Baloney Balderdash

1967 Psychedelic Rock / 1967 US Psychedelic Rock: Pink Floyd/Syd Barrett : / 1967 US Psychedelic Rock : 13 Floor Elevators : The Doors : Love : Bonus 1967 US Psychedelic Rock : The Velvet Underground & Nico :

Late 80's/early 90's noisy Indie Rock: Dinosaur Jr. : Sebadoh : Pixies :

Dutch band doing covers of Anatolian folk. The lead singer and the keybordist/baglamaist/singer does have Turkish roots though. Love this performance and these songs:

One of the first bands to be coined with the genre term post-rock, but a different, more jazzy, take on the genre (this is one of my favorite live concerts on YouTube):

Classic late 60's early 70's Psych Folk: Linda Perhacs : Syd Barrett : Comus : Modern 2000's Psych Folk: Espers : Feathers (correct title is of course "Old Black Hat With A Dandelion Flower") : Coil (not really their main genre, but I would say this particular track very much fits the Psych Folk genre tag) : Which leads us to Neo Folk : Current 93 : Death in June : Of The Wand & The Moon :

Have a look at this thread: I'd recommend you getting this bass: https://www.thomann.de/gb/harley_benton_pb_shorty_sbk_standard_series.htm Short scale, great quality, and only 105£/119Euro, from new, with 30 days full return/money back guarantee, and 3 years insurance.

Yeah, you can't really pre-mix a track, something that needs to be done once all layers has been applied, if you want it to turn out sounding properly. EQ'ing and balancing and otherwise tweaking the individual tracks against each other in the full context. What might sound great isolated or at a given point of a recording might not work at all, or at very least not likely optimally, in the full context, and there is really no way of knowing this in beforehand. It would be the equivalent to preprogramming a car to navigate through the traffic for a trip downtown, simply not viable. You are of course welcome to ignore that fact, but you are going to find out yourself the hard way eventually anyway.

As someone who shreds as much as he tends to do I wonder how come Billy Sheehan went for a 21 and not 24 fret neck on his signature bass, yet even having bothered upping for the last 5 frets being scalloped under the upper strings.

As already said it entirely depends on the context. Not exactly a regular high gain bass dirt tone though, this would be a more of a really fuzzed out tone. But at that to me it sounds perfectly fine. For a more standard high gain tone I would blend a clean track with something like the bass run through a Turbo RAT (record both in parallel simultaneously on two separate tracks and blend/mix together, or just record a clean track, copy, and then add VST dirt to one of them, this is an amazing free VST distortion, emulating a RAT: https://www.tseaudio.com/software/tseR47).

What is the middle hole for the then (not the small crooked one for the bridge ground wire, but the bigger one pretty much exactly in the middle)?

Humour isn't your strong side, is it?

Your mom!

Seems a lot of people are really sensitive about this topic. Guess there are a lot of people who got no friends, and it is understandable that it hurts to think about that fact, and that being confronted with this is making you upset. To those I'd just like to say: Light up! Your suffering is only temporary. We are all going to die eventually.

Just go to your local super market and get a discarded cardboard box, punch a couple of holes in it, and with the help of some Gaffa tape, glue and scissors you'll have an amp cabinet in no time!

My favorite bass is my best friend!

Just about everything that involves Justin Chancellor playing (Tool). And this, from 1968, by the Danish band Savage Rose (Jens Rugsted on bass):

Usually I really don't like the look of flamed wood, or blue finish for that matter, and not particularly fond of Maple fretboards either, but on that bass for some reason it genuinely look no short of absolutely stunning. Beautiful bass!

Ah, right, my bad. It even says in the OP, and yes, I did in fact read it, yet still managed to totally misunderstand OP's intention. *DOH!* For some reason I just had got the idea that the Helix has 1 stereo jack socket effects loop, and that the Palmer preamp would be connected through it's regular respective input and output mono jack sockets, and that this what OP wanted to do.

What he meant was, have you tried swapping the two split mono jack plugs around on the Palmer preamp, that is trying both plugs respectively in both the input and output of your external preamp?

I once owned the 1968 version of the 60W B-15S, with solid state rectifier, I believe. Really regret being stupid enough to sell it, it sounded absolutely amazing. Maybe worth considering for the extra wattage.

Wrong thread! This should be in the sub-short scale thread!

You're A Goat - Sentridoh (Lou Barlow)