TeresaFR

I am aware that the 9 series pedals aren't designed to go lower than open A on a bass tuned to E standard. Having used a Synth9 in the past, I do know you'll get sound out but there may well be latency issues below A.

HP makes me think of sauces and I don't even like ketchup or brown sauce.

Those certainly are pretty.

Whilst I applaud the use of upcycled wood, that I could literally buy two custom builds from many other luthiers for that kind of money, and have basses that don't look like a rehash of the same tired old 1950s shapes means these are just being put out there to take money off of gullible Fender addicts. I get it, Fender are legends, if it wasn't for Leo we probably wouldn't have the world of basses as we know it today, but things have moved on a long way whilst Fender appear to have pretty much stood still.

I've only ever used active basses, currently run them through a small pedalboard with a VTBassDI at the end of my chain.

I'm getting Anthony Stewart Head plays bass vibes, nice!

Look, I-I know I said I'd get you the money but time's are really hard right now, so just go ahead and kill my parents, I can't pay the ransom.

I was contemplating doing the capo thing on the songs I'd been recording in E standard, then my keyboard guy left and now I'm just dropping everything not in drop D down into D standard because, why not? I'd been regretting not recording them like that anyway, so I may as well take advantage of the situation. Glad to hear it all worked out nicely on your G&L.

Oh yeah, that website needs a big upgrade, ten years ago for preference.

My sole reason for being interested in these was the headless carbon graphite build, but I understand health has to take priority. However, it doesn mean I'm no longer interested - which is very unlikely to hurt Status sales given I was highly unlikely to ever be able to afford one.

Thanks, I might do, I can never tell whether the necks on any of my basses have been straight or not - they always look fine, but having never adjusted a truss rod even once in 15 years makes me wonder whether I'm missing problems. That being said, the string tension on the Ernie Ball nickels my Evil Twin came with was lower than the current set of flats, and the new set of flats in the new tuning should fall between the original tension and the current tension.

Urban Guerilla - Hawkwind

My pedalboard is tuner- comp.- chorus- flanger- delay- preamp and I rarely have all five of those effects on at once, usually only three (compression, a modulation and the preamp). I run an ampless set-up due to walking or taking public transport to gigs. I hope no one's affronted by the use of a tuner pedal, I wouldn't fancy tuning by ear, and I like it more than the other technological alternatives. I'm somewhat bewildered that a lot of the more traditional effects seem to be being considered new-fangled, like a Boss Flanger or EHX Big Muff being compared to an EHX Blurst or Earthquaker Rainbow Machine, the first two are more traditional effects whilst the latter two are weird, but possibly really fun. I wonder if keyboard forums have people complaining about "modern synths" and meaning anything newer than a Melotron. It's absolutely fine to run without a pedalboard, to run with a pedalboard of any size you want to have or to use multi-effect units. I don't know what I'd do with 20 pedals, though I'm not really one for creating lush textured soundscapes so beautiful you would hardly need another instrument and could basically just record the bass and boom, there's a whole piece of music (but Cici seems to be).

I play in a distinctly 80s influenced style, so certain effects are essential. If you want to go all 1950s, then go ahead - I will continue on with my small pedalboard with chorus, flange, drive, delay and comp (not in that order).

Well, I ordered a set of heavy gauge flats (50-75-95-110) so looks like that's decided, I am going D standard. Let's hope I don't hate them!

Nah, turned it down, sounded way too much like there'd be a stream of innuendos.

What are the two that appear to be doing black ops stuff? Or is that top secret above-my-paygrade stinky poo?

Immediately followed by cries of "But Jaco didn't need to punch below the belt!"

Scott's Boxing Lessons - but it entirely relies on just using one arm and it has to be the left hand, which is the only one you're allowed to wear a glove on.

Sounds like something viral that might also cause the pained faces Scott likes to pull when a particularly nice bit of jazz is played in earshot.

Yes, that was intended to be my point I could perhaps have been clearer though.

I just realised, on both my Schecters, they came with nickel round strings and I just switched them out for flats and never even gave much of a thought to the extra tension I was putting the necks under, so loosening all the strings for lower tuning probably won't screw them up either.

Scarification, Bloody Lovely!

Thanks everyone, that's a good few things to consider. I guess one thing I should think on is how I feel about the tension difference of the strings on the bass I have in drop D, because clearly the low D is less taut than the other strings. Would I be happy with that across all strings? This is kinda relevant because I have two remaining unopen packs of standard gauge flats that I don't want going to waste if I just jump on to buying heavy gauge.

There's certainly truth in what you say, absolutely. I think your last point really is the part I should hold most closely to, I don't need a theoretical background to create art. It would just be nice to not feel excluded from learning pathways and to understand more of the terminology that gets thrown around, and jazz noodling does feel exclusionary. Again though, I'm autistic so maybe my interpretation is not what everyone else gets from SBL. Back to the topic though: SSBL Scott's Space Bass Lessons - all the standard SBL material but now hosted from the SSBL space station, which just so happens to be in the shape of a vintage P bass with a 340 metre scale length. Governments around the world are deeply concerned that this monster bass space station is just sitting there in geosynchronous orbit above the Atlantic Ocean and no one knows where it came from. Scott, Ian and the team are all up there laughing their bottoms off, knowing the world trembles in fear of their mighty bass power and now, no one can avoid their podcasts, absolutely no one who isn't completely off-grid - not now the station has taken control of all Earth's electronic communication systems.