exact the opposite case with the NYXL strings). I'd still claim that objectively the D'Addario NYXL strings and the SWR Triad I cab sounds better, or at least more hi-fi, but as I discovered, in the context of how I use it currently, a less clean, less hi-fi, solution was the right thing. So I guess the SWR Triad I cab probably remains my favorite bass cab, though I would definitely recommend the PA speaker (The Box PA 502, that can be bought at Thomann: https://www.thomann.de/gb/the_box_pa502_fullrangesystem.htm) in question to anyone looking for a great budget full frequency cab solution, really nice tonal balance and a remarkable low end representation for a non sub woofer PA speaker, in it's price class it's amazingly and surprisingly great. Here's the manual to the The Box PA 502: https://images.static-thomann.de/pics/atg/atgdata/document/manual/c_160814_r2_en_online.pdf