Baloney Balderdash

This is more or less how I use my 5 string 28.6" scale Ibanez GSRM25 Mikro Bass, tuned to G standard tuning, that is 3 half steps above the 5 upper strings of a 6 string bass in regular B standard tuning, using individually bought single Elixir Nanoweb coated nickel-plated hex core roundwound guitar strings of the gauges G : .080 . - C : .062 - F : .046 - A# : .036 - D# : .026. Even if I do own the Harley Benton GuitarBass, which is their take on the Bass VI concept, but with fixed bridge and much flatter, 14", fretboard radius, which I personally prefer. However although it does sound amazing, and had basically absolutely perfectly leveled frets from stock, heck even the nu slots being cut at absolutely perfect height, I find the extremely narrow string spacing, that it shares with the Fender/Squier Bass VI, painful (also it weight's about a ton, and while the pickups does sound amazing they are quite noisy). The 45mm nut width, and that for just 5 strings, and 16.5mm strings spacing at the bridge of the 5 string Mikro Bass is much more manageable, and pretty much perfect for me, and personally I don't really miss the missing string compared to a real Bass VI, in fact I find it easier to navigate on (and like my Harley Benton GuitarBass it had perfectly leveled frets right from stock, and the 2 stock J pickups actually sounds pretty amazing, though just using the stock bridge J pickup, wired directly to the output jack socket. And unlike the GuitarBass is actually surprisingly quiet, even if being a single single coil pickup). I would love having installed a D Tuner tuning mechanism on the upper 2 strings though, to be able to mimic that upper guitar/Bass VI B and E interval at the flick of a lever, and likely will have that done at some point in the future. I wouldn't mind having a tremolo system installed either, but that will have to remain a dream as that would end up way too expensive for me to ever justify the relatively novelty it would be, unless I win the lottery or something. I suppose above might answer some of that question, though I never played a Fender/Squier Bass VI to compare. My Harley Benton GuitarBass : My 5 string Ibanez GSRM25 Mikro Bass :

Yes, he completely ruined the bass, anyone got his home address so I can go teach him a valuable lesson about not messing with an old mass produced product? I already ordered the flight ticket! Those were naturally aged vintage toneplastic pot shafts!

I am almost certain that 65mm at last fret won't allow for 18mm string spacing for a 5 string at the bridge. I'd say probably 16.5mm at most, and likely even not any more than 16mm.

Ten-Day Interval - Tortoise

I am pretty sure it would, but I don't have any actual experience with using it that way, so can't say for certain. That said just applying a dab of thread lock, nail polish or super glue would be easier.

You can't... But if you found the answer yourself maybe you should share it for the sake of other people who might have the same question in the future and find your thread through a search.

Venus in Furs - Velvet Underground

Necks doesn't all look the same though, especially not if that includes the fretboard. Also stuff like pickguards, pickups and knobs influence on the looks of a bass as well. Finally by design I don't think that necessarily has to mean visual design exclusively in specifics.

Does anyone do cheap "D-Tuners" tuning pegs? To be more specific the small, one mounting screw, 2+2 (right/left), closed gear design, kind? The Hipshot ones are way too expensive for me to ever bother, especially because I would want to use 2 of them.

I just got in here to point that exact fact out!

Why not get one with blank or checkered paper and draw your own bass tab lines with a straightedge and a pen? Checkered paper would make it easy to draw straight lines with a straightedge, but at the same time not get in the way of the lines, especially if it is blue print and the pen you use is black.

That is beautiful! Congratulations!

Chocolate Town - Ween

Definitely this, eventual also harmonics into reverb and then into some light bright distortion.

He usually plays 4 at shows too, also with Bela Fleck, or at least used to. And I've never watched any concert videos or otherwise with him where he doesn't play his trusted 4 string Fodera Yin Yang Monarch bass. Time to upgrade to 5 string when you can play this without any mistakes :

There's no real relation between talent and number of strings, I mean just look at your average guitarist. Or Victor Wooten, who is a pretty dedicated 4 string player, or Stanley Clarke for that matter.

I'd say Gibson custom guitars with pre-snapped and repaired headstocks are even more stupid (though it does probably make the headstock less prone to snap off compared to non pre-snapped models).

You don't need perfect pitch or to learn all the different scales. All you need is to pay attention to shapes on the fretboard, and how different intervals between notes sound, and to realize that all the common scales are really just the exact same scale, the Major one, starting at different points (which is called modes), which then magically becomes the root note. It does help if you learn all the notes of the fretboard though, but again paying attention to shapes and intervals, and the relation between these, helps with that, and playing a 5 string bass helps easier making sense of all this too. Learning the different chord shapes, and more exotic scales (which though, when learned, you can use the exact same principle on as with the Major scale), will help you as well.

[Deleted post] *Doh*!

I really think Spector basses look ugly. Something deformed and very clumsy about their body shape. But the ultimate bad taste is single cut, "whale hump", especially 5 string, boutique basses with maple burl or flame tops with a blue/green transparent, sort of burst, finish that looks like a cliché amateur new age abstract painting.

Maggie Bjorklund - "Lysglimt"

Is it though? What makes it super then? Doesn't is somehow chemically/physically bind it self to the surfaces it is applied to with a pretty strong bond? If you actually tried this yourself I of course will take your word for it.

And "amp-less" setup that will secure consistency of that, that is giving me approximately the same tone whether I practice at home though FRFR studio headphones, at band jam/rehearsal through a FRFR PA speaker, or at a venue through their PA system. Which happens to be what I use currently. And it looks like this on written form: As said currently in the process of completely re-arranging my setup, so only my always on pedals that gives me my basic "clean" tone, and the pedals that gives me my overdriven and distorted tones are currently set up, but this is pretty what it is going to look like (mind some of the pedals are place holders, as the online pedalboard manager app lacked some of the pedals in my setup): And this is my preferred instrument of choice: A 5 string Ibanez GSRM25 Mikro Bass, feauturing a just 28.6" scale length, Poplar body, and a Maple neck with a Jatoba fretboard, the stock neck J pickup have been disconnected, as it was faulty, and the stock bridge J pickup has been wired directly to the jack output socket, and it is strung with Elixir Nanoweb coated nickel-plated roundwound hex steel core guitar strings, gauge .080 - .062 - .046 - .036 - .026, tuned in tenor bass, G standard, tuning, that is as 3 half steps above the 5 upper strings of a 6 string bass in regular B standard tuning. I named it "Mr. Growley - The Noodlemancer".

Won't superglue fix that grub screw to the thread so that you won't be able to adjust it again?

Use your ears and adjust so that the output balance across strings. Numbers are useless, especially when not knowing what kind of magnetic pull your specific pickups exerts on the strings, and what strings you use. About 3mm low string side and about 2mm high string side with strings fretted at last fret is a good bet of a starting point though, but you would probably want to adjust downwards from there, to avoid too much magnetic pull on the strings, until the output across the strings is balanced. Note that the closer the pickups get to the strings the bigger difference in output and tone relatively to the adjustments made will be.