Baloney Balderdash

No! - They Might Be Giants

While I do agree that this poll expose an issue in terms of people who prefer multi scale basses, it would get bit more complicated than such, as there to my knowledge exist both short scale, medium scale, long scale and extended scale multiscale basses, so I feel like adding that/those that would muddy the result. It would be nice if people who prefer multiscale basses could just vote according to the longest scale measurement of their preferred multi scale instrument, and then specify their preference in a reply.

!Please note that I am interested in prefered scale length for bass guitars, not upright/double basses! So I thought it would be interesting to see which scale length basses people prefer to play (multiple votes are allowed): - Sub short scale: shorter than 30" - Short scale: just about 30" (+/- 0.5") - Medium scale: 32" - Regular long scale: 34" (+/- 0.5") - Extended scale length: 35" - Extended scale length +: longer than 35" Personally I prefer standard short scale 30" for regular 4 string E standard tuning, and 28.6" scale length for tenor bass tuning (that is A standard tuning, like the 4 upper strings on a 6 string bass in regular B standard tuning), which I, like Stanley Clarke, though without daring to claim anywhere near at the same skill level, really enjoy playing.

Sounds like a great idea to me. I exclusively use the bridge J pickup on my 5 string Ibanez GSRM25 Mikro Bass, which is even shorter than the standard 30" for short scale basses, at just 28.6" (and no, I don't have it strung up and tuned with a low B string, in fact the lowest string is a gauge .080 string, tuned to G, 3 half steps above regular 4 string low E, the latter though in my opinion working perfectly great on a regular 30" scale short scale bass), and it gives me a really resonant growly tone, with a huge sustain, that is really sensitive and responsive to picking dynamics, as is typical for single coil pickups, not only in terms of volume, but also in terms of changing character and tone depending on how and how hard I pick. For the latter reason I recommend you getting a true single coil pickup. What about hum then, you properly ask. Well, I don't know how Ibanez did it, this even being a budget instrument, but this bass is practically quiet, might be due to the fact that they have started using shielded wiring, that is wiring where the ground runs as a braided shield all along the independently insulated hot wire. So if you just shield your bass properly and replace the wiring for shielded wire, while you are at installing a new pickup anyway, you should be good. If it works this great for a sub short scale cheap budget bass with cheap budget pickups, then I can only imagine how great it would work with a better pickup on a 30" scale instrument. Plus, since you got a middle pickup already, adding a bridge pickup and a blend pot it ought to give you access to a broad pallet of tones (or you might even consider wiring the new bridge pickup to an independent output jack socket, so you can blend the two pickups actively off board, with for instance something like a Boss LS-2 pedal, or even using 2 independent amps for each of the 2 pickups respectively, which would give you even wider tonal options). DO IT !!!

Quite recently rediscovered my 5 string Ibanez GSRM25 Mikro Bass, with a just 28.6" scale length, made in Indonesia at the Cort factory January 2019, which I have strung with Elixir Nanoweb guitar strings as well, of the gauges .080 - .062 - .046 - .036 - .026, and tuned to G standard tuning, that is 3 half steps above the upper 5 strings of a 6 string bass in regular B standard tuning. Never really played it much, cause I didn't like the tone that the 2 stock J pickups gave me, trying to wire them both in series, directly to the output jack socket, to remedy it, which did help some, but still it didn't sound quite right. That is until I discovered that the neck pickup was faulty, having a really weak magnetic field towards the the lower thicker string side, which messed with the tone. So I disconnected the neck pickup, and instead wired the bridge pickup directly to the output jack socket, and now the bass actually sounds pretty awesome, really resonant and clear, with exceptional sustain. In fact it has become my new preferred instrument of choice. And it's a quite growly beast, whereas my 4 string Mikro Bass (tuned in A# standard tuning, and equipped with a reverse orientation EMG Geezer P neck/middle pickup), which has otherwise up until now been my preferred instrument of choice, is more of a snappy beast. The fact that the pickup is a single coil pickup also makes it really sensible and responsive to playing dynamics, not only in terms of volume, but also as far as goes character and tone, but it is surprisingly quiet for being a single coil, and a budget model even, not sure how Ibanez managed this, but apparently they did start using shielded wiring, that is wiring where the ground runs as a braided shield all along the independently insulated hot wire, which might explain it. Though I do still ponder on maybe swapping that stock bridge J pickup for a Gemini Pickups Mountain Lightning J bridge pickup at some point : https://www.geminipickups.co.uk/bass/jazz-bass/mountain-lightning It also had perfectly leveled frets right from factory (current action on low E string is just below 2mm at 22nd fret with minimal neck relief, without any fret buzz whatsoever, and could easily go even lower without any issues if I wished). Here it is, Poplar body, Maple neck, with a Jatoba fretboard, 16.5mm string spacing at bridge, named "Mr. Growley - The Noodlemancer" : Ponder on replacing the ugly bridge with black mono rail bridge pieces, milled from solid brass.

This amazing instrumental from Bobby Vega's new solo album "What Cha Got" :

Does it support floating thumb technique?

And yet you joined this forum (1st post) and resurrected a years old thread just to say this, which, despite your claim of "if you can not say anything good about someone it was better to say nothing at all", clearly only purpose is to put this shop in a bad light.

To test if it is the A string rattling behind the nut causing this issues, which is my best guess as well, and actually pretty confident about this too, try tying a broad hair band, or any strip of cloth really, tight around the strings and neck behind the nut, until you get a string tree to fix the issue.

Monkey is not a French word... But to be serious, sounds like you nailed it, although the bass is very low in the mix.

Pink Floyd "High Hopes" by David Glimour, from the album "The Division Bell" : This tells the tragic story of Roger Waters who kicked himself from the band in fit of megalomania, by which he was slowly consumed entirely.

And by the way, I got a 5 string Ibanez GSRM25 Mikro Bass as well, also 28.6" scale length, which I have strung with Elixir Nanoweb guitar strings as well, of the gauges .080 - .062 - .046 - .036 - .026, and tuned to G standard tuning, that is the 3 half steps above the upper 5 strings of a 6 string bass in regular B standard tuning. Never really played it much, cause I didn't like the tone that the 2 stock J pickups gave me, trying to wire them both in series, directly to the output jack socket, to remedy it, which did help some, but still it didn't quite sound right. That is until I discovered that the neck pickup was faulty, having a really weak magnetic field at the lower strings part, which messed with the tone. So I disconnected the neck pickup, and instead wired the bridge pickup directly to the output jack socket, and now the bass actually sounds pretty awesome, really resonant and clear, with exceptional sustain. And it's a quite growly beast, whereas my 4 strung Mikro is more of a snappy beast. Though I do plan to swap that stock bridge J pickup for a Gemini Pickups Mountain Lightning J bridge pickup at some point : https://www.geminipickups.co.uk/bass/jazz-bass/mountain-lightning It also had perfectly leveled frets right from factory. Here it is, Poplar body, Maple neck, with a Jatoba fretboard (this is an old picture, the fretboard has turned less red, to a darker and more brown hue since, as Jatoba tends to do over time), named "Mr. Growley - The Noodlemancer" :

Whatever they might identify as they are named Hagar and got boobs. I am not sure why that is a problem though, or what that has to do with the 70's for that matter.

So I got a 5 string Ibanez GSRM25 Mikro Bass that I haven't played much, but I just picked it up and discovered that it is actually a great instrument that I want to play more (I have it tuned to G standard tuning, as in 3 half steps higher than the 5 upper strings of a 6 string bass in regular B standard tuning, as the scale length is just 28.6", and I actually enjoy this tuning, lending itself more to melodic play and chord work). The frets were perfectly leveled right from factory, despite this being a cheap budget instrument, and I can get as low action as I prefer without any fret buzz whatsoever (and could easily go lower if I wanted without any issues), even with a really minimal neck relief. However the fret ends are slightly protruding from the sides of the neck/fret board, I guess what you call sharp fret ends/edges, causing it to be a bit unpleasant to move the fretting hand up and down the neck, unless careful. So question is now, how would I go about fixing this (filing/sanding whatever is the best approach), without ruining neither the frets, fretboard or neck? And what tools would I need to do this properly?

2, unless it is time to clean the freboard, then 1.

Well the B3, B1on and B1Xon, and the Multi Stomps that utilizes the same generation of Zoom effect models, as far as I am concerned are superior in just about every way to the newer generation B3n, B1 Four and B1X Four. I do agree though that in the 90's the Zoom multi effects were garbage, far behind similar Boss and Line 6 offerings.

Are you suggesting that OP simply should paint their cab and be done with it, or what are you on about here? Also that doesn't mean that everything sounds the same, or equally good, that personal preferences and taste isn't a thing, or that everyone (or anyone for that matter) listen purely with their eyes!

Letterbox - They Might Be Giants

They are not though, the P pickup is a pretty exact copy of the original P pickup in Bobby Vega's 1960 P Bass, with some modern improvements, such as being internally shielded, and who knows what the split humbucking J pickup in the Geezer P/J set is based on.' Regardless though they do sound amazing.

I can't speak of J pickups, but I know for a fact that there is quite a difference in character between a Fender 60's era P pickup and a 70's era P pickup. That said, as someone else suggested, I can warmly recommend the EMG Geezer Butler P/J pickup set. The P is modeled after an original Fender 1960 P pickup, and it sounds no short of amazing. Also the pickups are shielded internally and feature shielded wiring as well, that is the ground running as a braided shield all along the insulated hot wire, so even installed in a bass that otherwise hasn't been properly shielded the pickups will be dead quiet. And the solder free connections makes this set very easy and fast to install as well.

The Rip - Portishead

That looks gorgeous. I'd probably had it tuned to C standard tuning, and used it as a tenor baritone guitar.

We Hate Everyone - Type O Negative Too late, so: French Tickler - Sonic Youth

I prefer the body shape of these to the real deal, I even quite like it. I do however agree with the people who pointed out that 42mm nut width is too wide, and that the headstock looks weird, ugly even. I would have preferred a 38mm nut and a 2+2 headstock. I know the real Stingrays got 3+1 headstocks, but even though I never liked that configuration either they at least do look better. Also I fail to see the point with copying that detail. Sure the idea is to have a Stingray sounding budget bass alternative on the market, rather than a fake Stingray lookalike, cause if the latter is the case then they failed miserably on other points.