Baloney Balderdash

From Low's coming album "HEY WHAT", that will be out on 10th of September :

Wouldn't you actually want the body to be as havey as possible to at least counter some of the neck dive?

This is another great Sunn O))) track featuring vocals :

What's wrong with the Danelectro Longhorn? It's an awesome bass that sounds great and looks amazing too, and you won't get any other bass with easier upper frets access.

Finally got to mount my pedal setup on my new Harley Benton SpaceShip 80 pedal board (the white goo is hot glue used to fix the knob settings on some of the pedals) : Which makes the entire signal chain for my "amp-less" setup look like this : (*pedals listed in [ red/bold/underline text ] are "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 .090 - .072 - .054 - .040 D'Addario XL nickle plated steel core roundwound strings, tuned in F# standard tuning, 2 half steps above regular 4 string bass E standard tuning) ->> TC Electronic SpectraComp (always on 3 band parallel compression, adding extra punch, snap and bite, but without really affecting my playing dynamics) ->> TC Electronic Sub'N'Up Mini (always on 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] (always on parallel effect loops mixer/switch) ={ [Loop A Send] ->> Joyo Orange Juice (always on low gain overdrive, really primarily used to enhance harmonic content, [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] (parallel effect loops mixer/switch) ={ [Loop A Send] ->> Behringer SF300 Super Fuzz (Boss FZ-2/Univox Super Fuzz clone, octave fuzz, always mixed with clean {bass+octave up} signal from parallel effects [Loop A]) ->> Mosky Black Rat (RAT clone, in Turbo RAT, LED diode clipping, mode, quite raunchy, fuzz-esque, high gain distortion, always used mixed with the Metal Zone distortion in parallel effects [Loop B]) ->> Behringer VP1 Vintage Phaser (EHX Small Stone clone, used in the high feedback and deep sweep mode, always used boosted by the Hotone Trem in front of it, and almost always used mixed with flanger in parallel effects [Loop B]) ->> Hotone Trem (Tremolo with rate and depth at 0, always used to boost the Behringer phaser placed behind it and make it a bit brighter, since it's a few dB above unity gain when engaged and got a tone control) ->> [Loop A Return] ->||<- [Loop B Send] ->> Joyo Orange Juice (lower gain overdrive with a somewhat grindy character, always used either stacked into the Metal Zone in front of it, and then mixed with the Rat distortion in parallel effects [Loop A], or as a dirty slight "clean" boost mixed with clean {bass+octave up} signal from parallel effects [Loop A]) ->> Boss MT-2 Metal Zone (distortion, used with a relatively low gain setting, always used with the Orange Juice behind it stacked into it, and always used mixed with the Rat distortion in parallel effects [Loop A]) ->> Monarch MFL-22 (flanger, most often used mixed with phaser in parallel effects [Loop A]) ->> [Loop B Return] ([Loop A] + [Loop B] mixed at an about 55/45 ratio) }=>> Behringer UT100 Ultra Tremolo (almost always used staked into Valeton chorus in front of it) ->> Valeton Aquaflow Vintage Chorus (Boss CE-1 clone, almost always used with the Behringer tremolo staked into it) ->> Artec SE-EQ8 (always on 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=1.4kHzHz 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, which respectively are as follows: Plate Reverb->HD Hall Reverb->Tape Delay, more prominent reverb :-: '63 Spring Reverb->Analog Delay (set to a slapback type delay), lush splashy spring reverb :-: '63 Spring Reverb->Tape Delay (set to a slapback type delay), brighter sounding lush splashy spring reverb :-: Plate Reverb->HD Hall Reverb->Tape Delay, extremely thick lush reverb, used as a reverb pad effect with volume swells) ->> NUX Tape Core Deluxe (Roland Space Echo tape delay emulation) ->> 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 ; 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 ; Freq=20kHz Q=0.5 Cut=-20dB], and additionally used for a lush Church reverb that can be switched on/off, which is often used combined with the other reverb effects of the G1Xon) ->> Joyo American Sound (always on clean preamp (gain set to ever so slightly break up when digging in the hardest), a Tech 21 Blonde clone, analog emulation of a Fender type amp, with a wide curve around the center frequency of 400Hz boosted about +3dB, and an about +3dB pre gain stage boost to a wide curve around the center frequency of 800Hz) ->> EHX Black Finger (always on tube driven optical compressor, used primarily as a tube preamp stage) ->> ART Tube MP Project Series (tube preamp, with HPF fixed @40Hz) // ->> Band rehearsal/jamming/gigging // ->> Home practice // ->> Home recordings // : // ->> Band rehearsal/jamming/gigging ->> [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) // ->> Home practice ->> Behringer Eurorack UB1202 (mixer) ->> Sennheiser HD 380 Pro (headphones) // ->> Home recordings ->> M-Audio Fast Track (sound interface) ->> Reaper (DAW) //

Lou Reed :

Jefferson Starship :

Oops, wrong thread!

That would be a very reasonable price, I feared it might have costed more. Not that I have that kind of money to spare on my budget at the moment, but when the yearly playback/streaming revenue get's paid out in December by the organization that administer the copyright on my music I should easily be able to spare 500 Euro and might very well go through with it, that also gives me plenty of time to research who I would trust with the job. Thanks a lot.

So as the tittle says, are there any luthiers that will do just a custom neck to my specs and in that case how much should I count on ending up paying? Pondering on having a custom neck made to my preferred specs for my Ibanez GSRM20B Mikro Bass, it's a 28,6" scale bass, and the stock neck got 22 frets. However I would like to have a 24 stainless steel medium jumbo fret (yes, I do realize I will likely have to move the bridge) 3 piece laminated Jatoba neck made fitting the 28,6" scale length, with an ebony fretboard and a 2+2 tilted headstock. Any idea on what kind of money (like minimum to maximum price) I should probably count on end up paying for something like that?

Also the thumbnail of that video should give you a pretty good idea of how my pedal board looks now, after I connected all the pedals.

Please read the post you quote and you will find your answer (you don't have to read the entire signal chain, just what I write at the top of the picture about my new pedal board), though you are of course essentially perfectly right, it's just that in this specific context it is rather irrelevant, and that I already have explained in the original post that you quote that I at the moment I took the picture just finished arranging the pedals on my new board, and the next step was to connect and attach them. Also one could rightfully claim that since the function of this whole thread is to represent a purely visual representation of people's pedal setups, and no one will be able to test them out based on that over the internet anyway, it is quite irrelevant weather the pedals actually are yet connected or not, consequently going out of your line of reasoning you could also claim that just about every body else's posted picture of their setup would work better if the power was actually turned on (assuming that by far the majority of people (I presume you most likely being the exception) will be much more interested in the selection of pedals and how they are arranged than the cables connecting them).

Did a new visual mod to my main Ibanez GSRM20 neck + GSRM20B body Mikro Bass, using red electrical tape, a few weeks back, looks like this now (did the green electrical tape on the 2 knobs after I shot this photo, and couldn't be bothered to do the shooting and editing all over so I edited in the green knobs on this photo to the best of my abilities using PhotoShop) :

All the analog pedals in my current setup (that is 14 units) require less than 50mA pr unit to run properly, actually far less on an average, and of the digital pedals I have in my setup (that is 5 units) the one requiring most power to run properly consumes no more than 150mA and the one requiring least just about 100mA, which as far as I know, unless, as you correctly point out, utilizing tubes, is more in line with what you typically would expect. Most digital pedals that require more than 250mA to run properly will be multi effects, stand alone digital effects will typically require a minimum of just around 100 to 150 mA or (though you are right about certain digital pedals requiring a bit less, more in the realms of around 60 or 70 mA or so), but rarely over 250mA (unless, as said, being multi effects), and I've yet to run into an analog pedal that doesn't utilize tubes that require more than 60mA to run, and by far most analog pedals even being happy with way less, typically something more like in the range of 5 to 30 mA. Pedals that utilizes tubes will typically require something more like in the range of 500 mA to 2000mA (0,5 to 2 A) to run properly. So if the power consumption of you pedal is 60mA or beyond it by far most likely is digital, if bellow it by far most likely is analog, 100mA or beyond and you can almost be certain it is in fact digital, and 30mA or bellow you can be absolutely certain that it is an analog pedal. Here's a pretty comprehensive list of the power consumption (aka minimum power requirements to run without issues) of different effect pedals : https://stinkfoot.se/power-list

If I understand you right you are really looking more so for something that produce a light overdrive, to just add a bit of tube like grid to your tone and not really a full blown distortion effect, and if I understood that right then it seems to me like the standard big version of TC Electronic Spark Booster would be perfect for you. Otherwise if you want a more prominent overdrive or distortion effect, then perhaps the EHX Hot Wax or perhaps the EHX Nano Operation Overlord overdrive (both these options including a clean signal blend and being capable of a wide range of drive, from just a subtle touch of tube like grid and hair to full blown distortion).