Baloney Balderdash

I never said that all new music is poo, just that certain general popular tendencies/trends most widespread in certain musical genres is.

I like my subtle, and not quite as subtle, vibratos, thank you. Adds to the organic expression. This is stupid and one step closer to make your bass sound like a programed midi bass rather than a real played one. But I am sure it'll appeal to people who are more perfectionists than is for their own good, or are of the misconception that all music should ideally sound as if a machine was playing it, looking at you modern metal people, I mean what's the point of playing it even then, if you are going to quantize everything anyway why not just program it to start with (applies to modern pop music as well where everything is pitch corrected)? Should have been named Analtune.

KOOP (featuring Ane Brun) - "KOOP ISLAND BLUES"

Sure, some at least, but with the size of the body and placement of the bridge on the Blackstar compared to the Mikro not as much as it otherwise could have been, also the shorter scale length comes with other disadvantages, such as tone and string tension, and in that aspect string gauge in relation to string inflexibility (caused by the shorter active vibrating length of the strings, which again affects tone and sustain). The Mikro also comes with more frets (22 vs. just 18), and less cramped upper frets fretting, if that is important to you. Question here I guess is if you are really going for absolutely smallest possible at any cost or just small enough.

The string action on my Mikro Bass is about 1.8mm from top of 12th fret to bottom of low E string, about 1.4mm high G string, without any fret buzz whatsoever. Truss rod cover on the Mikro is a small lid you can slide off to the side without any need of screwdriver, so all you need to do to adjust neck relief is the Allen key that it comes with. How a bass comes set up from stock factory is in my opinion irrelevant as you will need to do a proper setup pretty much regardless of price point of the instrument to get it to your personal preferred settings anyway.

This!

Which gives me another brilliant idea! Ever noticed how the notes you fret doesn't actually a perfectly clean smooth sinus curve? Well how about inventing a device that can be build into the control cavity that'll turn all notes into a nice perfectly clean and smooth sinus curve... I am sure that would be what every bass player really would want when they play bass... This device would get rid of all those nasty extra harmonic content that blurs your pure fundamentals... Now add a compressor that keep heck on all of those annoying dynamics fluctuations, making everything absolutely perfectly even, and you'll have the perfect bass tone... Who thinks this stuff up? If you can nod in agreement to all 3 "improvements" mentioned above perhaps what you really want rather than playing bass is a sinus wave generator...

I think you missed my edit: Locking washer, as suggested in the above post, was what I actually meant.

I would think what you fear is exactly what is at risk at happening if tightening the jack nut just on one side without holding on to the jack socket on the other side, preventing it from twisting around as you turn. Also if there is not already one using a shim with "teeth" on the inside side of the jack socket and then tightening properly should prevent the jack socket from loosening in the future.

I love the sound of a middle position P pickup, and that there does sound awesome, however personally I am partial to roundwound strings. I guess I can partially accept this videos premise though and call it the ultimate P Bass tone with flatwounds tone.

The answer is yes! However for your specific application you might be better off considering an equalizer pedal of some form, or the EHX Steel Leather attack expander pedal, which was made with this exact purpose in mind.

It does have 25 frets, with really great upper frets access, which would make the neck actually longer, but also seem longer, say compared to the only 19 frets of a Fender Mustang, which have pretty poor upper frets access. Then add to that the bridge placement, further from the edge of the body, with more body behind it, which adds to the overall length of the bass, but not to the actual scale length. Also looking at the length of string space between bridge/saddles to where the neck ends short scale does seem right.

And yet those two bassists played the exact same respective bass with the exact same setup through most of their career (and they are far from the only examples of that among acclaimed professional bass players either). I do realize that music is not sports, but there is a reason why elite sports people are picky about their equipment. And there's a reason why there is not just one bass model on the market with one set of definite ultimate specs, and trust me it is not because most people think it is a great idea to waste time and energy on learning to know each of them to the point where they might very well be feeling decently, but never perfectly, and definitely not equally, familiar and at home with all of them when they actually got a choice. People have personal preference, different playing styles, and playing different styles of music, and on a very basic practical level different people are simply born with different physics, and I bet that even you do actually feel more comfortable, at home, and play better on some basses over others. I know for certain that I do at least. Why settle for less than optimal and ideal when you actually got the choice?

I would have a custom one made. You can get a custom MARUSZCZYK or MESNINGER 5 string for that price. Personally I would go for a 30" scale Cazpar made to my prefered specs.

If Black Sabbath had been from Thailand :

Well, the specs says quadro core processor and 8GB ram (in comparison the Line 6 Helix Stomp only got a duo core processor, also the Dwarf is much more flexible when it comes to the signal path), so I would think it would be able to run quite a few effects and parallel paths at the same time without struggling. Though of course that will depend on the specific effects used and how they were programmed. When I at some point gets to upgrading my Zoom B1Xon it will most likely be for the MOD Dwarf.

A Zoom B1Xon and a Zoom G1on currently on my board, and love them, using a 3rd party firmware hack app to get exactly the collection of the same generation of Zoom effect models (all effect models from the G1(X)on, B1(X)on, MS-50G, MS-60B, MS-70CDR available to freely chose from, and working flawlessly) on them that I wish (something Zoom really ought to have made possible themself right from the start as far as I am concerned). I love the B1Xon, that uses same previous generation Zoom effect models as the current production Multi Stomp boxes, which in my opinion is far superior to the current generation Zoom B1 Four and G1 Four (which I do actually own both of, but will likely never use again because of how horrible they are), both in terms of flexibility/customization options/tweakability and controls, but actually also in terms of sound quality. I also own a Zoom MS-70CDR and a backup Zoom G1Xon, loaded, via the firmware hack app that I mentioned, with the same custom collection of Zoom effect models as my B1Xon. If I was to upgrade it would probably end up being for the MOD Dwarf, or possibly either a HoTone Ampero II Stomp or a Boss GT-1000 Core. But I am actually really satisfied with my Zoom multi effects, except for the drive and pitch effects and the amp/cab sims, which are admittedly pretty bad, but just about every other effect (comp, filter, mod, delay, reverb) in these previous generation Zoom multi effects sounds genuinely great as far as I am concerned (and as said, as far as I am concerned, way better than the current generation Zoom multi effect units/digital effect models), just about as good as anything really.

I do actually usually have a pretty good idea of what I am actually writing when writing lyrics, but must admit I did write a fair share of nonsense for the lyrics of the songs I produced with the psychedelic electronic duo "Electro Jar" that I had together with a friend a few years back. Here are the lyrics I wrote for the 3 songs on our "Divinorum" EP: Divinorum Black and white silhouette ruins shooting up past the last winding corner of a glimpse of an eyes wide shut future hope of illusions scanning the horizon of the vast sea of time an infinite ocean in our mind breaking waves off a breathless surfer revealed as a corpse on the shore that is present before us as he struggles to breath just to drown counting one thousand waves down before we arrived to dive in free fall past the cliffs in our watery grave to survive to tell the cautionary tale of our lives spreading like drops as we hit the surface recycled infinitely through the weather system and further out beyond the Universe and concept of time and space as such. Spacefuzz 2016 Comets fill the sky satellites are drifting by a star is born another die a roaring silent cry And I'm gone... Alien and lonely moondogs howl along the Univers' a song spacing out of orbit nowhere to belong And I'm gone.... Winding wormholes withered molehills Saturn, Sirius semi circle fish gills And I'm gone... Flesh wounds dread looms Mars, Pluto, fools and dead prunes And I'm gone... Somewhere Over the Ocean (a song dictated in a dream) A broken sea of liquid electricity held in the palm of my hand a mountain view of waves inside my tiny eye of solitude, and deep down the Ocean shelf lies books of unbound wisdom, in liquid form as it comes, flowing with the water. Dive! Dive! Dive! And somewhere over the Ocean, beyond the tress, lies the dreams Somewhere over the Ocean, somewhere beneath a tree, somewhere someone is sleeping, somewhere someone is dreaming, a song dictated in a dream Somewhere over the Ocean, we sail the memory sea Sail the broken sea sail the burning sea sail the lonely sea

Genius!

Anyone up for interpreting this one I just wrote off the top of my head?_ The Ballad of Baloney Balderdash James Diddle had a mighty doh Dee do the Humpty Dumpty routine on a whim And everyone fall down, oh no I know my skittles Memory like scrambled eggs Yo, ho! And here we go again, like nothing Empty pockets, no way home Floating in my shuttle Shut the door, forgot my keys No way home I'm floating, dry Hope I'll die before I live My love is purple, so is like desert sand And prunes in May, the hurdled hum of hundred men Oh, man! I left the oven on Deserted cherry pie on random shuffle Deeds are done by no command No water left in my spirit bottle At ends suddenly out of rhythm without a rhyme and non the wiser Yo ho! I knew it! Here we go again...

Well, I wouldn't know honestly (or, well, guess I do actually looking at my own basses), but I do know we didn't even have electric basses 100 years ago, which would be a century, and even less over a 100 years ago. So unless you were joking, and it went over my head, it seems like we would both be wrong.