Baloney Balderdash

Opener to Coil’s album “Musick to Play in the Dark Vol. 1” :

I got that one too, Valeton Aquaflow Vintage Chorus, it's based on the Boss CE-1 circuit. One of the few clones of that legendary circuit, to my knowledge for some odd reason, considering it is such an iconic chorus, there are very few clones of this, and to my knowledge this is the only budget one of those, though sadly it has been discontinued. And yes, it is doing a good job replicating that sound and sounds great, and sounds amazing for bass.

For full signal chain description check my profile : https://www.basschat.co.uk/profile/50585-baloney-balderdash/?tab=field_core_pfield_1 Ibanez Mikro Bass, which I name "Dud Bottomfeeder" TC Electronic SpectraComp - TC Electronic Sub'N'Up Mini - Boss LS-2 - Joyo Orange Juice - Boss LS-2 - Behringer SF300 Super Fuzz - Mosky Black Rat - Monarch MFL-22 Stereo Flanger - Joyo Orange Juice - Boss MT-2 Metal Zone - Behringer VP1 Vintage Phaser - Boss TR-2 Tremolo - TC Electronic Shaker Mini - Artec SE-EQ8 Graphic Eq - Zoom G1Xon - NUX Tape Core Deluxe - Danelectro FAB Metal - NUX Tape Core Deluxe - Zoom MS-70CDR - EHX Black Finger - ART Tube MP Project Series 4 string 28,6" scale Ibanez GSRM20 neck + GSRM20B body Mikro Bass (equipped with an EMG Geezer Butler P pickup, wired directly to the output jack socket, and strung with gauge .080 - .060 - .045 - .034 D'Addario XL nickle plated roundwound hex steel core strings, tuned in G standard tuning, 3 half steps above regular 4 string bass E standard tuning) + The Box Pyrit 10A (250W active full range PA speaker with 1x 10" woofer/mids driver + 1.4" high frequency tweeter horn, just 30.5 lbs)

For full signal chain description check my profile : https://www.basschat.co.uk/profile/50585-baloney-balderdash/?tab=field_core_pfield_1 TC Electronic SpectraComp - TC Electronic Sub'N'Up Mini - Boss LS-2 - Joyo Orange Juice - Boss LS-2 - Behringer SF300 Super Fuzz - Mosky Black Rat - Monarch MFL-22 Stereo Flanger - Joyo Orange Juice - Boss MT-2 Metal Zone - Behringer VP1 Vintage Phaser - Boss TR-2 Tremolo - TC Electronic Shaker Mini - Artec SE-EQ8 Graphic Eq - Zoom G1Xon - Danelectro FAB Metal - NUX Tape Core Deluxe - Zoom MS-70CDR - NUX Tape Core Deluxe - EHX Black Finger - ART Tube MP Project Series

This absolutely astonishing beautiful instrumental, with one of my absolute favorite guitarists, Bill Frisell :

From the, in my opinion, best album Will Oldham (Palace Brothers, Palace Music, Bonnie "Prince" Billy) ever have released, "Viva Last Blues", from 1995 :

I use the biggest Harley Benton SpaceShip 80 board, and as you say it's a great, solid, and all together well constructed and not too heavy pedal board solution. I wish it would have come with a greater quality carrying shoulder back though, I would have been willing to pay more, which would still have kept the price bellow any competitors, for a higher quality properly padded bag and shoulder strap. Not that big of an issue though, I just pack the board into a rug before placing in the bag and use a more comfortable shoulder strap from a gig bag. Here it is: (I since this picture was shot removed the Joyo American Sound from the board, as well as I swapped out the Behringer UT100 Ultra Tremolo with a Boss TR-2)

Stina Nordenstam - "Parliament Square" (The Knife remix) :

Stina Nordenstam :

The Danish band Kliché from their 1982 album "Okay Okay Boys" :

Matt Elliott, the guy behind “The Third Eye Foundation” :

The above deleted settings resulted in an extremely way too thick and muddy chorus that practically was unusable and didn't sound anything like the Boss CE-1, the bellow described settings doesn't result in a chorus effect that sound much like the Boss CE-1 either, but it is non the less an amazing and really lush sounding one. I apologize if anyone wasted their time on the now deleted old instructions from my original post, and was given wrong expectations, as said though, the bellow instructions should result in an amazing sounding chorus,. that I use myself in my current setup, if still not sounding much like a Boss CE-1 though. Much prefer the chorus I was able to get out of my TC Electronic Shaker Mini vibrato, by using the vibrato modulation type and then blend with clean signal, rather than choosing any of the actual chorus algorithms that the Toneprint editor for the Shaker vibrato actually allows for as well. If anyone is interested in the exact settings I used for the TC Electronic Shaker Mini vibrato based chorus, the Toneprint editor settings are as follows (I am writing this off memory, so might have gotten some names wrong, the settings though should be correct) )* : First of all chose the "Pete's Vibrato" Toneprint template from the "Template" menu (not sure if this actually matters though). Then in the actual editor do as follows: First tab: - Turn "Kill Dry" "Off" Second tab: - First chose the "Tri-Chorus" from the "Modulation Type" menu, to get access to adjusting the "Pre-Delay 1" parameter, and then set that to "4.9ms", this parameter is grayed out and not adjustable when choosing "Vibrato" as the modulation type, but the setting still remains when it has been set using the "Tri-Chorus" (now I am not sure if this actually got any effect whatsoever on the "Vibrato" modulation type, but as said, the value once set remains visible when you switch the modulation type, just not being adjustable in "Vibrato" mode) - Now chose "Vibrato" from the "Modulation Type" menu - "Modulation Active" to "On" - Then chose "Triangle" from the "LFO Waveform" menu - And set the "Modulation HiCut" to "6kHz" - "Output Level" to "0dB" (unity gain) - Set both the "Pre-Delay 2" and "Pre-Delay 3" to "0.1ms" - The "Feedback" to "0%" and "Feedback HiCut" to "20kHz". - "Vib Ramp Time" to "0.1ms" - The rest of the settings doesn't matter as those will be controlled with the knobs anyway, as assigned in the third tab, but just to be 100% sure set the remaining parameters not mentioned above to minimum position. Third tab: - Assign the "Rate" knob to "Modulation - Rate 1", and nothing else, then assign the range of the knob to go from "800Hz" to "4Khz" in the graph. - Assign the "Depth" knob to "Modulation - Depth 1", and nothing else, then assign the range of the knob to go from "0%" to "100%" in the graph. - Assign the "Ramp" knob to "Modulation - Clean Mix", and nothing else, then assign the range of the "Clean Mix" to go from "0%" to "100%" in the graph. (for the graph assigned to the "Rate" knob you'll properly want a less steep climb on the graph to start with, and then increasing for the higher more extreme parameter values, though a straight line with a completely even climb should work as well, and most likely this is what you would want for the "Depth" and "Mix") )* If you got the regular big version of the Shaker vibrato then you already got a knob dedicated to "Clean Mix", so you can eventual assign the "Ramp" knob to control the "Modulation HiCut" instead, as a sort of tone control.

More from “The Third Eye Foundation” : "If You Treat Us All Like Terrorists We Will Become Terrorists" : "Lost" :

These two fabulous remixes from The Third Eye Foundation remix album "I Poo Poo On Your JuJu" :

Also the Ray got a few more frets, namely 22, whereas the Mustang only got 19, I think, if that matters to you. Would to me. Oh, and I think the fretboard radius is bigger on the Ray too, meaning flatter fretboard.

Not sure if I chose the right sub forum, but if I didn't I'd appreciate if a moderator move it to the appropriate one. First I want to make clear that it is not my intention to ridicule anyone, I genuinely just don't understand the appeal of a bass tone with scooped mids. I am also perfectly aware that personal preferences differs between different people, but that doesn't necessarily mean that we are not capable of understanding what the appeal of those different preferences are to those other people, even if we value other qualities, I don't expect to be converted, it's not that, I am pretty sure I will still very much prefer to have plenty of mid range in my bass tone, no matter how well you explain the appeal of scooped mids to me, but I really just would like to understand better what it is that makes scooping out the mids attractive to other people, since it seems to be quite common, but I non the less fail to understand. So what is the appeal? Personally I tend to boost the mids, and prefer a quite mids heavy tone, as far as I m concerned and can tell it gives better definition, since the majority of the fundamental range of the bass is in the mids frequency spectrum, and it is also the frequency spectrum that human hearing perceive as the most well defined, articulate and present, which is also why scooping the mids is the certain ticket to getting lost in the mix. A bass tone where the mids has been scooped out on the other hand to me sounds seriously lacking in definition, dull and inarticulate, and frankly the best way I am able to describe it in one word, no offence intended, sounding like a wet fart.to my ears. So what is it that so many people find attractive to a bass tone where the mids have been scooped out to a lesser or greater degree, sure they can't possibly enjoy that what they play can't really be discerned in the mix, or sounding like a dull wet fart, or do they really? Or do a scooped bass tone really only sound this way to me, does it not actually sound like a dull wet fart to others, does it on the contrary sound perfectly clear, full and lively. well articulated and present with great detail and pristine definition to others? Please do explain, what exactly is the appeal, how does it sound to you, what is it that makes you think, "wauh!", this is a great tone, that makes me sit just absolutely perfect in the mix and sound absolutely sublime? I do realize that it is not all that easy to translate tone to words, but please do try, cause I genuinely want to at least do an attempt to understand what it is that makes a mids scooped bass tone so attractive to what seems like a lot of bass players.

This guy, which the post you quote me for was a reply to, knows what he is talking about : You know what, why not make it even better and put on a gauge .130 string for the low E, now you are at it! It'll work so great with that tight string spacing, and sound so good as you go up the fretboard with that short scale length. And don't worry about the neck, you know, it is mend to bend like a banana. If it gets too much you just keep turning that trussrod till it snaps. Don't worry, that is what it is supposed to do.

*sigh* You know what, forget it! Yes, I admit, I was obviously making it all up, and got no clue whatsoever what I am talking about, and that I forgot what it says on the package should be a clear proof of that. Go **** **** ****! So much for trying to help.

Coil - from the "Winter Solstice: North" EP : "Magnetic North" : "Christmas Is Now Drawing Near" :