Baloney Balderdash

A passive HPF will introduce resonance peak, not really the same as a regular EQ pedal at all. Also how exactly would a passive EQ be less complicated? You might as well ask why they just doesn't swap strings or use the amps EQ instead. I don't know what it is with certain people being so eager on various OP's getting it all wrong, and that they should rather do it their way, cause certainly that is much better and not least not stupid. It's like these people presume that people don't know what they are talking about by default, frankly it's rude.

I assume the active HPF that they are running in the effects loop of their amp currently is for filtering out unwanted sub bass, to get a tighter bass response and have the amp and speaker work more efficiently, whereas he passive HPF that they are asking about here and plan to place first in their signal chain is primarily for tone shaping purposes? Sort of like an extra, but working in reverse and being more flexible, and possibly switchable too, external (reverse) tone pot.

It's very easy to make your own passive HPF. Basically just a resistor pot and an adjustable capacitor with the right range, or if you don't need it to be adjustable simply just a resistor and a capacitor of the desired value, and then of course 2 mono jack sockets, some wires and some sort of box to fit it all in. Regarding active HPF's I find it strange how few companies actually offers a stand alone solution for this in a pedal format. The cheapest solution on the market for getting an active HPF would probably be buying a Zoom G1 Four or B1 Four, which both features a HPF model. Personally I use the one build into my NUX MLD Bass Preamp + DI, set @ 40Hz, previously using the switchable build in HPF fixed @ 40Hz of my ART Tube MP Project Series tube preamp.

A jazz tune by me, that features a real music video that I clipped together myself from stolen clips from various YouTube videos. The foundation of the tune is a loop from an improvised session I had with a friend years back with me on acoustic guitar and him on percussion, then midi programmed piano and trumpet, as well as the chaotic percussion towards the middle of the song, and then improvised electric bass and electric guitar on top of that played and recorded by me as well. It accompanies a reciting of an original Danish poem that I wrote, but it is probably for the best that I don't post the English translation I made here on the forum (if you click the video though both the Danish poem and the English translation is to be found in the video description). I should probably point out that the translated English title is not meant as a comment on the woke movement, the original Danish title is a word play on on the title of a famous poem by the Danish poet Søren Ulrik Thomsen, "Det Skabtes Vaklen", that just happens to translate best this way, though the original Danish title does not really hold this co-notation.

*sigh* What exactly are we even arguing about at this point? A hypothetical case that you imagined up, coming out of nowhere, totally out of context? Certainly has nothing to do with my point or my original message, or anything I wrote in this thread for that matter (in actual context to the discussion and that specific neck it is evolving around), anymore. Yes, they can do it close to perfect, and that's exactly what they do on that separate neck, then have a disclaimer that says it might still need work to get dead on perfect, cause it is not dead on perfect, I know they don't word it that way, but that's basically what it is. (feels like I've already said this numerous times by now, but seems like it mysteriously gets lost in the transfer to your side of the internet or something every single time). I give up! You win, here you go an imaginary price for your imaginary arguments.

Well, that was my point, wasn't it, yours seems however to have suddenly changed. That it ought to be at those kind of price points is a whole other discussion, but simply not possible on a separate new neck, regardless of well made with attention to details it otherwise is, as I already said in my original reply that you chose to argue with.

It constantly amazes me how blind people are, they can neither see pictures or text, or at least fail to make sense of them and connect the dots rationally, and in place of that instead turns to crazy presumptions.

As you can see on the picture of that neck the nut slots are in fact already cut, they are just not cut to dead on correct depth, which is what I am talking about, and I am pretty certain what they are talking about too in that disclaimer.

Well, hard to cut the nut slots correctly without the neck and strings being mounted, so not much of a surprise there, it would be the same no matter how well the neck otherwise was made, what shocks me is that it might require fret leveling, that definitely should not be the case for a neck at that price, heck my super cheap budget Ibanez Mikro Bass as well as my likewise budget Harley Benton GuitarBass had perfect fretwork right from stock.

Yeah, but that doesn't add up to the actual OP (original post). To OP (original poster): To me, since you describe how string action and neck relief makes no difference, it sounds like the D string for some reason might be rattling or resonating behind the nut or behind the saddle on the bridge, making sure to set witness point and having a sufficient break angle both at nut and saddle/bridge should rid you of this issue, if that is in fact what is happening. In that case you could also try to tie a broad hair band tight around the headstock, just behind the nut. That's my best bet at what might be causing the issue you are experiencing. Could of course also be due to a defective string, as suggested by the poster above. Edit!!: Could also possibly be caused by the string getting twisted when you strung it on your bass, in that case uninstalling and then reinstalling it might help.

I am pretty certain you misunderstood that. This was referring to a separate test track that OP recorded after the recording he is talking about in his OP. You are right though, if it really was as you seem to believe is the case here it would be rather absurd.

That was my line of thought too.

Uhm... I don't have any problem or issues for that matter with fret wear on any of my basses, I am just curious. And you're not really addressing the actual question I asked, which happens to be what I am actually genuinely interested in knowing, as said from a perspective of pure curiosity, there wasn't actually any additional underlying motivations or practical concerns behind my OP. I'll assume though that you actually genuinely was only trying to help, despite making quite a few assumptions about my reason to ask this question.

I was wondering if coated roundwound strings, especially Elixir where they actually coat the whole string, rather than just the wrappings (which I understand otherwise is the most common approach), might cause less fret wear than non coated roundwound strings of otherwise similar construction (that is coated nickel-plated roundwounds vs. non coated nickel-plated roundwounds, coated stainless steel roundwound vs. non coated stainless steel rounwounds e.t.c)? Edit!!!: Apparently I need to point out that I am curious to have the actual question that I ask here answered and that I don't have an actual problem with fretwear or seek advice in general on how to reduce it beyond that. In other words this is a matter of strictly intellectual curiosity, rather than seeking a solution to an actual practical issue or concern (if that had been the case though, trust me, I would have pointed it out and asked accordingly, as well as chosen a more fitting headline for such inquiry something along the lines of : "How to Reduce Fret Wear?").

Yeah, I got a lot of stuff that works perfectly when it's turned off too, but then strangely enough not when it's turned on. Must be some kind of witchcraft.

Nothing to add as far as goes for the bass, but it's funny how you can really tell Cici listened to a lot of Tool and Justin Chancellor in her bass playing (even despite that fact that she doesn't use a pick). That was my first thought, and then got it confirmed by the thumbnail after the video ended of that video with their respective favorite bass lines where is shows the Tool Lateralus cover edited in at her side.

I don't understand though why not using the direct monitoring feature of the sound interface for the instrument recording and have the track played back regularly on top/beneath it? Add whatever effects you need physically in form of pedals as you are recording, or in form of VST post production when mixing (normally I would want to have as a dry original recording as possible to work with for post production mixing). How I do it.

I am pretty certain that doesn't let you hear the track before the recording has been processed by the computer when you are recording. Hence can't be the reason why the bass track was recorded ahead of the beat.

Never heard of negative latency before... Didn't he say his bass is recorded slightly ahead of the beat?

I just want them to make an authentic/realistic sounding, perfect tracking and low latency, pitch shifter. Or maybe I would have more luck waiting for EHX to release the bass version of their Bass9 pedal, that is a pedal that will pitch your bass up and make it sound remarkably realistically like different types of guitars.

Definitely plays a fairly big role, as does cosmetic quality and finish of the wood (the latter though not necessarily the case if we are talking Gibson).

Regarding wood it's more a case of the degree of randomness of quality of the wood between individual units rather than it is a case of cheap necks consistently being made of bad wood (which honestly makes sense, picking out consistently bad wood would end up making production more expensive, also what on Earth would the point be of doing that). As you said with cheap instruments it's more of a lottery. My cheap Ibanez Mikro Bass got an outstanding neck in just about every regard, don't think I ever had a neck on any guitar or bass at any price point that was this stable. Unless swapping to a set of strings with significantly different tension, at most it will only need a very minor, not even strictly necessary, truss rod adjustment something like once a year (and yes, here where I live there can be rather big seasonal changes, both in terms of humidity and temperature). It also shows as good as no signs of fret wear despite being over 10 years old, with roundwounds and daily playing, and the frets was practically perfectly leveled from stock as well.

Hopefully you didn't pay him for ruining your takes?