Baloney Balderdash

If it plays and sound nicely I'd say keep it as it is. What I would have done at least.

I think the individual bass player should be allowed to decide for themself whether they prefer playing a 2, 3, 4, 5, 6, 7, 8, 9 or 10 string bass, and as such non of these are by default pointless for bass players in general. I don't gatekeep playing bass by making up rules for how low or high a bass i allowed to be able to go to be a real bass, if it exists it is by definition a real bass, and if just one person in the Universe finds it useful then it is by definition not pointless. This thread however for a large part is, even if definitely still indeed being very real.

Yes, and as said, you can run those two channels, either as two independent separate channels, in stereo, in parallel with each other, or in series, the latter effectively giving you a 20 band fully parametric equalizer.

Stig Pedersen from the Danish band D:A:D (Disneyland After Dark) too:

Yes.... Else there wouldn't be much point in being able to run the 2 X 10 band EQ channels in series or parallel either. You need to hook it up to a computer and adjust via an app though to do so. But as I also wrote you got 4 presets, 8 if you hook up an additional pedal to control them. https://www.manualslib.com/manual/1847200/Source-Audio-Eq2-Programmable-Eq.html

How is it tuned, and how do you even play that, two hand tapping? 34" scale length?

What's that bass, and what's those pickups? A modded Jazz Bass? Doesn't look like J pickups, and also both positioned closer to the neck than usual. The neck one looks like it may be a humbucker. As well, as there seems to be 2 switches, a big one and a smaller one. Pickup selector and a parallel or single coil switch for the neck humbucker?

Yes, should have said:

Actually the EQ2 got 2 separate channels of 10 fully adjustable full featured parametric EQ bands each, which can be run either as separate/stereo channels, or parallel to each other or in series, which in the latter case actually would effectively give you a 20 band fully parametric equalizer, plus an additional fully adjustable HPF and LPF, plus the two outer bands can be set to work as shelving EQ filters instead. All in all an amazing EQ pedal, with an astonishing amount of features. No doubt the most advanced pedal form equalizer ever, miles ahead any other pedal from equalizers on the market. Also it is +/- 18dB per frequency band, but then an additional up to +12dB clean boost, that it is capable of. It is in fact also not a combination of graphic and parametric equalizing it is fully, full featured, parametric equalizer, that is full control over both center frequency, Q/bandwidth, and boost/cut, for each single band, it just looks like a standard graphic EQ, and it does require to be connected to a computer to take full advantage of all its features via an app, though it got a presets function that allows you to store and recall different settings.

How do you expect anyone being able to answer that question? Seems like paradox to me.

As far as I understand Tortex as Dunlop uses for some of their picks, is a slightly altered Delrin formula, so my question is, is there any difference in feel and tone from a Tortex and then a regular Delrin pick of the same gauge, and in which case what?

Sex with Sun Ra (Part I - Saturnalia) - Coil

The Mothers of Invention - Who Are The Brain Police

I thought everything was real once too, then I took LSD and realized that reality is just an illusion. I don't even consider my 6 string basses real basses anymore.

If I was you I'd probably stick the 4 string, but install a D-tuner (or whatever they are called) tuning mechanism on it. Will be quicker and more practical than both tuning down the 4 string manually or switching to a 5 string, in fact as simple as just flipping a lever (and flipping it once again to get back to E tuning).

Sound pieces of advice!

No! Why I've only played in original bands, and only bands who's music I like. Also I need to have some influence on what I play. I am perfectly okay with suggestions, and prewritten parts for that matter, to a certain extend that is, but I would want to predominantly write my own parts and also overall contribute to the compositions. Anything else is pointless for me as far as goes playing in a band/being part of a musical project. It got to a large extend be a collective effort, including the songwriting, where everyone at least got some say in the final product. Or else it might as well had been a solo project.

Everything in the end is pointless, eventually we are all going to die anyway.

Owing both the G1 Four, B1 Four, G1on and B1Xon, I still disagree. The new generation of Zoom effects were a step back in quality as far as I am concerned. And in terms of twekability a huge step back, just as one out of many examples the B1Xon allows you to assign whichever one parameter (from which there are way more than just the limiting max 4 of the B1 Four to chose from, which really allows to to tune the individual effects to sound exactly as you prefer) from whichever effect of each patch to the build in, and by the way great, expression pedal, however you like it, that is in terms of direction and range, the B1X Four on the other hand gives you only a handful of predetermined dedicated expression pedal specific effects, and that is the only thing the build in expression pedal can be used for on those units. Also the new "Four" models just doesn't sound as good as the "on" models (given of course tweaked right).

Big Fat F*** - Ween

Sure I have played with that thought before, so this is just a copy/paste from the text file, knowing well that in by far most likelihood I will never have the kind of money to spare for it to become reality: A custom made 4 string, 28,6" scale, bass, with a slim modern C profile, bolt on, 5 piece laminated Jatoba/Maple (just 2 relatively narrow layers of maple in between 3 wider layers of Jatoba) neck, with a thin clear satin finish on the back, graphite rods reinforcement and a double action trussrod, a tilted 2+2, classic B.C Rich inspired, headstock, but overall slightly more narrow, and with the "devil horns" slightly shifted, so that the upper slightly larger "horn" is sitting a bit more forward than the slightly smaller and slightly retracted lower "horn", equipped with small black tuning pegs, a 24 medium jumbo stainless steel frets, 12" radius, figured Ebony, fretboard, an ESP LTD F-204/F-1004 style inspired Mahogany body with a spalted Maple top, in a transparent matte black burst finish, equipped with an EMG Geezer Butler reverse P pickup in the neck/middle position, and in the bridge position a DiMarzio Relentless reverse P pickup with a series/parallel switch equipped with a blood red knob, both pickups having their covers painted blood red, additional controls consisting of an active stacked LPF/HPF tone filter control for each of the 2 pickups, as well as an active pickup blend control, equipped with knobs made of solid transparent dark green plexi glass (acrylic), black milled steel mono rail bridge pieces with a string spacing of 17,5mm (or perhaps instead even a wammy/tremolo bridge with 17,5mm string spacing), and an accordingly more narrow neck, however a 40mm wide graphite nut, but the neck not widening all that much as you get further up towards the bridge, strung with Elixir Nanoweb guitar strings of the gauges .080 - .062 - .046 - .036 strings, tuned in F# standard tuning, as in 2 half steps above standard 4 string bass E standard tuning.

That's absolutely a valid point. Simplicity has it's own advantages. Also Caline makes a cheaper clone, the CP-71 6-Band Graphic EQ, at less than half the price, and with an added Level slider, which the original lacks, leading to the issue of not being able to compensate for boosting or cutting frequencies affecting the overall output volume, as @RikiB mentioned, that this clone fixes. Also I can warmly recommend the Artec SE-EQ8 Graphic Eq, 8 band graphic equalizer, which is dirt cheap but non the less works great and is actually also build really well and sturdily. And in my opinion the center frequency of the 8 bands respectively makes more sense than say those of any of the Boss 7 band graphic equalizers.

So as the headlines says, what are the most durable and low capacitance budget instrument cables on the market? They don't have to be super cheap, but they do need to not break within a month and not affect the tone and not cost a fortune.