Baloney Balderdash

I think I seem to remember something about some people reporting the DI Out to be a little noisy. I wouldn't know though, I use the normal output into a tube preamp/DI, and I don't experience any extra noise whatsoever. But if you have the Treble and/or Drive engaged and set high it would only be natural with some noise.

Jaco only needed a butter knife and some wood putty.

Yes: 24Bit 16 Bit 8 Bit 4 Bit 2 Bit 1 Bit Obviously it could mean something else, but a bit crusher seems obvious. Also Bits are not measured in Rate, that is Sample Rate, but in Depth. Usually you will have a parameter for controlling Sample Rate too though on a bit crusher.

Well, this slap stick saga goes on... Found out the thing about the upper fret tone was a headphones issue, so I swapped back to the new Mikro Bass. In fact it actually got a bit fatter tone up high on the thinnest string. It is indeed as I has hoped for, very much the same tone, but: A somewhat cleaner tone with a bit more sustain, but also slightly fatter and smooth. Not sure if I prefer that somewhat slightly fatter and more polite tone though to the dirtier/edgier and more organic tone of my old Mirko. It is as said slightly smoother sounding, and to me it sounds like slightly less top end and slightly more low mids. A slightly bigger tone for sure, but I also feel somewhat less organic. I'll stick to the new bass for a while though for now, and then we'll see if I eventual end up deciding for my old one instead. Definitely a great sounding bass though, and a keeper.

Put Your Hand Inside The Puppet Head - They Might Be Giants

Mercy Street - Peter Gabriel Here in form of an amazing cover by Fever Ray:

Definitely is!

A sequencer/arpeggiator?

I don't think it is, but I hope it's pitchshifter with realistic sounding pitch shift.

Deranged for Rock & Roll - Chelsea Wolfe

AI is dangerous! Someone could feed an AU with "Mine Kamph", and it would no doubt end up starting WW2 all over again! As if WWW isn't bad enough as is. I am shaking in my pants of the prospect! 😱 Or imagine feeding it with everything Trump has said, and it would run for US president, and win, and the Americans would be stuck listening to hyperbole made up nonsense... again... On a more serious note, the only reason you would have to fear AI generated music is if your target audience don't give a shit about music anyway, and then why are you even doing it? If it's for the money then there are plenty of other jobs to take where your work won't be appreciated either. And no big loss, there is plenty of shit being pumped out into the world as is.

This how it looks currently (changed the pot knobs and chrome tuners for some black ones):

Yeah, so as I played some more on the new Mikro Bass, I found out I wasn't really satisfied. For one the frets for some reason are slightly broader, I suppose Jumbo Medium versus regular Medium frets, and I prefer smaller frets. This might however also had contributed to the fact that the highest thinnest string sounded thin and somewhat lackluster played up above 12th fret, and also lacked sustain. And I wasn't totally happy about the slightly smoother, more polite tone, of the new bass compared to my old one. So I swapped back, using the opportunity to give it a proper cleaning, that I haven't practically ever done, and also swap the chrome tuners on it GSRM20 Mikro neck, taken from the bass that it's body is originally from. I refrained from installing the EMG Geezer J pickup, as it, unlike the P which is no short of amazing, really isn't all that great a pickup. I properly will install a J pickup, the same way I did on the new Mikro Bass, at some point, which is likely to be a Gemini Pickups Mountain Lighning one. I regret being stupid enough to mod my new Mikro Bass, before i had made 100% absolutely sure I also actually liked it better than my old one, so I could have send it back and gotten a refund. Well, I suppose at least I got plenty of spare parts now. Oh, and by the way, the metal plate that the bridge is bent from on the new Mikro Bass is also actually thinner than the old one. And I discovered that Cort's Indonesian factory aren't making the Mikro's anymore either, production is back to China somewhere. Here my old Ibanez Mikro is, as it looks now: Not that much different visually I suppose, except for a somewhat battered Rosewood fretboard, versus a brand new shining Purple Heart one. and a somewhat thinner finish, which actually shows the grain of it's unusually light, supposed Mahogany, but I strongly suspect Okoume, body, which though also has a couple of minor ding marks (well and then the Jack Skellington skull sticker, and the folded piece of cardboard in place of the J pickup). The neck, despite being rather battered, is phenomenal though, most stable neck I ever had on any guitar or bass, that hardly ever requires any adjustments, and it holds tuning extremely well too.

Hotellounge (Be The Death Of Me) - dEUS

Yes, this is totally a thing. Tone affects the way the strings feels, the way we perceive them. Not that strange really, playing music, an instrument, is to a large extend about adjusting our playing to what we hear, and in order to do so we need to be able to physically feel the sound. Obviously that doesn't mean that the actual physical properties of the strings changes with EQ adjustments, but the way we perceive those physical properties does indeed. The subjective reality is, surprise, surprise, not objective.

Even if I made a dedicated thread for it, I suppose it belongs in this thread: My new 4 string Ibanez GSRM20B Mikro Bass, "Dud Bottomfeeder II": Just 28.6" scale length, Maple neck, treated Purple Heart (which is almost as hard as and stiffer than Ebony) fretboard, Okoume (which is a cheap alternative to Mahogany, lighter and not as hard, but is supposed to have very similar tonewood qualities, and looks a lot like Mahogany too) body. EMG Geezer Butler P/J pickup set installed, wired directly to each their own front mounted jack output socket, and respectively red and black electrical tape applied on to them. One of the stock pots and knob left, though with no functionality but cosmetically. Stock side mounted barrel type jack socket removed. Black electrical tape applied over logos on head stock. Strung with Elixir Nanoweb guitar strings, of the gauges: .068 - .052 - .038 - .038, picked for almost perfectly balanced tension, tuned to tenor bass tuning, A# standard tuning, as in a ½ step above the upper 4 strings of a 6 string bass in regular B standard tuning, threaded through the cut off ball ends of the crappy stock bass strings, to not fall through the bridge string mounting holes. Copper shielding tape applied in the nut slots to fill some of the space from the slots being cut for a gauge .105 - .045 bass string set. Simple basic cheap capo applied over strings on the head, behind the nut, to make the strings sit better in nut slots, to secure proper break angle, and to mute eventual sympathetic vibrations from strings between nut and tuners. Just bellow 2mm string action on low E last fret, with minimal, almost straight neck, relief, and without any fret buzz whatsoever.

Pondering on whether I should apply a Jack Skllington skull sticker on the body over the bridge, like on my old Mikro Bass, or not: What do people say, should I or not? I kind of like how the new Mikro looks now, but I also really like that sticker, and actually think it does add something nice.

As promised here's a picture of my new 4 string Ibanez GSRM20B Mikro Bass, "Dud Bottomfeeder II": EMG Geezer Butler P/J pickup set installed, wired directly to each their own front mounted jack output socket, and respectively red and black electrical tape applied on to them. One of the stock pots and knob left, though with no functionality but cosmetically. Stock side mounted barrel type jack socket removed. Black electrical tape applied over logos on head stock. Strung with Elixir Nanoweb guitar strings, of the gauges: .068 - .052 - .038 - .038, picked for almost perfectly balanced tension, tuned to tenor bass tuning, A# standard tuning, as in a ½ step above the upper 4 strings of a 6 string bass in regular B standard tuning, threaded through the cut off ball ends of the crappy stock bass strings, to not fall through the bridge string mounting holes. Copper shielding tape applied in the nut slots to fill some of the space from the slots being cut for a gauge .105 - .045 bass string set. Simple basic cheap capo applied over strings on the head, behind the nut, to make the strings sit better in nut slots, to secure proper break angle, and to mute eventual sympathetic vibrations from strings between nut and tuners.

So I had a play on it plugged in, with no additional adjustments done, than the one mentioned above (that is string action). Well, it is noisy when not touching any of the metal parts, as one would suspect from an instrument at this price, even the P pickup is noisy. Also the P pickup soloed sounds like shit, I remember it as decent from my old 4 string Mikro, but apparently I must remember wrongly, it is muffled and dead sounding, with really poor definition and articulation, just utterly awful. The 2 pickups blended in at any rate sounds pretty shitty too. The bridge J pickup soloed however sounds very surprisingly pretty amazing, even with the not too great stock strings still on it, and with this soloed I can hear that this is a great sounding bass. Definitely better sounding than my old 4 string Mikro, and with much better sustain too, just as I hoped for. It is however heavier, but my old 4 string Mikro is unusually light, so not exactly a surprise, not really surprising either it is lighter than my 5 string Mikro, and honestly weight is not really something I am concerned about, so it's all fine. This is a keeper and will definitely become my new main, once I've installed the EMG Geezer Butler P/J set in it and put some new strings on it. As promised I will post a picture of it, but right now, without any visual mods done to it, there is really not much to see, looks pretty spot on the stock picture from Ibanez's homepage that I posted in the OP, maybe though with a just slightly darker fretboard.

Got it! I will post a picture later, once I got it all set up and ready to go. From stock though, with stock strings, just having adjusted the string action, which was way too high, neck relief was perfect, with minimal, almost straight neck, relief, just as I like it. The nut slot for the low E string is too high, but aside from that it sound and plays perfectly acoustically, and I have been able to lower the string action to just bellow 2mm, low E string side, at last fret, as I prefer it, without any fret buzz whatsoever. I haven't plugged it in yet, but aside from the mentioned not deep enough cut low E string nut slot, it seems pretty much spot on perfect.

I wish I could afford having a tremolo fitted on my bass. Or well, I suppose it would be a question of priority, but just so much other musical equipment that is higher on my wish list/more important to me. But really cool. And I've always wanted a bass with a tremolo system. Especially useful as how I mainly play my bass, that is tuned to tenor bass tuning (A1 standard tuning, or thereabout), and played accordingly.

The Stainless Steel Elixir Nanoweb bass strings actually got quite a fair amount of zing (and lasting a very long time). But more akin to fresh regular uncoated nickle-plated steel strings, than regular uncoated stainless steel strings. Not anything like the Nickle-Plated Steel Elixir Nanoweb bass strings, which does have a very rounded, some would claim dull, sound. But no, won't sound like roundwound stainless steel Rotosound strings, at least not as they do for the first week or so.

Nobody cares, and we are all going to die anyway! Why even bother playing? Quit while you got that choice, and use your time on something useful instead, like contemplating on who is going to pay for your funeral! You don't honestly want your tombstone, if you even get one, to say: "He played bass...", do you?

Or if you are a tone purist:

I wouldn't exactly call the Spectracomp simple. Quite on the contrary, using the Toneprint editor, which is the whole point with this pedal, it got to be one of, if not the most, advanced pedal based compressor on the market. You basically get a full set of compression parameters (and by full I mean basically every single possible parameter associated with compression, including knee degree) for each of the 3 bands, which crossover points can also be set, including a clean blend for each of those 3 bands respectively. But yes, due to it's single physical knob (which though can be assigned to any paremeter, up to 3 at the same time, however, in whatever range and direction, you want) it would definitely be a set and forget type of pedal, more so than the HyperGravity (basically the exact same guts and algorithms, just with additional physical controls).