Baloney Balderdash

Plastic Fantastic Lover - Jefferson Airplane

The original from 1983, which I personally prefer to the 1988 remix :

It's absolutely nothing like that. That is just a high frequency band EQ. Though a HPF set high, eventually followed by a graphic EQ with the highest bands boosted some, followed by and overdrive, all in an effects loop blended with "clean" signal, via for example a Boss LS-2, might be able to create a somewhat similar effect.

Not once you paid for a Mac to run Logic though. Also plenty of genuinely great free VST plugins, in fact some of my absolute favorite VST effects are free.

I once owned one... Never again! Most expensive piece of absolute crap I ever bought!

Reaper!

I can't help you, but you might have more luck asking in the "Effects" sub forum.

Teenage Riot - Sonic Youth

Attach a simple cheap capo like this over the strings behind the nut on the head: Will very effectively make sure that the strings sits tight down in the nut slots and will prevent the strings from rattling/vibrating between the nut and the tuners.

Try turning gain down to bellow 12 o'clock, 10 o'clock or so, and even lower if your bass happens to have high output (humbuckers/active), and turn up the master volume instead to compensate.

On paper at least the Ampero II Stomp is superior, and cheaper, to the Helix HX Stomp. So is the Boss GT-1000CORE, well superior, on paper at least, that is, but it is also more expensive than both. Where the HX Stomp is superior to both the Boss and HoTone is that Line6, as far as I gathered at least, is a bit more generous when it comes to updates of the firmware with new effects and functions included (I might have gotten that wrong though). Regardless though all 3 I would say would be a substantial upgrade to your current Zoom units, especially when it comes to amp emulations and cab sims (as well as you would gain the ability to run parallel effect chains (and in this aspect the Boss is objectively much more flexible and vastly superior to both the HX and Ampero Stomp)).

Well, actually it is 190W @ 4 Ohm, 100W @ 8 Ohm. https://www.thomann.de/gb/harley_benton_gpa_100.htm 68£ / 79 Euro I strongly consider one, to replace the 160W @ 4 Ohm, 100W @ 8 Ohm, old, ridiculously heavy, but pretty awesome, Peavey guitar combo, that I currently use as my poweramp ( and plugged into the Return input socket of the Effects Loop, and with the build in 12" guitar speaker disconnected), to power my "amp-less" setup and FRFR PA speaker.

Holy pedal board, Batman! Looks awesome, and a lot of pretty awesome pedals in between too, but do you actually make use all these boards, and in that case how? Also I don't quite get the concept of concept boards, that is the couple of your boards with all same type of pedals on, as in all same brand or all mini pedals, I mean it looks great, sure, but does this actually work optimally/satisfactory in practice/reality? Seems to me that it would be more of an aesthetics based thing than an actual practical/tone/needs based one.

In no particular order: Trace Elliot GP7SM (solid state amp) Ampeg B-15S (the 1968 60W version of this legendary small tube amp) Peavey Mark III (solid state amp) All very different to each other though, and great for different reasons. Honorable mention: Dynacord Bass-King (the original 50W first, all tubes, version, though the later Bass-King T hybrid amp, with something as strange as a solid state preamp and a tube poweramp section, sounds great as well)

I would have a "cheap" custom bass made to my preferred specs. I am very much a one bass kind of person. That said my current main is a cheap budget Ibanez, that I even use with the stock pickups. I have owned a couple of higher end basses, and 2 of them I loved to bits (the vintage 70's Rickenbacker 4001 that I was stupid enough to buy however I ended up hating, most expensive piece of absolute crap I ever bought), and very much regret being stupid enough to sell. But currently I am not in an economical situation that allows me that kind of luxury, and I do love my cheap Ibanez too. I also do actually own a Harley Benton GuitarBass (their take on the Bass VI concept), and I am truly impressed by the quality, pretty much flawless, perfectly leveled frets from stock, even the nut slots are cut perfectly, and even the stock pickups sounds genuinely great, the rest of the electronics however are kind of crappy quality though, and the tuners could be better as well, but that's the only "flaws" it has.

What are the options on the switch? As far as I can count there would "only" be 7 different possible pickup combinations, unless some of the are parallel/series options. 7 different solo/parallel options, and then respectively neck/middle - middle/bridge - neck/bridge in series?

By who? Try to Sleep - Low

Paz Lenchantin on bass :

If it gives you the tone you want then no amount of preamps are too many. I personally use a combination of no less than 4 preamps to get the tone I want in my "amp-less" setup. Basic tube preamp, on the verge of breakup -> analog overdriven guitar "amp in a box", mixed 50/50 with parallel "clean" tone -> digital bass amp emulator with IR cab sim -> basic tube preamp and DI with build in HPF, on the verge of breakup

I tend to mod all my instruments, if nothing else then at least visually, to personalize them. But my current main instrument of choice, is a just 28.6" scale 5 string Ibanez GSRM25 Mikro Bass, produced in January 2019 at the Cort factory in Indonesia, according the serial number, which I guess I really use more as a 5 string Bass VI type instrument than a traditional bass, though tuned in G standard tuning, and all fourth tuning, that is as in 3 half steps above the upper 5 strings of a 6 string bass in regular B standard tuning. It features a Poplar body, a Maple neck and a Jatoba fretboard, 16.5mm string spacing, and 2 J pickups, perfectly leveled frets from stock, and an incredible amount of sustain. Now to the mods I've done to it: First thing I did was wire the 2 stock J pickups in series, as it just didn't sound right, like really hollow and ridiculously burby, it helped, but it still sounded odd, until I discovered that there was something wrong with the neck J pickup, which had an extremely weak magnetic field over the lower half of the strings (I suspect a broken bar magnet, as these are ceramic pickups, and might need to look into fixing it at some point), so I ended up disconnecting the neck J pickup and wiring the stock bridge J pickup directly to the output jack socket, and it actually sounds pretty damn amazing now. Surprisingly little noise too, basically non to speak of, despite not having done any additional shielding, and despite running a single single coil pickup, which I credit to the fact that Ibanez used properly shielded wiring for the electronics and pickups, with the ground wire running as a braided shield all along the individually insulated hot wire. Rest of the mods are purely visually: A silver lotus flower with a OM sign in the middle of it decal, a paint splatter figure, made with a mixture of a white marble effect and grey acrylic paint, applied with a tooth stick, on the upper horn, and a strip of red insulating tape (also known as electrical tape) applied to the top of each of the two J pickups, also removed one of the redundant pots, covering the hole with black insulating tape, and replaced the stock dome style chrome pot knobs on the shafts of the two remaining pots with transparent/black PRS lampshade knobs, and finally I covered the brand/model name on the headstock with black insulating tape as well. I also swapped the neck pocket screws out for slightly longer ones with Torx head slots, to ensure being able to screw them in tight without slipping or risk of stripping the slots. Here it is, "Mr. Growley - The Noodlemancer", as I named it : I do plan making a few more mods to this instrument: Most certainly will soon replace the stock side mounted barrel type jack output socket, for a regular jack socket, which I will mount in one of the redundant pot holes, the one currently is covered by black tape. I also ponder on maybe at some point replacing the bridge for 5 single black mono rail bridge pieces milled from solid brass. As well as I might eventual replace the bridge J pickup, which is currently the only one I use, for a Gemini Pickups Mountain Lightning J pickup: https://www.geminipickups.co.uk/bass/jazz-bass/mountain-lightning

And they have added a pickup switch, so it is not just both the P and J pickup in parallel all the time, as it was on the first initiation of these basses, but you actually get to chose.

The Squier Paranormal Rascal, as well as the Danelectro Longhorn Bass got 17mm string spacing at the bridge, versus the standard 19mm, and as such have narrower necks also higher up, as you approach the bridge. Both amazing short scale basses too.

I'd argue Scatman John did. Though admittedly I associate him with another form of scat. But yes, absolutely very prophetic lyrics, there seems to be no limit for how much shit the music industry can pump out and make people pay for getting poured into their ears. Reminds me of the Danish comic duo Tim Vladimir and Gordon Kennedy (which otherwise weren't very funny), who had a hit in Denmark with this typical 90's Eurodance song:

Carbon Dioxide - Fever Ray

A lot of Top 40 songs can move me to tears too, not because they are great though, quite on the contrary, because I am mourning the death of music.