Baloney Balderdash

That's not as objective a truth as you try to make it sound like. Personally I don't like a fizzy effected high end floating on top of a clean low end, even if I realize that approach has become quite popular, possibly, as you say, because you get a pretty consistent result, almost regardless of which effects you use, (even if in my opinion seldom a result that actually also sound good). And I assume I am not the only one like that. Also the tone from the guitar amp/cab including the HPF is already going to be brighter with some low end cut, but also, in my experience and opinion, it is going to sound much more complex and blend in better and more naturally with the bass amp signal than a straight simple single point crossover to a single output amp/cab, though definitely will require more overall work and accurate adjustments to work optimally (whether that then is worth it or not I guess would be up to the individual player to decide, and depend on the specific context/application as well as the player in question and their personal preferences/tonal aspirations). That said I would absolutely advice OP to try out both approaches, if they don't already know what kind of sound they are after more specifically (even if they did specifically mention bi-amping). It is simply not going to be the same sound/result, and one approach, while both having advantages and disadvantages, will not give an objectively better result than the other, but very much depend on the specific context/application and individual personal preferences.

Won't give the same effect as running a separate bass and guitar amp with each their own respective speaker cabinet! And this worked/works fine for Chris Squire and Billy Sheehan. And then there is Lou Barlow (from Dinosaur Jr.) who split his signal between 3 amps, without any kind of filters in between, to get a mix of their different characters: an overdriven Marshall JCM800, all tube amp head, for its top end focus/qualities, a clean old SS Peavey bass amp head (forgot the exact model) for its midrange focus/qualities, and an old overdriven Ampeg SVT, all tube amp head, that he drives further with an Exotic BB Bass Preamp in front of it, for its bottom end focus/qualities, and he sounds amazing live. As long as one is aware of these potential issues that you mention and place/adjust the individual cabs/amps accordingly. To OP: Yes... A HPF set to somewhere between 80 to 120 Hz or so for the guitar amp, and a HPF set to about 40Hz for the bass amp seems about right. You should be completely safe cranking the guitar amp as long as you are using an effective HPF set to somewhere around 100Hz or so before it.

I prefer to mainly play one instrument both at home and otherwise, though which that instrument is might change over time. I think it important to know one's instrument as well as possible and be completely at home playing it in order to be capable of delivering an optimal performance, and you only get to know an instrument by actually playing it, and playing it as much as possible. And with instrument I mean literally individual instrument, and not just instrument type in general. Fact is you are simply not going to play as well on an instrument you only play live, that is unless you are a full time live musician. But even then you would still play better on an instrument that you are also actually playing off stage when practicing/rehearsing. Studio/recording sessions are different, because having a certain specific tone/sound is more important, or even can be quite crucial, there, but also very different from a live situation as you practically got as many takes as it takes to get it just right.

Well, I don't like Big Muff on bass, I think they pretty much without exception turn everything into an undefined inarticulate mid scooped mud fest. That said they both sounded equally horrible, sure if I got either of them for free I would take it, but I would never spend as much a 1c on any of them personally, admittedly though I do like how Ram Head style Muffs sound with guitar a lot. But trying to be completely objective I do think you came to the absolute right conclusion, it's not like one of these Green Russian Muff clones sounds better over the other, but I do think, judging from the settings that you demo, that they both have settings where they respectively shine in particular, that is certain settings where one sound better than the other. But, yeah, if someone asked me to pick the one that overall sounded the best it really could be either one, impossible to chose. In any case keep up the good work, you do some excellent pedal demos!

I guess Geezer is included in the concluding ", or...", though a bit strange I forgot to include him by name, I got his signature EMG Geezer Butler signature P pickup in my main bass, and much like him it's absolutely exceptional. Also I happen to be one of those jazz weirdos you speak of, though more of an experimental/avantgarde music weirdo really, but used to be a metal head, and still listen to some of that devilish heavy music every once in a while, though most day I listen to the Danish national radio's DAB/online streaming jazz station. As for Les Claypool I got kind of an ambivalent relationship to his music, regardless I have great respect for his bass playing and artistic skills in general. Rest I largely agree with though, if only I knew this Jerry you mention (I genuinely got no idea... Edit! : Just looked it up, but while I do know Misfits, I am just not particular well versed in their musical output, which perhaps is a grave oversight from my side). Also don't get me started about Red Hot Chili Peppers. I am never going to forgive Anthony Kiedis, that small minded conceited donkey hole, for sabotaging Mr. Bungle's career and contributing to their break up (basically he called all festivals that had both Red Hot Chili Peppers and Mr. Bungle on the program, and refused to play if they didn't drop Mr. Bungle), just because they happened to call their album, which was released about the same time as Red Hot Chili Pepper's "Californication", "California". I guess he was jealous of Mike Paton for actually being able to sing, and a genius at that too might I add, or maybe because Mr. Bungle's "California" album made Red Hot Chili Pepper's "Californication" look like a child doodle, devoid of any kind of real talent, in comparison (not that Mr. Bungle's genius experimental/avantgarde prog rock in reality was ever going to be any real competition to Red Hot Chili Pepper's sucking up watered down mind numbing pop rock). That said Flea actually seems like a genuinely nice and well meaning human being, despite acting like a 7 year old with ADHD (and as far as I recall from what I read about this whole incident he did actually at some occasion apologize to Mike Paton for Anthony Kiedis actions).

Or Steve Harris, or Sting, or Jack Bruce, or Paul McCartney, or Jaco, or Chris Squire, or Geddy Lee, or Cliff Burton, or Flea, or Les Claypool, or...

To me that is actually a plus, so it doesn't get too cramped fretting the upper part of the fretboard.

Who would have thought a band who named themself Royal Blood to act conceited and arrogant... Royal Blood... More like Royal F***, or Royal Flop...

Looks amazing, and apart of the just 9.5" radius fretboard, which I am not too fond of, prefer flatter, 12" ideally, all it's specs pretty much fits me perfectly, and that to a really reasonable price, that I would actually be able to afford, so really tempted at getting one of these, specifically that metallic green one I think looks absolutely gorgeous.

Well, tell that to Stanley Clarke... He's even taller, and got giant hands as well, beside of course being an absolute master and legend bass player, yet has 30" short scale electric bass as his main instrument of choice, though might I add a really proficient upright bass player as well. Personally my preferred instrument of choice is a just 28.6" scale Ibanez Mikro Bass, and I am 6"4'. And how about all those tall fellows playing 24.75" Gibson scale guitars? Then of course you also have rather short people with small hands preferring to play full scale 34" bass, some even extended scale 6 string bass. Anthony Jackson for instance isn't a particular tall guy and actually have kind of small hands, yet he's an absolute master of his 36" 6 string bass with full 19mm string spacing. Showing that choice of scale length really has little to do with one's physical size but rather a question of personal preferences and choice.

Danish vocals, bass and drums trio, which unfortunately has disbanded (evolved from the girl punk band "Niels På Dåse", which translated to English means "Niels On Can" or "Canned Niels", thereof the later name "Nelson Can"):

The Tech 21 GT2, or the excellent but much cheaper Behringer clone of it, the GDI21, is also an option. Yes, it is marketed as a guitar preamp, but it actually works amazingly well as a bass distortion pedal. I doubt it would have been on Justin Chancellor's pedal board for years, and still is, if that wasn't the case. Really versatile as well. You can get an idea of just how great it works for bass here: Also, though not in production anymore, so you would have to find one used, the EHX English Muff'n (the name is misleading as it has absolutely nothing to do with a Big Muff, and it's not even a fuzz) works rather amazing as a bass drive too, with a gain range that goes from everything from perfectly clean, over low gain overdrive, and all the way up to medium gain distortion, and it features 2 preamp tubes, operating at proper high 300V plate voltage:

But then it would just sound like a lot of other basses having a humbucker neck pickup, wouldn't it? Also I don't agree, for one it is a short scale and semi-hollow body bass, which alone is going to mean that it will not sound a lot like just any regular P Bass, just because it features a middle position P pickup (which isn't even located at the exact same spot as it would on a regular P Bass, adding further to the difference of tone). And personally I am a big fan of middle position P pickups, and to me it looks great as well.

Hmm, looking at that photo I provided of the pickup the wiring doesn't seem particular fragile to me, but of course I haven't seen how they are attached underneath the pickups. And personally I'd prefer the modern shielded main pickup connection wire they are supposed to come with (that is a wire where the ground runs as a braided shield all along the insulated hot/signal wire), to vintage type cloth covered unshielded wires. Also personally I couldn't care less about the packaging. That one of the wires had come loose at arrival does seem worrying though in terms of the build quality, though that could just had been a case of being unlucky and it actually not being a general issue with these pickups. In any case I appreciate sharing your experience with these. And it has not scared me off still very much being very interested in trying these out. As said all I really care for it how they sound (at least as long as the build quality is decent enough, never mind how it looks).

Sounds like there is a back bow in the neck (that is the neck having a somewhat upwards arc), caused by a too tight truss rod relatively to the lower tension strings compared to what you previous had the bass strung with. Loosening the truss rod and eventually installing higher tension strings hopefully will solve this, though from what you tell there might be other issues in play as well. But at least I would start with loosening the truss rod and see if that solves it (remember to retune each time you have adjusted the truss rod). You'll know that it has the truss rod has been adjusted correctly when fretting the low E string at 1st fret simultaneously with the 17th fret, the latter with you pinky, and, while holding the E string down like that at 1st and 17th fret, stretch over and tap the string down right above the 12th fret with your thumb (on the hand that your are using your pinky to hold down the string down at the 17th fret), and you should feel an ever so slight gap, we are talking mere fractions of a mm, and hear a very subtle click as the string hit the fret (of course with all the strings being in tune, so that the neck is under the tension it would be under normal circumstances), which indicates that the neck is having an ever so slightly forward bow (that is the neck having an ever so slight downward arc), just as it ought to.

This! Also as far as I am concerned Royal Blood is a pretty mediocre off the mill generic boring rock band, though with an interesting concept, that Death From Above 1979 however executes way way better. What an absolute conceited bloated **** head!

My two favorite songs by Thee Silver Mt. Zion Memorial Orchestra, from my favorite album of theirs "Horses in the Sky" :

How about "Dave Lord of the Gates of Hell in the 9th Kingdom of the Minds of Angels Who Dance with the Leaders of Men", then?

Buddha is not a divine being though, he was very much human, a human named Siddhartha Gautama, and according to Buddhism everyone is capable of reaching Buddhahood. Neither is Buddhism at its core really a religion in the traditional sense of the word, rather a form of life philosophy.

I need to get that green one! Unsure how I will get on with the 9.5" radius fretboard honestly, I really prefer a flatter fretboard radius, ideally 12", but just about every other aspect of this bass, from the looks, it looks just absolutely stunning to me, to the relatively tight 17mm Mustang string spacing, the great upper frets access, and of course it's 30" short scale length, which is the main attraction to me, I wouldn't even consider it to begin with had it been a regular 34" long scale bass, and, yes, as said, just about everything else, is right up my alley, and for a quite reasonable price even, that I would actually be able to afford. Love it! Thomann got it up for preorder as well, says it'll be in stock in 4 to 5 weeks, so just about 1 month waiting time: https://www.thomann.de/gb/squier_paranormal_rascal_bass_hh_swg.htm At an ever so slightly higher price though, but for someone like me who live in a country within EU it'll still be cheaper to order from Thomann for me.

Grenades is definitely THE problem solver for the modern gigging musician, it'll effectively deal with practically every single issue you are ever likely to encounter playing live music, like nothing else, all from crappy backline gear, crappy fellow band members, crappy audience, crappy sound guy, crappy venue: With the right assortment of explosives at your hand it is all never more than just one big boom and a puff of smoke away from magically being dealt with, for good!

It was of course a joke, but what I was referring to was Lars being responsible for there practically being no bass left in the mix on "...and justice for all" (if one is to believe the guy who mixed the album at least. Though does sound a lot like Lars, and fits perfectly into proving a point to the new guy who had the insensitive indecency not to be Cliff).

Ah, right, my bad, just had a look at the video again, and your mods does in fact match the instructions to what is referred to in this video as the second switch, dealing with the stock notch filter.

This video suggest another way to get rid of the scooped mids: Anyone knows which is most effective to get an approximate flat response, the mod suggested in this thread or the mods suggested in this video (the instruction is in the last bit, and it suggests bridging entirely different points/components with resistors of different value as well, as the one suggested here).