Baloney Balderdash

I suppose that means you don't know who LOW are. I can warmly recommend them. Especially their debut album "I Could Live in Hope", released in 1994, their hat trick of 3 master pieces of albums, "Secret Name", "Things We Lots in The Fire" and "Trust", released respectively in 1999, 2001, 2002, and then their latest 2 albums "Double Negative" and "HEY WHAT", released respectively in 2018 and 2021, the latter two more electronically oriented, and especially "Double Negative" quite experimental. In my opinion all 6 albums listed above are true masterpieces, and LOW is a criminally underrated band. "Death of a Salesman" is from their 2005 album "The Great Destroyer" though. One of my absolute favorite bands, if not my absolute number one favorite band, at very least among my 2 absolute favorite bands, together with Coil.

If we are going to cultivate stereotypes, as this thread seems to encourage, I suppose in general jazz guitarists, or rock guitarists who also happens to be jazz guitarists, in general will be more well versed in music theory, overall have better chops, and be better at improvising, while I guess rock guitarists, or jazz guitarists who also happens to be rock guitarists, in general might be better at playing with their instrument slung down around their knees caps, and running around, dance and/or perform acrobatics while playing.

If profit is your main concern I'd advise you to never ever buy another bass. Basses are a bad investment, no matter how you look at it, way more profitable things to invest money in. Or said in another way money spend on basses is profit lost by not investing those money in stuff with a bigger profit margin instead. Also I'd advice you to stop playing all together and sell all your musical equipment, being a musician is not where the money is. That and no one cares about music, and even less about bass in specific, or about you for that matter.

You Take My Breath Away - The Knife

Too Pure - Sebadoh

And yes, composing based on several basses is something relatively innovating, and certainly not the norm. Lighthearted insults? It was clear you were trying tp be funny, but very much so by insulting stuff you didn't like, and at the expense of it. I doubt anyone who actually enjoy this kind of wankfest by bad bassist, as you call it, would find you comments funny or particularly lighthearted.

So context don't matter now? It was a reply meant to a specific couple of comments by a specific person, not a general statement on the overall topic. That is meant as a comment on the fact of not recognizing it as a valid artistic expression, rather than it simply not being of ones personal taste. I'd say there is a significant difference. As said, if that had not been the case I would actually have agreed with you on this, as is in the context however I 100% stand by my comment. You can't just take a sentence out it's context and put in a completely different new one, or well you can of course, but then you are in fact commenting on a hypothetical situation rather than an actual real one that actually happened, not really making it valid. Yeah, see I never actually did that. As I have pointed out several times by now there a considerably difference between something simply not being to ones personal taste, liking, and then discrediting something as not being an artistically valid expression.

You are missing the context of which my reply was written, as it very much seems as the person I was replying to was talking in absolutes themself. There's a considerably difference between something not being to once personal taste, and then to not recognizing it as being a valid artistic impression, the latter would indeed be narrowminded, which is exactly what my reply addresses and should be see as a comment on (Please look at the whole conversation this was part of, and comments from said person). Context please. If I had written what you quote me for out of context as a general reply to the topic, sure you would be right in just about everything you say, but that is not actually the case, it was very much a reply to a specific reply, or rather a couple of specific replies from a specific person (which ought to be clear from the quotes included in the post you quote me for. Please look at the whole conversation this was part of, and comments from said person).

I think that I could actually listen to Rush it and enjoy it, perhaps maybe possibly even learn to love it... if it weren't for those "cliché 80's heavy metal vocalist on constant helium air supply" vocals. For sure killer musicians though, and not least Geddy Lee. But those vocals just ruins everything completely. For me it's kind of like an otherwise really delicious looking gourmet dish, but served with a steamy turd on top of it. It's like nails on chalkboard to me, it doesn't just turn me off, I get almost physically ill every time he starts to sing, which is why I will never really get to learn to know Rush, sadly.

Tuning your bass down, while using the appropriate gauge of string for that given tuning, should not increase tension on the neck, so you should be perfectly safe as long as you are sensible. Also I would advice you to learn how to do your own setups, no guitar technician, no matter how experienced and skilled will know you personal preferences better than you, and it's not exactly rocket science (plenty of great guides only a Google or YouTube search away). You can use this calculator to determine the gauge of strings for your new lower tuning that will approximately match the tension of the ones you have currently installed and tuned to E standard tuning: https://wahiduddin.net/calc/calc_guitar_tension_from_size.htm

Well, it wasn't just a one off show, they toured like that and made an album together as well. Victor Wooten also have a project together with Steve Bailey called Bass Extremes with several shows and a couple albums behind them, where they invite and cooperate with other bass players making bass centered music as well, their latest album for instance features a track that they composed and recorded together with Tool bassist Justin Chancellor. Probably nothing you wouldn't call a wankfest though, even if that doesn't automatically make it so. It's easy to write off everything that explores new territory and push progress forward, hence falling out of the norm, and that you therefor refuse or even right out fail to understand, as wan k or nonsense, but in the end that is your loss really.

Ordered a standard D'Addario XL custom set made from individual guitar strings of the gauges .068 - .052 - .038 - .028, very close to a perfectly tension balanced set, strung them on my Mikro Bass and tuned it to A standard tuning, that is like the 4 upper strings of a 6 string bass in regular B standard tuning, also known as tenor bass tuning, which among others Stanley Clarke makes wide use of. And yeah this is better, significantly more low end than the previous 2 half steps higher B standard tuning that I experimented with (as mentioned in my previous post, quoted above, the only reason I didn't chose to tune it A standard tuning right away, was that I had no reasonably fresh strings that would work for that tuning), but without loosing the gained clarity and articulation, or being great for chord work. And also the D'Addario XL strings has much more character and are much more lively sounding that the Elixir Nanoweb guitar strings I had on before, tuned to B standard tuning. Like more depth to them and more complex harmonic content. I do realize that this eventually will wear off, and that the Elixir overall would be acceptable a lot longer to keep on, and in that aspect also end up being cheaper and save me for the inconvenience of having to perform string swaps as often, but the D'Addario are just so more rich sounding, and also feels better, less stiff. So yeah all in all really satisfied with deciding to tune my Ibanez Mikro bass to tenor bass, A standard, tuning. This tuning really does seem perfect for it's just 28.6" scale length.

Hopefully you told him to go shag himself and leave his job to someone actually qualified for it, or else he could expect to have his face rearranged to match his brain capacity, so that no one would ever mistake him for not having a deformed brain and not being a dim wit again. "I am certain we can make you look the proper dim wit you are, don't worry I am an experienced "plastic surgent"" I luckily have only had good experiences with sound guys, people who actually understood what they were doing and had respect for the sound of the bands I was playing in. But damn, these kind of stories makes me furious! Why would anyone take a job where other people are dependent on your qualification when they are absolutely clueless about how to execute it properly?

Well that explains it. I am pretty certain the guitar speaker/cab to a much larger extend is the culprit for the thin tone, rather than the actual amp as such. Your typical speaker and cab designed with guitar in mind is simply not made to reproduce the kind of low end that comes from a bass, whereas most guitar amps actually will sound fine with bass hooked up to an appropriate bass cab, some even great. Though still my best bet is that the Vox MV50 CL will sound better with bass than your Vox MV50 AC, as I imagine the CL likely will be voiced flatter and pretty certainly will have bigger clean headroom as well. But unfortunately it seems like no one here has actually tested it to confirm or deny this qualified guess. Though I would still very much be interested in hearing from you regarding how the MV50 AC worked hooked up to a proper bass cab (with the Deep switch on the back of the amp respectively being disengaged and engaged).

Such as these?:

Not if it's sits in an effect loop that only gets switched on/is in the signal chain when the pedal is in use, which would be the case here (the whole reason why the reverse phase is an issue in the first place). But, yes, still not a viable solution.

From 2 separate gigs, playing with Menfolk, the hardcore and noiserock influenced math rock band I once played bass in, wielding my main at the time, my trusted Aria Pro II Laser Electric Classic : I think respectively playing the end bass noise "solo" section of "Are We Enemies" and the intro section of "Whose Loss is This".

Except for the LPF not going any lower than 10kHz on that NUX preamp which is a pretty high cut for emulating any non high frequency tweeter equipped bass cabinet, around 3 to 4 kHz would be more like it. It's still a useful tool for finetuning the upper high end response of various IR cab sims, especially if it is of a cab with a build in high frequency tweeter, but not really suited to emulate a bass cab standing alone.

"Holy Mudbucker, Batman!"

The big butt, no legs, short arms, long neck, small head, nasal voice, bass?

The preamp in my Aria Pro II Laser Electric Classic, produced in 1986, runs on 2 9V batteries as well.

Also with an actual bass cab connected?

Pretty far from commonly in my experience, I have tried this with several different drive pedals and never experienced any issues like this. Yes, distortion pedals that inverse the phase absolutely does exist, but really rather an uncommon than common issue. But just to be safe you could get the EHX Switchblade Pro Deluxe, EHX Tri Parallel Mixer, the One Control Mosquito Blender Trail, or the Old Blood Noise Endeavors Signal Blender, though these options are all a bit more expensive than the Boss LS-2, but unlike the LS-2 all with the option of inverting the phase of the effect loop(s) (though the phase inverter switch of the Switchblade Pro Deluxe is located inside the pedal, so one will have to open the pedal to switch it on). The most compact of these, is all you need is adding a clean bend to a one distortion pedal, would be the One Control one.