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Baloney Balderdash

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  1. Baloney Balderdash
    I am of course talking about pictures of those of your basses made in China. Here's my 28,6" scale Ibanez GSRM20 Mikro Bass, out of the December 2010 Chinese production, before they moved the production to Indonesia, which is actually my main bass, currently tuned in G1 standard tuning, as in 3 half steps above E standard 4 string bass tuning, or 2 half steps bellow A standard baritone guitar tuning, strung with a gauge .090 bass string and 3 guitar strings, threaded through the cut off ball ends of a set of bass strings, of the gauges .068 - .052 - .038, equipped with a DiMarzio Model P, P pickup, wired directly to the output jack socket, and the J pickup from the previously installed P/J EMG Geezer Butler set still sitting there, though disconnected and lowered considerably :
  2. Baloney Balderdash
    From 1968, by the Danish band Savage Rose, really great song with an amazing bass line as well :
  3. Baloney Balderdash
    A Girl I Knew (by Savage Rose)
  4. Baloney Balderdash
    How about the new Harley Benton Rickenbacker clone, the RB-414? Gets good reviews on YouTube
  5. Baloney Balderdash
    Magnolia Caboose Babyshit (by Mudhoney)
  6. Baloney Balderdash
    Not much of a Hip Hop fan, but I have deep respect for Public Enemy and that new track is absolutely killer!
  7. Baloney Balderdash
    Homo Rainbow (by Ween)
  8. Baloney Balderdash
    That's still largely how I approach dialing in tones and producing/mixing/mastering tracks, even if I over the years have developed a much better idea of how exactly different effects work and what exactly the different parameters/controls on them do, which helps a lot with shortening the adding/subtracting effects and dialing in parameters, trial and error, adapting and adjusting while listening, procedure considerably. The only right way to do it as far as I am concerned, what works works, regardless of what in theory works or whatever you might otherwise think works or not. There are no rules in music, only guidelines which works best if you don't follow them fanatically and blindly (deafly?). Experiment and always trust and follow your ears whenever you are dealing with music.
  9. Baloney Balderdash
    Largely depends on how you have it dialed in. I need to be able to go from very quiet when picking softly to full on punchy and snappy when digging in, and everything in between, and too much compression makes that impossible, as you mentioned making everything more or less having the same volume, regardless of your picking intensity, or at least decreasing the dynamic range considerably. Compression can be used with the purpose you mention in mind, to equal out the signal volume wise, but in my case, using a quite subtle compression, it really has a fairly minimal influence on the dynamic range of my signal, and rather just smooth out the frequency balance of my bass signal slightly, as well as it emphasis the attack a bit, making my bass sound a bit tighter and a bit more focused and articulate, which becomes particularly apparent when using my high gain, quite fuzzy and heavy, distortion setup. I guess it is a fairly subtle effect, but for me even relatively small differences in my tone can be quite essential, which I guess might stem from me having produced, mixed and mastered my own music for years, developing my focus on and sense for the more subtle tonal details.
  10. Baloney Balderdash
    I recently bought a TC Electronic SpetraComp, and, while I can see how it could be a really great compressor in certain contexts, after fiddling with the Toneprint editor quite a bit I went back to using the 160 Comp model of the DBX 160A compressor in my Zoom G1Xon, concluding that for my use it gave me just about the absolute perfect compression, mind on a fairly subtle compression setting (Threshold: -7 / Ratio: 2.5 / Gain: 7 / Knee: Hard / Level: 50 (which happens to be unity)). I got mine placed towards the end of my signal chain too, before my reverb effects, which I am also using the Zoom G1Xon for, but before my EHX Black Finger, tube driven optical compressor, which is set to a really subtle compression with a quite high threshold and fairly slow attack time, really functioning more as my tube preamp stage than as an actual compressor, then followed by my EQ stage, which is taken care of by my Zoom MS-70 CDR, using 6 of the 2 band fully parametric bass equalizer models, 2 of them (as in 4 bands) used to shape a LPF that starts to cut off from just about 4kHz with a downward slope of about 9 dB/Oct, and then a Behringer BEQ700 Bass Graphic Equalizer, which is also working as a volume control, since it after that goes directly into the Effects Return, poweramp input, of my Peavey Solo Special 112, 160W solid state guitar amp, with it's build in 12" guitar speaker unit disconnected and the amp instead hooked up to a SWR Triad I 400W bass cab.
  11. Baloney Balderdash
    So guess the explanation on how the "lumped" strings work is part of the explanation why the somewhat controversial Ray Ross Bridge is in fact an improvement over conventional design, as claimed by the designer of it : https://rayrossbridge.com/
  12. Baloney Balderdash
    Jaco allegedly did it with a butter knife, so how hard can it be? I wouldn't recommend using a butter knife to do it though, even if Jaco did it.
  13. Baloney Balderdash
    The Mothers of Invention :
  14. Baloney Balderdash
    Flower Punk (by The Mothers of Invention)
  15. Baloney Balderdash
    Crispin Glover - "Clowny Clown Clown" :
  16. Baloney Balderdash
    Both phaser pedals were faulty. The TC Electronic phaser sucked tone, even if it is supposed to be true bypass, and when engaged there was a noticeable volume drop as well as both a high end and bottom end suck, making it sound really thin, weak and anemic. The NUX mutes the signal if you plug the jack plug all the way into the input jack socket of the pedal, like you are supposed to, though that can be fixed by pulling it slightly out again, but engaged it sucked high end and seemed to boost the bass as well, resulting in an extremely muddy signal, and on top of that it hardly produced any phaser effect, even on max settings. So returning both and getting a TC Electronic Helix phaser instead. Placing my order on Friday on that, as well as a Harley Benton SpaceShip 40 pedal board, to mount all my pedals on, and patch cables with extremely flat plugs, for a tight fit.
  17. Baloney Balderdash
    Not enough controls! That's a bit too much, not to say way, way too much, even for me who otherwise visually quite like basses with a lot of knobs and switches, even though my current main P/J bass only got two dummy knobs, as the J pickup has been disconnected and the P pickup is wired directly to the output jack socket. For me it's either completely minimal, 1 knob, or over the top, think 60's/70's sci-fi spaceship control board, amount of knobs and switches, ideally in all sort of different shapes and colors.
  18. Baloney Balderdash
    Because it is semi hollow, and I am wondering if the center block of wood it got inside the hollow body construction goes all through the middle of the bass and covers the width of the bridge.
  19. Baloney Balderdash
    Yeah, maybe what you need is really an effect combining delay and reverb, sometimes marketed as an echo effect, though that term is also often used interchangeably for a regular delay effect. I know the EHX Cathedral pedal got a mode called echo which does exactly what you are looking for. Though of course you could achieve pretty much the same by combining your delay and reverb effect if using the right settings.
  20. Baloney Balderdash
    Actually 100ms is in fact quite a lot of pre-delay for a reverb effect, almost gets into echo/delay territory, in comparison your typical build in spring reverb in an amp will have almost no pre-delay and react almost immediately. And a lot of reverb effect pedals will even not have any pre-delay at all and almost response immediately. If you imagine the reverb coming from a room, as in acoustic reverb, it would have to be a pretty darn big room for the reflections to have that much delay. Sound travel with about 343 meter per second, and 100ms is a 1/10 of a whole second, which means at 100ms, if you sit in the midle of a room playing, that the walls of that room would be 17m away all around you, since 1/10 of 334m is 34m, and the sound will need to travel forward to the walls and then back again, and 2/34m = 17m. I will typically use just about 10ms of pre-delay on my main always on subtle plate reverb. The trick for your clean bass tone to not be drowned in reverb is having the right mix of the reverbed and clean signal and to use HP and LP filters on the reverbed signal, so that it doesn't effect the full frequency spectrum of the clean bass signal, a real acoustic reverb of a room wouldn't either, and then of course also make sure not to have crazy decay times that will stretch long over each pick and keep adding up as you play, making it all quickly turn into a mush of reverb.
  21. Baloney Balderdash
    So I ponder on buying a Danelectro Longhorn bass, as I once owned the high end Jerry Jones clone of these basses and loved it (which unfortunately I was stupid enough to sell, they are out of production and I can't afford a used one, since these were pretty expensive basses, about 1200$ new, and are pretty rare to find for sale too), and actually quite like the tone the Denelctros got judging from YouTube videos. However I am not too crazy about the one piece wood saddle, so I was wondering if the area beneath the bridge is covered by the solid block of wood, and I would be able to replace the stock bridge with 4 mono rail bridge pieces, as the string spacing is a couple of milimeters closer together than the standard 19mm? I will properly also wire the two lipstick tube pickups in series, since the Jerry Jones I owned got that option on the pickup selector from stock and it was the only pickup setting I ever used.
  22. Baloney Balderdash
    Awaiting a NUX Mini Core SE Phaser, which is the same as the Koko Mini Phaser, a digital emulation of the MXR Phase 90, just with an added depth and mix control, beside the speed control of the original, as well as a TC Electronic Blood Moon phaser, which is analog, and likely to be a clone of the Boss PH-1r, both should arive with the mail service tomorrow. One of those is going to replace the Xvive V6 Phaser King that I previously used, parallelly mixed with a flanger via my Boss LS-2, since I discovered that the Xvive sucked the high end out of my signal badly. Also concluded that I don't need a compressor first in my chain, beside my EHX Black Finger, that is placed towards the end of it, the TC Electronic SpectraComp is still an amazing compressor pedal though, I just have any use of it currently, but will keep it anyway.
  23. Baloney Balderdash
    Thank you. Well, my economical situation is not nearly as good as it was back then, so as it is now I can't really afford to have something like that build. But if I ever get the money it require then yes, I will definitely have something similar made again.
  24. Baloney Balderdash
    Well, not a head, but the amp in my Trace Elliot GP7SM, 130W, combo. Sounded no short of amazing, awesomely full and rich, yet still very clear and punchy, and with just the build in single 15" speaker unit it was loud enough to keep up with a drummer and guitarist in a loud stoner rock/metal -esque band at rehearsals without issues, in fact the master volume was only set to about 10/11 o'clock or so at all times.
  25. Baloney Balderdash
    Looks awesome.... And no, it's fine, I suppose basses with a from about 25" scale length and up to 28,6" scale length or so will be fine for this thread (changed the title and the OP to accommodate that). Just had the couple of basses currently in production at just about 28,6", and for the ESP 28,5", scale length in mind when I created the thread. By the way before I even was aware of the existence of the Mikro Bass I had this 28 5/8" scale bass build out of Warmoth baritone parts, with a humbuker Seymour Duncan Rickenbacker Neck replacement pickup in the neck position and a humbucker Seymour Duncan Hot Rails Strat guitar pickup in the bridge position (I designed the headstock myself, but might have gone a little too far with that ) : It sounded absolutely awesome, very clear, almost piano like, but unfortunately I was stupid enough to sell it, which I still regret.
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