Baloney Balderdash

Currently own, use and love following dirt cheap pedals : - Joyo Orange Juice (own 2 of these amazing tiny pedals, used as sort of dirty preamps towards the start of my signal chain, miniature clone of the Tech 21 Oxford, analog Orange amp style preamp/drive emulation, but without the cab sim of the original pedal and with simplified EQ controls as well, to accommodate it's miniature size, can get really grindy (next pedal that I will buy will be the new full featured Tech 21 Oxford clone, the Joyo Oxford Sound pedal, though I do still appreciate the smaller size of the Orange Juice, and the other options it not featuring a build in cab sim and a simplified, but somewhat different EQ section, gives it compared to the new full sized and full featured version)) - Joyo American Sound (clone of the Tech 21 Blonde, analog Fender amp style preamp/dirt emulation, used as clean preamp towards the end of my signal chain) - Mosky Black Rat (RAT clone, with both a Vintage, classic silicon diode clipping, mode and a Turbo, LED diode clipping, mode, used in Turbo mode, as part of my high gain super massive and monstrous heavy and ballsy, really raunchy and almost fuzz-esque, distortion setup, mixed in parallel, via one of my Boss LS-2 pedals, with one of the before mentioned Orange Juice pedals stacked into a Boss MT-2 Metal Zone, the Mosky Black Rat retains low end a bit better than both the original RAT pedals and most other clones on the market) - Behringer VP1 Vintage Phaser (Pretty accurate clone of the original big box EHX Small Stone, and does a better job at that than EHX's own Nano reissues, used with the Color switch engaged (deep sweep/high feedback setting), and mixed in parallel, via one of my Boss LS-2 pedals, with my Monarch MFL-22 Stereo Flanger, for a super lush, swirly, somewhat quacky, psychedelic effect with a somewhat mystical oriental quality) - Behringer SF300 Super Fuzz (Pretty accurate clone of the discontinued Boss FZ-2, which again was a take on the legendary Univox SuperFuzz circuit, but with an added active Bass and Treble EQ control, pretty gnarly and thick sounding high gain octave fuzz with a raspy and somewhat sputtery quality) - Behringer UT100 Ultra Tremolo (identical to the UT300 which is a later rebrand, and which while supposedly being a Boss TR-2 clone doesn't sound very much like the original, I prefer the sound of the Behringer to the original Boss version though, which I by the way own as well. The Behringer, beside having a more throby character, just having something about it that makes it sound a bit more vibrant and alive to my ears) - Zoom G1Xon and MS-70CDR (cheap budget, previous generation Zoom, multi effects, personally prefer the effect models featured in these pedals to those in the newer generation Zoom B1n/G3(X)n/B1(X) Four/G1(X) Four multi effects (I own both the G1 Four and B1 Four myself), both the G1Xon and MS-70CDR loaded with more or less the same effect models, using a hack that allows you to install any effect from any of the same generation Zoom multi effects to any one unit, but the G1Xon I use for various reverb patches, among that one where I utilize this pedals build in expression pedal for volume swells with a thick lush reverb pad effect, and beside that a trippy reverse delay patch as well as a lush aggressive really quacky sort of "wOÚh" effect, using an effect modeling the Moog MF-101 LPF pedal, and also for this utilizing the build in expression pedal, assigned to control the Frequency parameter of the envelope filter, while the Sense of the filter is set to 0, whereas the MS-70CDR is used for an always on patch consisting of a model of the legendary dbx163a compressor going into some fairly mild EQ'ing, handled by 2 x 2 band fully parametric equalizer models, then going into yet another 2 band fully parametric equalizer, this used for a faux, EQ based, cab sim, approximately mimicking a LPF set at about 3.5kHz (-3dB) with a -12dB/Oct downward slope, finally going into a lush but very wide, roomy and big sounding (basically meaning a relatively high pre delay setting) church reverb model which can be switched on/off as one sees fit, this reverb often being used in combination with various other reverb patches from the G1Xon to enhance them further)

Probably my favorite Bad Religion album (from 1988), back from when they were still great :

Some, if not even most, short scale basses will fit perfectly fine into some guitar gig bags/cases (as far as guitar gig bag goes I think most would do for most short scale basses. But that does require that you know the exact dimensions of respectively the bass and bag in question, before you buy). Also sorry about the spam, I kind of found these posts after I already posted the other replies.

Stanley Clarke doesn't seem to mind. And with his standards I think it ought to be good enough for everyone.

Except with a wider nut width and 2 frets less.

Newest shot of my 28.6" scale 4 string Ibanez Mikro Bass, but with the outstanding neck from the battered GSRM20 model pictured in my OP, to a Weathered Black finish GSRM20B Mikro body, that I had laying around unused, since that neck unlike the other had horrible fretwork from stock, which was only made much worse by my haphazard attempt at a first timer fret leveling procedure. This new body, like the old, is supposed to be Mahogany, but where the old GSRM20 body was unusual heavy, even for a piece of Mahogany the size, the new is unusual light for a piece of Mahogany that size. The neck pocket of the new GSRM20B body also fit dead tight and snugly around the neck pocket of the old GSRM20 neck, which wasn't the case with the neck pocket of the old GSRM20 body, which I think, together with the new body's lack of an insane thick poly finish, contribute to the slightly improved resonance and sustain after the neck transplant. Currently strung with gauge .080 - .060 - .045 - .034 D'Addario XL nickle plated roundwound steel core strings, and tuned to G standard tuning, as in 3 half steps above regular 4 string bass E standard tuning. Gives a clearer and more vibrant tone that is better suited for chords and melodic work and prevents the thuddy, staccato, dead note effect that short scale basses, and especially the Mikro with it's even shorter scale length, seems to suffer when the low thick gauge E string is fretted approaching the upper end of the fretboard, typically above 12th fret or so, but while still being substantial and deep enough to fill out the sonic space of a bass instrument. Used for the musical project that has my main attention currently, a sort of progressive stoner/doom rock bass and drums duo, where I also run the signal of my bass through an always on 1 octave up effect, giving an effect somewhat similar to that of an 8 string bass (with pairs of respective bass and octave strings), with the riffs and playing in this project utilizing more of a bass/baritone/ guitar crossover style.

And another track from Emma Ruth Rundle's new album "Engine of Hell" :

The new album is amazing! Love it! And the above video is just absolute sublime, also the visual side.

Care to share the effect model(s) used and the settings for it? By the way out of the two different settings I posted for my Zoom wah pedal patch I ended up using the latter more prominent one, which produces a very pronounced strong kind of "wOÚh" sound, rather than the traditional/typical "wAh" wah pedal sort of sound.

I personally ended up using these latter settings.

I still use my Zoom G1Xon in my bass setup, which though I have used a hack program to install several other effect models on from the same generation Zoom units (G1(X)on / B1(X)on / MS-50G / MS-60B / MS-70CDR). I normally exclusively use it for different reverb patches, among that my always on subtle plate reverb, and a really prominent thick and lush reverb pad patch, that I use with the build in expression pedal, set to control the input volume, for reverb pad swells. However today I decided to experiment with getting a great wah pedal sound out of this old Zoom unit. I ended up with using the "M-Filter" model (which is to be found from stock on both the G1Xon and B1Xon), which emulates a MOOG MF-101 LPF pedal, with the expression pedal set to control the "Freq" parameter, and I actually think that I managed to create a really awesome sounding wah pedal patch. Here are the settings : M-Filter : Freq = 85 ; Sense = 0 ; Reso = 7 Type = LPF ; Chara = 4Pole ; VLCTY = Slow Bal = 90 ; Level = 80 Patch Settings : : LVL : Level = 80 : Pedal : DST : M-Filter Parameter = Freq ; Pedal Min. = 70 ; Pedal Max. = 100 (Eventual other effects, like for instance distortion, fuzz or reverb, can of course be added as one see fit) Edit!!!: For an even more pronounced strong "wOÚh" sound try these setting instead : M-Filter : Freq = 70 ; Sense = 0 ; Reso = 7 Type = LPF ; Chara = 4Pole ; VLCTY = Slow Bal = 90 ; Level = 80 Patch Settings : : LVL : Level = 80 : Pedal : DST : M-Filter Parameter = Freq ; Pedal Min. = 65 ; Pedal Max. = 100 I personally ended up using these latter settings.

Wauh! Another incredibly touching song from Emma Ruth Rundle’s upcoming album “Engine of Hell”, out on 5th of November, with another amazing dead straight on point video :

One of my favorite songs of all times :

Low - "The Price You Pay (It Must Be Wearing Off)" :

New shot of my Ibanez GSRM20 neck + GSRM20B body Mikro Bass :

Coil - "What Kind Of Animal Are You?" :

From Low's phenomenal new album of a masterpiece "HEY WHAT" :