Baloney Balderdash

So I decided to give these rubber picks another try, and to my surprise I actually found that I really like how the soft rubber 3.1mm sounds. I guess my issue when I initially tried them out was the they sounded neither like regular plastic picks sounds or like finger picking really, and that I failed to really use/grab them properly for strumming, causing them to get stuck on the strings. However this second try I managed to grip them in a way so that strumming is no issue, and also for some reason the sound I got with that soft 3.1mm one really clicked with me. Got this round attack, that still is somewhat prominent, but neither the kind of slap or thud, depending, of finger picking, or the kind of click or snap, depending, of regular pick picking, kind of hard to explain, but just this round soft emphasis of the attack (the best single word I can describe it with would be "boom", but not in a bad boomy way) and a really soft, but at the same time huge and actually very clear tone as the strings ring after the initial attack, the attack and ringing out sort of blending seamlessly together, but while still having an emphasis on the attack, that somehow reminded me of the sound of a finger picked nylon string acoustic guitar, just obviously lower tuned, or perhaps even more so like a piano with the mute and sustain pedal pressed simultaneously. This is my new favorite way to pluck the strings of my bass. The Wedgie Soft 3.1mm rubber pick.

I love my Sennheiser HD-380 Pro headphones, as much for casual music listening, as far recording, mixing and practicing bass and guitar, but I really need a new pair of headphones, as these has served me well for something like nearly 20 years now. However the Sennheiser HD-380 Pro ones are not in production anymore, so which would you recommend I get instead to replace them, the Sennheiser HD-300 Pro or Beyerdynamic DT-770 Pro, or maybe something entirely different, though closed back is a must, in a similar price class? Something with as clear, detailed, flat response, and authentic reproduction of the source as possible.

Yes, but apparently you didn't, not even the reply you quote me for.

The bass player from Meshuggah does something similar, he has his 5 string tuned in drop Bb, that is the low B string tuned half step lower than regular standard 5 string bass B tuning, but then has the next string tuned F, 1 half step higher than regular E tuning. He does this so he can play an octave lower for those of their tracks that utilizes 1 half step down tuned 7 string guitars, and then for their tracks featuring 8 string guitar, instead of having an muddy inarticulate lower octave, he actually plays the same octave as the 1 half step down tuned 8 string guitars, that is F, one half step lower than regular 8 string guitar F# tuning, and 1 half step higher than regular bass E tuning.

Well, not ultra, but I do use a balanced set, composed by individually bought strings, of gauge .095 - .072 - .055 - .040, for regular4 string E standard tuning, regardless of the scale length of my bass (usually regular D'Addario XL strings, the gauge .072 string actually being a guitar string, threaded through the cut of ball end of an old bass string, to not slip through the bridge string mounting hole). I guess you could call the set I used for my just 28.6" scale length Ibanez Mikro, that I have tuned in F# standard tuning, that is 2 half steps abpve regular 4 string E standard tuning, for ultra light gauge, as those are more similar in tension to a gauge .090 set tuned in E standard tuning, namely gauge .080 - .062 - .046 - .036 (coated Elixir Nanoweb guitar strings, threaded through the cut of ball end of an old bass strings, to not slip through the bridge string mounting holes). This works really well with my rather light touch, both fretting and picking.

String designer Jon Moody : https://www.thegearpage.net/board/index.php?threads/which-strings-for-30-3-neck.2215497/ I got lectured by him in the thread linked to above about how it wasn't even safe with hex core strings (my name on The Gear Page is NoiseNinja, the meme I did in that thread referring to the signature he used to use, something about being the bass equivalent to Batman, designing strings at day, gigging at night).

Yes, as I said the bend should be bellow the cut. You can fittingly cut it so that the bend piece fits the length of the hole in the tuning peg. Also you should never try to cut any other string to size but roundwound hex core strings, but use those other types of strings whole in their full length.

You need to make an abrupt sharp 90 degree bend bellow the cutting point (like the piece you are going to poke down the hole in the tuning peg) before cutting, else this is exactly what is likely to happen. Your at fault here, not Dunlop.

Yes, and he used a butter knife to pull out the frets. He also got drunk, though other drugs might have been involved as well, and provoked a bouncer at a bar to beat him to death. Neither something I would recommend anyone to copy. The guy was an astonishing genius musician, hard to argue against that, but that does not mean that everything else he did is equally great and admirable and should serve as an example for everyone to blindly follow, or that he didn't in fact also suffer from mental illness.

You do know how a switch works right? Or how a pedal only activates if a jack is plugged into the input jack socket of it? Or how the battery of an active bass only is draining and the preamp switched on when there's a jack plugged into the bass output jack socket? Technically this is done by using a stereo jack socket for a mono jack plug, using the connection/tap that normally would connect to the ring of a stereo jack plug to basically function as a switch instead. In other words, the amp doesn't know anything, just like a switch doesn't know if it is on or off yet still does provide different electrical routing depending, It's really simple mechanical switching/electronics.

"Undone (The Sweater Song)" - Weezer

Try a tension balanced set of gauge .095 - .075 - .055 - .040 strings.

Personal opinion is that the standard Harley Benton headstock design actually looks great, and that the standard Fender doesn't, especially not the Tele headstock shape, which in my opinion is butt ugly. But whatever floats your boat, just glad it's not my bass. Yes, that sums how I feel about this up pretty good.

Nope, by far most amps will pass the signal from the preamp on to the power amp section of the amp if nothing is plugged into the Effects Return input, but while still putting out the preamp signal through the Effects Send output. That however on the other hand also mean that you normally will be able to plug an external preamp into the Effects Return input, bypassing the amp's own preamp, only using its poweramp section (that's what I do currently). Some amp's Effects Loop doesn't work this way, but, as said, by far most does.

Bah! When I want to be energized I plug a cable with exposed wires into the wall socket and grab firmly around the exposed wiring. No dirty energy at all, just a nice clean shaking, not stirring, of the bodily spirit electrons, that shakes off all that bad dirty energy that tends to cling to them, by effectively unraveling any quantum entanglement happening, easy to vacuum up the floor from the spot you've been standing afterwards, which is crucial for this to really work, to prevent the shaken off bad energy to spread around the house afterwards, and leave you non the better.

Maybe it's in place to point out that it is not actually a volume boost, as it is a fully passive circuit, but that it rather cuts volume in normal mode, and the boost function is really the "non cut volume" setting. But I think you are absolutely right, it's most likely a feature that was added as a way to easily balance the much higher output series mode with the single coil/parallel modes.

If Stanley Clarke, a very tall man with huge hands, and a highly skilled, accomplished and acclaimed bass player might I add, with some serious acoustic upright bass chops as well, can have a short scale bass as his main instrument of choice, then I am sure it will be good enough for you too.

I am now capable of actually strumming faster and more accurate using my right hand middle finger (and I am close to getting there with my index finger too) with the flamenco style finger flicking method than with a pick (and mind playing with a pick has been my main thing for by far the majority of the about 30 years I've been playing bass, and think I am actually a quite proficient pick player), and it actually even sounds a lot like a pick, just, in my opinion, better. Now if I could only palm-mute while doing it (which is impossible). There's really nothing quite like the amount of nuance and control you get over muting when palm-muting using a pick, muting while finger picking is much more circumstantial.

So for those of you who got such a thing post your main bass at the moment, eventual including a bit of blabber about it. (I have done a search for a similar topic, even trying out several different possible search parameters, but with zero results, please do correct me if I am wrong) My main instrument of choice, on/off, for quite a while, like the last past 12 years or so, has been my beloved, just 28.6" scale length, Ibanez Mikro Bass, for a long time now tuned in F# standard tuning, that is 2 half steps above regular 4 string bass E standard tuning, strung with Elixir Nanoweb guitar strings of the gauges .080 - .062 - .046 - .036 (threaded through the cut off ball ends of old bass string to not fall through the bridge string mounting holes). It started out as a regular stock Ibanez GSRM20 Mikro Bass, produced in China December 2010, equipped with an outstanding maple neck with a rosewood fretboard and as good as perfect fretwork from stock, later that neck though was transplanted to an unusually light Mahogany body of a 2017 Indonesian production GSRM20B Mikro Bass in Weathered Black finish, as well as the stock P and J pickup was pulled out, the J cavity filled out with a folded piece of black cardboard and the P pickup replaced for an EMG Geezer Butler P, wired directly to the output jack socket. Other mods done to it: - The stock barrel type output jack socket was pulled out and replaced for a regular front mounted one, installed in the redundant tone pot hole. - The stock pot knobs of the 2 remaining, but not actually wired up to anything, volume pots was replaced with transparent and black PRS lampshade knobs, and cut to size and shape strips of respectively green and red electrical tape (also known insulating tape) was applied to the top of them. - Strips of red electrical tape was applied to the top of the P pickup. - A Jack Skellington (character from Tim Burton's animated movie "The Nightmare Before Christmas") skull sticker was applied on the body above the bridge. Respectively the most recent shot of my beloved Ibanez GSRM20 neck + GSRM20B body Mikro Bass, named "Dud Bottomfeeder", equipped with an EMG Geezer Butler P pickup, and a bit older but much better shot:

A wide range humbucker will pick up and reproduce a wide frequency spectrum, being brighter, and more true to the source, that is the string vibrations on the bass, also being much more articulate and with much better definition, while a mudbucker reproduces a much more narrow frequency range with a lot of the high end frequency content being rolled off, resulting in a dark, boomy and muddy sound, somewhat lacking in articulation and definition in comparison, hence the names. Also the mudbucker will be likely to have much higher output in comparison.

Looks like you were writing that reply while I was editing mine (I know a bad habit of not ensuring I actually said what I wanted to say before posting), so please look at the edit.

Well, with the sample buffer size, which is not the same as bit rate, it ought to be much less 8ms, more like just below 3ms or so at 44.1Khz sample rate, and even lower if the audio sample rate of the Dwarf is higher than that (close to just 1ms if the sample buffer size is 128 and sample rate is 96kHZ, double of that if the sample buffer size is 256): https://www.sweetwater.com/insync/buffers-latency/ Anyone know the audio sample rate of the Dwarf? I think, though it differs some from person to person, that latencies above 10ms starts to get noticeable, so if one is using other digital pedals in their signal chain, which typically will have latency of just about 1ms, together with Dwarf, and if the latency of the Dwarf really is about 8ms, it could course issues.

As said I kind of count on buying the MOD Dwarf at some point in the future. Not likely to be soon though, but when time comes to update my Zoom B1Xon and G1on it will most likely be the Dwarf that gets picked. So I wanted to ask if any of you know the latency in milliseconds of the Dwarf?