Baloney Balderdash

The old solid state Trace Elliot amps are known to be capable of sounding much louder than what their rated watts suggest. I guess that just means they were conservatively rated (as in rated lower than their actual capabilities), not that the actual amount of watts they put out somehow magically sound louder. I had no issues whatsoever of hearing myself or being heard by the others with my old SMGP7 130W 1x 15" solid state Trace Elliot over a loud guitarist and hard hitting drummer at band rehearsals with a hard rocking power trio, and that was with the master volume of the combo set just around the 10 o'clock position, if you took out your earplugs it literally hurt badly in your ears.

The TC Electronic SpectraComp does not act like a limiter, it acts exactly according to how you dial it in in the Toneprint editor, making it one of the most flexible and dare I say greatest compressors out there. That is unless you ignore it's biggest strength and just stick to the stock toneprint. Admittedly non of the premade templates or artist toneprints for this pedal was to my liking, but bothering to actually thoroughly dial in my setting exactly to how I liked them using the Toneprint editor got me just that, a compressor that sounded exactly like I wanted it to. I am extremely satisfied with mine. You could claim just about every pedal on the market to be absolute RUBBISH if you refuse to use 90% of the adjustable parameters it offers, that however is on you, not the pedal. Though I agree the EHX Black Finger is great too, but for completely different reasons.

So today a new EMG Geezer Butler P pickup arrived with the mail service and I have just installed it, tested and adjusted it properly this evening. The old one from a P/J Geezer Butler set had developed an issue, from previously being dead quiet it suddenly begun to hum slightly when my skin was not being in contact with the bridge ground, and I tracked down the issue to being the lower pole piece of the pair under the D string. Whenever I touched that pole piece it would start making crackling noises, now this wouldn't be much of an issue in it self, but I assume the culprit, rather than being that that pole piece somehow having lost ground connection, was caused by the pole piece actually somehow having come slightly in touch with the hot circuit of the pickup, since I have also lately been suffering from unexplainable sudden rather drastic tone changes, one moment my tone sounding absolutely awesome, well articulated, and super snappy and punchy, the other really thin and anemic, and then suddenly muddy and unclear, and after going through my setup having ruled out everything else as being the possible course. Well, good new's is it seems like my spontaneous tone changing issue has indeed been solved, and in return my setup is almost dead quiet, even without my skin being in contact with the bridge ground, just like before my old Geezer P pickup suddenly went faulty. I suspect the issue might have been caused one of the times I soldered or de-soldered the pickups, perhaps leaving the heat from the solder iron on a bit too long, when I was experimenting with using a DiMarzio Model P pickup instead, that while also sounding awesome, very full, ballsy and punchy, wasn't quite as dynamically responsive, articulated and clear sounding as the Geezer, why I went back to that. Here the new Geezer P is, installed in my main Ibanez GSRM20 neck + GSRM20B body Mikro Bass, wired directly to the output jack socket (yes, I swapped the stock barrel type jack socket out for a regular front mounted one. And yes, the strings are rather thin for a bass. It is gauge .090 - .072 -.054 - 0.40 strings, tuned to F# standard tuning, as in 2 half steps above regular 4 string bass E standard tuning) : Sounds absolutely as awesome as I knew it would.

Tyler, The Creator :

Low -"Things We Lost In The Fire 20th Anniversary Visual Album" :

If you can find an old Aria Pro II bass produced in 1986 or before that, which means produced in Japan at the legendary Matsumoku factory, before they moved their production to Korea, you will get a huge amount of high quality for your money, and you should be able to find one within your price limit.

Barra Head from their album "Go Get Beat Up" :

They were definitely inspired by Shellac, and their second full length album "Beast One/Man Nil", which I wasn't involved in the making of at all, was actually mixed by Bob Weston, the bass player of Shellac. I still regret leaving the band, but well they are no more anyway, so way too late to regret that, and honestly with how I struggled with depression and a building up psychosis at that point, which broke out a couple of years later, it isn't like I really had all that much of a choice. I appreciate that you like the music though. I wrote most of the "lead" bass work for the tracks "Hell is in Texas" and "One is All" (the latter I actually played on on the version of that song that is featured on Menfolk's previous 4 track EP "Are We Enemies"), as well as I wrote the bass line that predominantly makes up the track "The Simplicity of Not Knowing", but as said I didn't actually play or record anything for the album "Colossus". However, even though I didn't actually play or record anything on that album, and only helped write a few of the songs on it, it is still my personal absolute favorite of their releases. The 4 track EP "Are We Enemies" is pretty nice too though, and on that one I played all of and wrote most of the "lead" bass parts (that is when not playing unison with either the guitar, just an octave lower, or the other more traditional bass (the funky hook guitar riff on the title track "Are We Enemies" that I later join in on an octave lower was actually written by me too)), and even wrote the lyrics for the track "Patterns of a Reason" on that EP. All the lyrics, with the exception of that track, and the 2 tracks on the 2 track single "Double Date" (that is named so because it was actually a split single with our friends and label mates "The Unit"), which was written in a collaboration between me, the drummer and the guitarist/vocalist, were otherwise all written by the guitarist/vocalist. And while we all contributed to the compositions the drummer, as I mentioned kind of acting as the unofficial band leader, was the main driving force behind the compositions, as well as he was acting as our recording technician, producer, as well as taking care of mixing our tracks, except for on their last full length "Beast One/Man Nil", which, as said, was mixed by Bob Weston.

Just discovered this band and album! Reminds me a lot of Fall of Efrafa, and somewhat of Thee Silver Mt. Zion Memorial Orchestra, but then again Fall of Efrafa was partially inspired by Godspeed You! Black Emperor, so that adds up...

Damn, guess I missed the opportunity this year. You should have reminded me a couple of weeks ago. But I promise to make such a thread next Easter. Especially dedicated to you.

I think the main idea with a reverse P pickup is not so much a question of changing the tone, although it no doubt does, but to get a more even tone between the low strings and high strings, that is picking the same note on the low strings higher up on the fretboard, towards the bridge, as the same note picked lower down on the fretboard, towards the nut, on a higher string, will sound more similar with a reversed P pickup, because the low, thicker, strings will gravitate towards more fundamentals and lower harmonics, and the high thinner strings less fundamentals and higher harmonics, and that the position of of 2 halves respectively on a reversed P pickup will equal some of that out, making the low strings sound slightly less bassy and the high strings slightly less trebly, instead of doing the opposite, which a traditional P configuration would, actually making the low strings sound even more bassy and the high strings even more trebly.

From Amorphis's album "Tales From The Thousand Lakes" :

And now for a commercial break! Music pieces commissioned for commercials, and in most cases used, featured on their album "Unnatural History III"

The TC Electronic Ditto X4 would be everything I could dream of in a looper if it was not for the fact that it is limited to 5 minutes total looping time, all the right features, but I would likely use more than 5 minutes, so this is a thing to consider, of course if it the size is a deal killer that's it, but otherwise if all you need is 5 minutes total looping time, then it seems like the ideal looper to me. A shame they didn't stuff more memory into it, or even better it having a SD card slot so you could just load it with whatever memory you'd want. Hope they will make a version 2.0 where this will be possible.

I love that finish! If I ever should get the money needed to have a custom bass made or the money to throw away on a refinish of my main I would have it painted in a similar way. And I otherwise really don't like basses in a blue finish, in fact my absolute least favorite finish color, to put it mildly, and I normally favor a matte black finish, but the "Dark Night" finish is simply astonishing and has taken my place as my new favorite finish, Fender hit bullseye there!

My sound is so big fat and heavy last gig I played your father stormed the stage and beat me up, cause he thought I was slapping your mother. And by the way while I retaliated knocking him out by repeatedly slamming the body of my bass against his face, not like it could get any uglier, he begged for mercy stuttering: "Please don't hit me honey-bunny".

My sound is so fat it it reminds me of your mother.