Baloney Balderdash

No, I don't have any recordings of this bass setup yet, but I'll try to pull myself together to record a sample of it soon, and when that is done I'll be sure to throw an update with a link to it in this thread (have a look at my profile for a full signal chain description). As for a description tone and sound is kind of hard to put into words in a way that will convey it objectively, but I can say as much as compared to a piccolo bass that is tuned 12 half steps, or 1 octave, above (E2 standard tuning, like a guitar), regular E1 standard bass 4 string bass tuning, my bass tuned in G1 stadard, just 3 half steps above E1 standard 4 string bass tuning, obviously sounds a lot deeper and closer to that of a regular bass. To be exact somewhere between a bass and a baritone guitar, the latter most commonly tuned to B1, though sometimes A1, standard tuning. And the always on 1 octave up signal actually blend pretty perfectly in with the regular "clean" signal of my bass, so it gives less of a sense of 2 separate parallel signals, a bass and an octave one, and really sounds more like 1 single signal, but with a prominent harmonic content enhancing effect, which is further enhanced by the fact that I run my bass through 2 low gain overdrives, blended with parallel clean signal, and 2 tube preamp stages, each dialed in to a light tube breakup, all in all giving a rich tone with a lot of bite and snap, something that the compression stages are dialed in to enhance even further as well. But despite this it still sound mostly like a bass, perhaps if you could imagine J.J. Burnel's bass tone a bit less overdriven, a bit more polished and smooth and with a hint of an added 1 octave up signal, though as said the 1 octave up effect blends in pretty perfectly with the "clean" bass signal, and some of that enhanced harmonic content effect that results it really just counters the fact that the short scale of my Mikro generally results in less prominent harmonic content and more fundamentals (as is the case with all short scale basses) Also the fact that it is tuned slightly higher than a regular bass makes it a bit better suited for melodic work and chord work, but while still being able to fill out the role and sonic space of a bass instrument (both important factors since I use this for a bass and drums duo), as well as the thinner gauge strings needed for this tuning ensures that the deepest thickest gauge string sounds great all the way up the fretboard to the very last fret, where it otherwise would have had a tendency to go very thuddy and dead sounding as you approach about the 12th fret and above, due to the decreased flexibility of the thick string to vibrate caused by the shorter scale length of the Mikro. The issues that comes with shorter scale basses described in the above 2 paragraphs being the reason why I actually prefer relative thin gauge strings for short scale basses, and usually, against common (mis)conception, will advocate for such, some of the resulting decrease in tension being made up for by the lesser flexibility/stiffer feel, as mentioned also being caused by the shorter scale length (think about it both guitars and baritone guitars will usually use strings with overall much less tension than a bass.without the strings ending up feeling too floppy, thanks to their shorter scale length).

I since changed my setup. This is my complete always on signal chain: My "amp-less" setup in written form (only including always on effects) : 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) ->> TC Electronic SpectraComp (3 band parallel compression, adding extra punch, snap and bite, but without really affecting my playing dynamics) ->> TC Electronic Sub'N'Up Mini (digital polyphonic octaver, used as an 1 octave up effect mixed with clean bass signal, giving an effect similar to that of an 8 string "octave" bass, with pairs of respectively bass and octave strings) ->> Boss LS-2 [A+B Mix <-> Bypass] (parallel effect loops mixer/switch) ={ [Loop A Send] ->> Joyo Orange Juice (low gain overdrive, [Tone] set at about 11 o'clock, [Voice] set to boost a wide curve around a 800Hz center frequency about +3dB pre gain stage, always mixed with clean {bass+octave up} signal from parallel effects [Loop B]) ->> [Loop A Return] ->||<- [Loop B Send] ->> (empty effects loop for clean {bass+octave up} signal blend with Orange Juice in effects [Loop A]) ->> [Loop B Return] ([Loop A] + [Loop B] mixed at an about 50/50 ratio) }=>> Boss LS-2 [A+B Mix <-> Bypass] (always on parallel effect loops mixer/switch) ={ [Loop A Send] (empty effects loop for clean {bass+octave up} signal blend with Orange Juice in effects [Loop B]) ->> [Loop A Return] ->||<- [Loop B Send] ->> Joyo Orange Juice (always on low gain overdrive, approximately same settings as the other Orange Juice, except slightly higher gain setting, mixed with clean {bass+octave up} signal from parallel effects [Loop A]) ->> [Loop B Return] ([Loop A] + [Loop B] mixed at an about 50/50 ratio) }=>> Artec SE-EQ8 (8 band graphic equalizer, settings as follows: [Freq=100Hz LoShlv Boost=+1dB ; Freq=170Hz Q=wide Boost=+1dB ; Freq=280Hz Q=narrow Boost=+3dB ; Freq=500Hz Q=narrow Boost=+2dB ; Freq=800Hz Q=narrow Boost=+1dB ; Freq=1.4kHz Q=narrow Boost=+2dB ; Freq=2.3kHz Q=wide Boost=+3dB ; Freq=5kHz HiShlv +/- 0dB]) ->> Zoom G1Xon (Always on subtle plate reverb, and additionally used for 4 other reverb patches) ->> Zoom MS-70CDR (Always on "160 Comp" (emulating a DBX 160A compressor), set to a quite subtle compression -> always on 2 x 2 band parametric EQ : [Freq=63Hz Q=4 Boost=+1dB ; [Freq=250Hz Q=4 Boost=+1dB ; [I]Freq=400Hz Q=1 Boost=+3dB ; [Freq=800Hz Q=1 Boost=+3dB ; [/I]Freq=400Hz Q=4 Boost=+1dB ; Freq=1kHz Q=4 Boost=+1dB] -> always on faux, EQ based, cab sim, consisting of a 2 band parametric EQ set as follows: [Freq=12kHz Q=1 Cut=-18dB ; [I]Freq=20kHz Q=0.5 Cut=-20dB], and additionally used for a lush Church reverb that can be switched on/off[/I]) ->> EHX Black Finger (tube driven optical compressor, but used primarily as a tube preamp stage) ->> ART Tube MP Project Series (tube preamp, with HPF fixed @40Hz) ->> [Effects Return] (poweramp input) of Peavey Solo Special 112 (160W, solid state guitar combo, with the build in 4 Ohm 12" speaker unit disconnected and instead hooked up to a The Box PA 502 PA speaker) ->> The Box PA 502 (full range PA speaker with 1x 15" woofer/mids driver + 1.7" high frequency tweeter horn) And I guess most of these always on units could be seen as sharing joint preamp duties.

Merry Christmas! Low - "Santa's Coming Over" Captain Beefheart - "There Ain't No Santa Claus on the Evening Stage"

Don't - Dinosaur Jr.

Moon Occults the Sun - Espers

Well, unlike Dungwall/Fartgas, a P with SS through a tube amp actually sounds classic and great, rather than like a sterile lifeless wet fart of a cliché that induces puke reflexes.

There, fixed it for you.

I swear I actually searched for such a thread before making this one, I guess the "owner" in the title of that thread would be the key to my failure, rather then the much more common "porn", "show", "post" or "let's see". I really did try my best to find it, before giving up and deciding to make one myself. At least I actually remembered to utilize the keyword function. *cough* (even if I missed adding "owner" in that one too)

Looks great! Transplanted the outstanding neck the of the 2010 production GSRM20 Mikro Bass in my OP to a 2017 production GSRM20B body in Weathered Black finish I had lying around, from a Mikro Bass I bought that had horrible fretwork, unlike the GSRM20 Mikro neck. Also pulled out the DiMarzio P again and re-installed the EMG Geezer Butler P, also wired directly to the output jack socket, which I relocated to the front, on one of the redundant pot holes. This is the result: I named mine "Dud Bottomfeeder", by the way. Here depicted in a more artistic manner:

Hasn't Boner anointed himself as the deputy of Dalai Lama? In that perspective I think it seems fair.

I agree that this would be the most sensible placement taking OP's intention with using it into consideration.

No need to challenge anything with something that has been the unchallenged norm for centuries, as far as I am concerned. In my opinion that is in fact not challenging at all really but rather regressing to conformity.

So what you are saying is that you take offence of someone taking offence, but not for clicks and exposure? Isn't that ironic.

I have to disappoint you, it is as unoriginal as his bass lines.

Are you playing up a stadium without PA support?

Only a pretty bad businessman would invest in new basses with the intention of selling them later, used, for profit. There are far more profitable ways to invest your money. Buy a bass for what it is intended to, to play it, if you want to invest money look somewhere else.

The only effective way to fight the unending tyranny of shims is to just consequently say no to play bass as long as shims are used in some of them!