Baloney Balderdash

You mean decade, not century.

I think it originally was a quite common technique poets prescribing to the surrealism movement developed and used frequently (together with the stream of conscious (or rather, as the idea is, stream of sub-conscious) like automatic writing technique), which would date it all the way back to the mid/late 1920's. Also it is worth noting that the Fluxus art movement of the 60's/70's had a lot in common with the Dada art movement of the 10's/20's. But yes, William Burroughs is famous for using the cut up technique, and I think that was actually where at least David Bowie originally got it from.

My opinions about/view on music are/is not for sale, no... I think it depends on one's personal attitude/perspective and view on/understanding of/opinion about music, what it is and ideally should be, in general.

Sounds and looks great, but what the hell is he actually saying from about the 2:07 point of the video to about 2:13? Maybe it will be easier for a native English speaker to decipher his thick German accent there that makes it sound like absolute nonsense to me, as if he is suddenly speaking in tongues or something.

Frankly I find it strange that people find bands who have created classic songs that brought such enjoyment to so many listeners still owe their listeners anything. Now THAT I would call disrespectful!

I for one would love to hear how that would sound. Quite refreshing for a song that otherwise have been played and covered to the point of death. Actually I would respect Black Sabbath even more if they had the guts to do that kind of thing. Surely that would be a totally unexpected surprise from them in particular.

Technically it is an effect, but I understand what you mean, also while compression as isn't a tone shaping phenomena a compression pedal can still be, depending, without there being anything wrong with that, I'd even say that's a pretty common application. Also a compressor won't, and quite obviously can't possibly, in any way change the feel directly, it will change the tone, which then indirectly will change how we perceive the feel of the instrument, how the instrument responds to our playing and how we in terms respond to the instrument, so in that aspect you kind of contradict yourself. Also if the main purpose of your compressor really is applying compression in the strictest technical sense of the word, rather than primarily being used for tone shaping purposes, logic would dictate that it should be applied as the very last thing in your signal chain, working on the sum of your signal, your final actual signal/tone. Again nothing wrong with placing a compressor first in your chain, just another point of what you actually wrote not really being logically consistent.

An AI based bass that comes up with bass lines and plays it itself, all you need to do is feed it with a signal of the music you need a bass line laid down for, whether that be a microphone/mixer tap from live music or the remaining prerecorded tracks for studio work. So to sum up, a bass where all you need to do is plugging in the music that needs bass into the input socket of the bass, and then from the output socket of the bass into a bass amp or bass amp/cab sim, no hands or fingers (or effort for that matter) involved, it plays itself, entirely automated. Which frees the bass player up to exclusively concentrate on their stage presence and scene show. Time to quit bass practice and take up dance and acrobatics practice instead!

Sounds genuinely great too, judging from this demo (the 36" is referring to the entire length of the bass, obviously not the scale length):

Well, I just by far prefer how this sounds, I do however also make a lot of use of classical acoustic guitar finger style, and flamenco guitar style index and/or middle finger flicking, as well as some use of double thumb, techniques that often all gets incorporated and used interchangeably within the same piece, depending whatever the various riffs and parts calls for. And I am a quite accomplished pick player as well, which was actually my preferred method of plucking the strings when I first started out. I was just particularly interested in traditional 2 finger plucking in this case, for which, as said I by far prefer the tone/sound that the method described in the OP gives me. I do fully agree though of the importance of experimenting and finding your own approach, the one that personally fits you best specifically, your own voice, and not just when it comes to plucking techniques, but in all aspects of playing your instrument(s) of choice, and really actually playing music in general.

It goes for most budget basses really nowadays though. Somewhat random, or rather lacking, quality control, but if you are lucky to get hold on one the luckier ones out of a budget production they are actually surprisingly great instruments, or at very least can be made so with a few relatively easy and cheap upgrades. In any case congratulations.

I am asking because I've realized that my way of plucking the strings, when using the regular 2 finger plucking technique is probably not the most common way to do it. I tried to analyze what I am actually doing and it seems like I am more so stroking the strings, rather than striking or plucking them, rather lightly and quite briefly with the outmost surface of my finger pads, but doing so in a way so I am actually pushing the strings inwards towards the finger board (rather than sidewards/upwards), before the strings then, lightly stroking against the very outer most edge of my finger nails, is being released again. I have kind of just adjusted my plucking technique intuitively to what sounded best to me, rather than analyzing in details what I actually did, that is up until now, I did however notice that it gets a lot easier to make it work when my nails are cut to just exactly the right length, neither too short, nor too long, the latter causing the strings to easily get caught on the nail, and the former making it harder to achieve the right sound I desire, like the nail just ever so slightly poking out above the edge of the finger, but really only ever so slightly, so for this to work optimally I really need to constantly tend to cutting my finger nails, and really paying attention when doing so too. Though I can actually get pretty close to the same kind of tone/sound even if the stroke doesn't finish off with touching the very edge of the nail before it is released, but I do think it sounds the best when it does. It also requires a fair deal of accuracy, I assume more so than more common regular sidewards/upwards string plucking, because for it to work properly it is crucial that you only stroke the strings lightly with a relatively minor area of your fingertips and nails, and also only very briefly, rather than plucking them as such (you definitely don't want to dig in in any way), which took awhile for me to get to work consistently. I would describe the tone/sound I get from doing this as sort of a slapping or piano like sound/tone, like having some of the same unique somewhat metallic attack as you get from slapping, just less forceful, much softer and much more subtle sounding than regular slapping, really perhaps more similar to the sound of the hammer hitting the strings in a piano. Anyone else doing something similar, and if not then how do you pluck your strings, how did you develop/chose your technique, and what would the sound characteristics be of it? Or is all this really nonsense, me just imagining being special, and this actually being how most people do it?

I see a pattern here... But no need or use pointing it out, as I assume you are perfectly aware of it yourself.

Will "Le Grille" do? :

Really depends. On which compressor and which preamp in specific, as well as application/context and not least your personal preferences. Personally I'd most likely place the compressor before the preamp though.

Not really, uncommon sure, as are tenor guitars, and certainly more so too than regular tenor guitars, but far from unique. For one Eastwood makes a couple of different models tenor baritone guitar instruments, theirs are 26" scale length though. But tuned in C as well from stock, though in 5th, like a regular tenor guitar, rather than the standard 4th tuning. Try looking up "tenor guitar", "tenor baritone guitar" and "tenor bass guitar" on Google.

I am pondering getting one of these : A just 25.5" (that is standard Fender guitar scale) scale length bass from Glarry, with the model number GW101, with a narrower neck to fit the small size, that is a just 36mm (Edit!!!: I stated 34mm nut, it is actually 36mm, still more narrow than the standard narrow 38mm nut) nut width, and narrower at the bridge too than regular basses. At the ridiculous low price of just 98.23 Euro or 98.99£. And they get great reviews too. Comes in transparent red or yellow finish as well: I think they look astonishing! If I go through with this and get one it would then be for tuning it in C standard tuning, that it 4 half steps bellow regular guitar E standard tuning. So planning on kind of using it like a baritone tenor guitar. https://www.glarry.co.uk/glarry-gw101-36in-kid-s-electric-bass-guitar-p282.html They are sold out at the moment, but it says a new batch should be ready by June.

I believe they might be a bit brighter sounding than the Elixir, that is unless we are talking Elixir stainless steel strings, which are close to normal uncoated nickel-plated strings in brightness. However the Ibanez coated strings will also sound and feel like poo and in caparison to Elixirs, and as an added bonus they won't last nearly as long as the Elixirs either before they go dead. If I had no fret of fret wear I'd personal go Elixir Nanoweb stainless steel strings. Yes, on the short term they are more expensive, but in the long run you'll end up saving money by buying the Elixirs because of how long they'll last before they go dead and needs changing.

I am pretty certain that the basic point of the OP is following: If you got 1 magnet of a certain given strength, then cut/split it, so that you now got 2 magnets, but not exactly in half (50/50), but lets say one piece is 60% the size of the original magnet and the other piece is 40% of the original magnet's size, will the two pieces then have exactly equal strength or will the piece that is 60% of the original magnet be stronger than the piece that is only 40% of the original magnet, given the strength is measured from a given isolated identical surface area, say the two ends respectively at which they were cut from the bigger original magnet?

Then this pedal probably isn't the right choice for you. Some of Tech 21's all analog offerings (both analog preamp section and analog speaker sim) would be a much better choice for this (I'd recommend the Steve Harris SH-1 pedal, which is much much more versatile than the name might suggest, and definitely not just for metal, or perhaps just the classic VT Bass pedal, for a more compact, if somewhat less versatile option, the QStrip would be a great choice as well, and also offer a huge amount of versatility, even more so than the Steve Harris pedal, but it will require quite a bit of experimentation to dial in right and that you are really familiar with how to use equalization in general (I'd advice against the Bass Driver pedal, as that one got a baked in nasty mid scoop, and being less versatile than even the VT Bass).

You do realize that string action is adjusted at the bridge saddles, not the truss rod, which is supposed to set neck relief, right?

It can be used like that, but honestly you will missing out on 90% of the features and attraction of it, as it will seriously limit the range of it's tweaking/customization capabilities, in which case there might be better/cheaper options on the market. I mean it very much is a one time, or at least only once in while customization tweaking in the software editor, with it connected to your PC, finding your preferred amp model, and IR cab sim and some additional tweaking only possible in the software editor, getting it to sound exactly as you wish, which I'd say it is quite essential. It isn't really meant for constant tweaking. What is the issue, if I may ask, it isn't exactly rocket science to download an app and connect the pedal with an USB cable? Not making use of the software editor would be kind of like buying a pedal but be restricted to only using 10% or so of all the knobs actual range. Or literally like buying 3 amps and 8 cabs, and HPF/LPF pedal, but never using, heck not even trying, the latter, and only ever using 1 of the amps and 1 of the cabs, not even ever just trying out the others as much as just once. So yeah, possible, but kind of a silly waste.

I guess that's the difference between viewing music as a form of entertainment or as an artform. I suppose it can be, and often are, both, but for me personally it is first an foremost an artform, then secondarily a form of entertainment. Other than that I actually also find an inspired artist that have fun performing a lot more interesting, and yes, entertaining too, to listen to than the dreaded sad alternative of a worn out entertainer stuck in their own tired routines.

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