Baloney Balderdash

I am about to scrap this double bag system for this cheap, but, at least on paper, remarkable Thomann E-Guitar Gigbag Premium BR, with 30mm high density industrial-grade foam padding and a build in "split foam block + strap with velcro locking system" neck retainer inside, to prevent the bass from skipping around (note that it's a guitar gigbag though, which fits my Mikro Bass perfectly, and I don't know it Thomann sells a similar bass version) : https://www.thomann.de/gb/thomann_premium_gigbag_eguitar_br.htm Should receive it with the mail service Wednesday. Edit!!! : Does indeed come in a bass guitar version as well : https://www.thomann.de/gb/thomann_e_bass_gigbag_premium.htm

You are aware that that's a short scale bass, right? Cause even though Mister Stanley indeed is a tall fellow with quite large hands, and that he is a skilled double bass player as well, he actually prefers playing short scale electric basses, which his main signature Alembic indeed is too.

Chances are high that you won't get one with as perfect fretwork if you return it, especially considering that it's a budget instrument to begin with (1.7mm action on low E string 12th fret without any fret buzz would be good even for a higher end large factory production instrument from stock). Frankly I'd much much rather have that on a bass than it being perfect cosmetically. I wouldn't return it if I was you.

Jex Throth (killer female vocalist doom/stoner) :

Nothing Left to Die (by Jex Thoth)

I would say one of the old Trace Elliot amps, though both the older and the newest Zoom bass multi effects does include that. Though personally I would want higher quality modeling than what those Zoom effects provide if I were to use it, and then I might as well just buy the Trace Elliot Transit B preamp. However I don't really have any need for amp and cab modeling, since after a lot of experimenting and dialing I found a tone that match my preferences perfectly, even when going direct and using headphones, utilizing a TC Electronic SpectraComp, as the first thing in my signal chain, right after my bass, going into my Boss LS-2 with a Joyo Orange Juice put in one of the effect loops and mixed at an about 60% Orange Juice/40% dry bass signal ratio via the LS-2, and then as the very last thing in my signal chain a patch on my Zoom MS70 CDR consisting of six fully parametric 2 band equalizers going into my Behringer BEQ700 Bass Graphic Equalizer.

On the Edge of (by Low)

@BassmanPaul Funny cause the old Trace Elliot amps are known to push a great deal above their rated power. But whatever, I am grateful that I at least use my ears and not my eyes to play music, makes it all come a lot more naturally. Did you even actually try it out, or did you just take it apart to look at it's innards?

All preamps are active. No such thing as a passive preamp.

Uhm... Is this a joke on that adult film actress with the same "artist" name as these clone amps or something? Like if you just click that link in the OP there are loads of pictures of the amp in question. It does of course require of you to actually click it.

That might very well be how that song goes, however that doesn't automatically also make it true, and certainly not applied to every possible situation and all possible things. Also I believe these Ampeg B-15 clones quite possibly could actually be totally real, that is unless "pbassspecial" is just making stuff up. But why would he do that?

This was a 300W GP7SM head though (and even if it hadn't been and had just been 150W it would still had been plenty for my needs, as I had no issues with hearing myself and being heard at band rehearsals in a loud hard hitting rock band (without ear plugs my ears seriously hurt) with my 130W 1x15" GP7SM Trace Elliot combo amp, and that with the master volume never having to pass the about 10/11 o'clock mark at any time (people complaining about not being able to hear them self using a 300W amp must either be deaf or use a feather for picking (no wonder if they are deaf though at the kind of volume they must play at))). It has been sold to someone else though, and as it turned out I eventually decided to nether buy that head or an ELF or similar minature Class D head, since I actually got a tone that I really like from my pedal setup, just utilizing a TC Electronic SpectraComp, a Joyo Orange Juice analog Orange amp emulation preamp/overdrive mixed paralelly with the dry signal of my bass via my Boss LS-2, a chain of six 2 band fully parametric Equalizers in a patch on my Zoom MS-70 CDR digital multi stomp pedal, and finally my Behringer BEQ700 Bass Graphic Equalizers, sounding great just like that just going direct when using headphones for home practice, and for band rehearsals going into the Effects Return (poweramp input) of my 160W Peavey Solo Special 112 guitar combo, with it's build in 12" guitar speaker disconnected, and instead being hooked up to my 400W SWR Triad I full range bass cab (equipped with a 1x15 (full range bass driver) + 1x10" (mid range driver) + tweeter horn (high frequency driver)), though I plan on buying a cheap poweramp for easier transportation, and then adding an ART Tube MP Project Series tube preamp between the Behringer EQ and the poweramp to get a line level signal. It took quite a lot of experimenting and fiddling to get my amp-less rig just right only by utilizing equalization and no real bass preamp or cab simulation, but as far as I am concerned it is just about absolutely perfect as it is now. The urge to get that used Trace Elliot head was really more of an irrational nostalgia driven whim, than it was because I really needed it, anyway. They do sound absolutely amazing though, those old Trace Elliot amps. but they also weight about half a ton (so does my current old SWR cab and Peavey amp too though (even if also sounding amazing), but knowing that I am not really dependent on either, and that I could just go direct into a PA and still get a really great tone that sounds exactly like I prefer my tone to be it is a great comfort and feels good, well worth the work it required to get there, and in the end it saved me some money as well). As far as the construction goes I don't get you, they are build like tanks, if they weren't how would you explain most of them still being fully and absolutely flawlessly functional and perfectly great sounding after something like 30 years straight of harsh "Rock'n'Roll and stuff possibly even worse" abuse? What more proof do you need? If that's not a testament to absolutely solid quality construction, despite your personal opinion on the matter, I don't know what it is, I somehow doubt most of the current class D lightweight amp making it that long without giving up halfway, and even less if put through that same kind of abuse as some of these old amps have been through, yet continuing to play on absolutely perfectly as if like that never happened to them.

Amazing! Great work! Unfortunately I am not much of a woodworker myself, and I am sure it would go horribly wrong if I attempted making my own bass, and I can't really afford to have one custom made either, or else I would have had a custom 28,6" scale bass to my dream specs. Though I have kind of pondered on buying a cheap 27" scale Harley Benton 7 string guitar and then having a new nut and 6 mono rail bass bridges fir on it, that way converting it to a 6 string short scale bass, but tuning it in E standard tuning, and pondered on doing the same to an Eastwood Side Jack Bartitone Guitar, turning it into an 27.5" 4 string bass. Both would end up with a bit tighter string spacing than standard, but I would actually see that as an advantage, and it wouldn't even be by that much (the 7 string Harley Benton guitar having a nut width of 48mm and the Eastwood baritone guitar a nut width of 41mm, but the latter then with a neck that doesn't expand much in width as it goes up). Actually, if I go through with this idea, kind of counting on using the stock guitar tuners, or that is respectively 6 out of 7 and 4 out of 6, and making them able to accept bass string gauges by drilling the string holes in them bigger (hey if it works for Danelectro I ought to be able to make it work for me too). The Eastwood Baritone guitar/4 string bass conversion I assume likely to turn out the best, especially since it got a slightly longer scale length and the tuners being 3+3 and not in a line like on the Harley Benton 7 string guitar. The Eastwood would cost me double as much as the Harley Benton though, but then having a nut cut and installed together with 4 mono rail bass bridges ought not to cost me that much, and the stock 2 x P90 pickup's 6 pole pieces ought to be able to cover the 4 strings just fine (the 7 string Harley Benton being equaipped with 2 x blade humbuckers).

Appreciate your input, and I am short scale bass enthusiast too, though this thread was meant to be dedicated sub-short scale basses, as in basses shorter than the just about 30" scale length usually categorized as short scale basses, like in the about 25" to 28,6" scale length range, since there is always a thread going on about mini basses at around a 16" scale length.

Only right configuration for a 4 string bass is a 2+2 headstock. The fact that 4 in line headstocks need such a thing as string retainers/trees ought to tell everyone that it is an obvious faulty design. Leo Fender wasn't right, he is just one of countless testaments to how the superior design isn't is always automatically going to be the most popular one (which I guess again is a testament to how the business world works and the general mental capacity of the World's population).

Really? No one else with a preference for sub-short scale basses, or at least just own one?

Sleazy + Jhon Balance (Coil) + Boyed Rice :

Various Hands (by Sickness of Snakes [Coil + Boyd Rice])

I am curious on the Hotone Ampero (particularly the smaler and a bit cheaper Ampero One). On paper it looks good. Say how would this compare to the Zoom multi effect?

Sexy Boy (by Air)

What scale length is the Warwick, and the others for that matter?

Will the Night (by Low)

A track with an old psychedelic downtempo electronic project, Electro Jar, that I had with a friend, Jackie Rasmusen. We took turns programming the layers of the tracks we made and then I would be responsible for eventual physical instrumentation, lyrics, vocals and the mixing/mastering. Here's one of the last tracks we made together, from 2016 :

The Bevis Frond :