Baloney Balderdash

They are truly great units, and not just for the money, if you happens to be into that mid scooped Tech 21 Bass Driver scooped tone. I'm not though and attempted to do the above mod on mine. But the way this is put together with super tiny solder joint makes it difficulty and I ended up frying a component with my soldering Iron and ruined it, trying to do the above mentioned mod, instructed in the video. Not a big loss though, as these units are dirt cheap. Currently I actually use a Behringer Tube Mic100 Ultra Gain tube preamp as my preamp, running after firs my Zoom MS CDR70, which I use for EQ'ing, utilizing a couple of the 2 band the bass specific full parametric equalizer effects, then into my EHX Black Finger, tube driven optical compressor, and then the Behringer into the Effects Return loop of my Peavey Solo Special 112, 160W solid state guitar combo with it's build in 12" guitar speaker unit disconnected and instead hooked up to a 400W SWR Triad I bass cab. Works really well, the 2 preamp tubes in the Black finger run at proper high 300V voltage, whereas the Behringer Mic100 starve it's preamp preamp tube, but I still actually really like how it sounds, and replacing the cheap Chinese tube that it came with an EHX preamp tube did help a lot. Also the Behringer Mic100, if it is anything like the slightly more exspensive Art Tube MP, that it is supposed to be a clone of, doesn't actually run the preamp tube at just 9 volt, as some claim, but have the 9 volts from the power supply is ramped up internally to 60V (still fair deal lower than what preamp tubes are typically designed to run optimally at, but I would think considerably better than if it had really just been 9v), and as said I think it actually sounds great, even with the gain run at breakup slightly overdriven levels, if you just make sure to change the cheap fizzy stock tube for something more decent. I also use one of these, likewise with an EHX tube in it, as my go to microphone and instrument preamp, as the last stage before going into my audio interface when recording, much better than just the preamps build into my audio interface, even if that is a relatively high end interface. In my bass setup I run the gain of the Mic100 up to just before any kind of breakup happens. The plan is to later this month getting a NUX Solid Studio IR and Poweramp Simulator pedal, that can run 3rd part IRs, and at 32 Bit, 88,2kHz, 2048 samples of 50ms, resolution (about the double of what you typically get in that price range (the HoTone Binary Can or Mooer Radar for example), and should also be higher than even for example what the Line 6 Helix units run IRs at too), and with a latency of just 0,7ms, and then find a proper 3rd party IR file, I already got a couple in mind, to replace my current amp and cab. But with the Behringer Mic100 Ultar Gain filling out the role of my preamp in this setup, though the EHX Black Finger in front of it, beside acting as a fairly moderate compression effect actually also filling out some tube preamp duties, and the Zoom CDR70 Multi Stomp right before that acting as my EQ section.

Guess I will have to accept that (referring to the content of the post linked to in the second quote), if this is really the typical culture of this community, though that was just not the expression I have gotten so far, even if I have generally enjoyed the more lighthearted attitude there have seemed to be here compared to the TalkBass forum. Still I think it's a shame and a bit of a mockery that the majority, bar a few more serious responses, apparently saw this topic as just the perfect opportunity to turn this thread into an open stand up comedy stage, when it was intended as a serious one, that I had hoped would spur debate about some of Victor's points in that video, as well as I also sort of expected a few comments stating opinions, be it negative or positive, about him as a person as a bass players. I guess then some saw my objection to change the topic into a stand up comedy show as a legit reason to go full on with the stand up comedy concept. I suppose I should have realized me trying to prevent that happening would provoke some people to go all in with it, but alas, here we are. I genuinely really don't know how to take this, I think it's a big mess, I think it's a shame, and I am honestly a bit disappointed. Not really angry or holding any grudges, just disappointed. I'm not saying I did, but Victor Wooten and that interview really deserved better as far as I am concerned. Seems a bit childish (in the worst possible sense of the word) to me honestly, which on the other hand also makes me feel like an old grumpy bitter man ruining the kids trying to have fun, shushing angrily at them, insisting on them to not break into the adults conversation, even if I bet some of you are older than me. And believe me I am not usually all that uptight or in any way have a no fun allowed agenda, just genuinely think this wasn't the right thread for going all in with that sort of thing, despite the somewhat silly video thumbnail headline.

Seems to be the case, since you seems to have missed the humorous aspect of the conclusion you quote me for there. Then again some people do have a strange sense of humor and would swear they just beat you up for the sake of having a laugh. But maybe that is a special charming quirk about British humor, that I just don't get, being from Denmark. You sure do have a humorous sense though when it comes to choice of prime minister. A shame that will have consequences for you. Who could possibly blame anyone for doing something in the name of having a laugh.

Am not aware of that, and can only speak for the impression I got from what I saw of him. Can't really pass any kind of judgement based simply on what you say, but I doubt that video would have changed my look at him as a great human being anyway. In my book being a great human being doesn't mean that you never make mistakes or is flawless, but that you learn from you mistakes and do an effort for contributing positively to this world. Even the best of persons can be jerks sometimes, but unlike people who turn it into a lifestyle they are usually not very proud of those moments, which is probably also why the video in question was taken down.

I did say a great human being, never said anything about him being a god. As far as bass playing goes though he is unquestionable one of the most talented, if not the most talented bass player currently in existence. Also we seem to disagree about education being considerably more important and valuable than fast food, but guess you really must love cheeseburgers, or just hate schooling and would rather see it completely removed than improved.

Or one of use look father out than merely our acquaintances when we judge the general state of the world, and have human interactions that goes beyond the inner circles.

Well, he always appear to me as a really polite but at the same time genuine warm and friendly down to earth insightful human being, who seems to try do his share to make the world a bit better place to live in. That is more what you can say about most other people. Sad, but unfortunately also true. In my book that qualifies him for being called a truly great human being, in contrary to the majority, in my book. Now of course I don't know him personally, but it would surprise me much if he wasn't pretty much as great as guy as he always comes through as to me in just about every interview or speech I've seen/heard with him. Also seems to me that I wasn't wrong calling out people apparently, for some strange reason, feeling an incredible urge to ridicule this topic. I truly don't get it, but suppose that will be another fact for people to have a laugh over at my expense.

That's at least is a fair opinion to have, and even something that would be valid to post, even if you didn't bother to watch the video. At least it is still somewhat on topic. Just making fun of the video thumbnail, which with in all likelihood neither Victor Wooten or the interviewer had any say in, and which has nothing to do with the actual content, without even bothering watching the actual video interview isn't exactly really anything that can create any constructive debate whatsoever. That's just filling the thread up with poop, at least as far as I am concerned. It would very much be the same as a thread filled up with snarky remarks about some spelling error I made in my OP, but no one actually bothering reading it through and replying to it. 1 post like that I guess would be fine and nothing to worry about, but 3 posts from 3 different users in a row as the top replies, evolving around the same lame joke, it's beginning to look like a pattern and a tendency, to me at least. Do I have bad breath or something, anyone?

It was actually G in this context, but yeah as I mentioned it was not really the catchy sensational headline of the video thumbnail I intended this thread to be about, and though he actually does say exact what's put in that headline in the video, it is kind of completely taken out of a context where it actually makes sense and isn't actually some new dogme he claims everyone ought to stick to, his point just basically being that for filling the role of a bass player in a band rhythm and grove is far more important than notes, as in that should be where the focus it and one of the first things to learn. I know it is a long interview, an interview which is actually nice and respectful, and which I think the very young female interviewer actually handles extremely well, so can we please stop discussing the video thumbnail sensational misleading click bait headline that Thomann decided to go with for this video, which I think most would agree comes off as rather silly, and focus on the actual content, which in my opinion is actually great and respectful? It really ought to be obvious that this thread is meant for discussing the actual video interview and not whatever silly title some a bit too smart PR person at Thomann decided to stick on it, if it was I would have just left the tittle, and there would have been no point in me linking to the video. So yes, as I already insinuated in the OP I do think that video thumbnail headline is rather silly too, but can we please not have this whole thread be about that, and instead be about the actual video and the interview that it contains. I bet neither of you would like to have a whole thread you posted with a topic you found valid and saw as potentially being the starting point for an interesting debate turn out to exclusively be about ridiculing your silly username or some such of similar essentially totally irrelevant detail, that had very little to do with the actual content you had posted. I do understand why you would judge the video on that thumbnail headline, but believe me it is actually a good interview, and I don't think it's fair to judge the actual content on a silly label decision likely taken by some PR guy at Thomann that actually otherwise had nothing to do with the actual video. All you do is really trolling and derailing as far as I see it. It would be like going to an amazing concert with some band you loved, but then having the fact that the lead singer was wearing 2 different socks get all your attention.

I don have any personal experience with it. but judging from the demos I wanted the Norstrand Big BladeMan, Music Man style pickup, seems like a truly great pickup. Here's a nice demo featuring it, demonstrating both pick, finger play and slap style, as well as using different tone settings:

Word! (more to the whole interview as such than specifically the very headline like headline of the video thumbnail though)

So I stumbled upon this super cheap pickup that from what I could read up from people on the internet should be extremely aggressive and high output, wasn't able to find any YouTube demos though. So anyone with any first experience with that pickup who can give me at least some idea of what I possibly could expect, output and tone wise, if I swapped out the current DiMarzio Model P P pickup installed in my bass, wired directly to it's output jack socket with an Alan Entwistle PBXN Neodymium P pickup? Also anyone with audio clips that actually demos this pickup would be very welcome as well. Now, I actually really like the tone I get from my DiMarzio Model P, but at the low prize of the Entwistle PBXN it is tempting to at least just try it out and see if I possibly would like that even better. One thing I'd definitely wouldn't want is scooped out mids, and I'd like a fair share of high end frequency content to be reproduced by the pickup too, as you might be able to figure out by me having the DiMarzio Model P wired directly to the jack output socket of my bass.

I actually kind of like how it looks, despite usually thinking most whale hump basses are being despicably ugly, and really never would buy any kind of single cut guitar or bass myself. This one is consequently bulgy baroque and grotesquely bloated though, which I guess does give it a more, relatively speaking, harmonic and wholesome look, compared to most other whale hump bass abominations, and that I for some reason can respect and appreciate. Kind of the complementary exact opposite of the aesthetics of pointy instruments like as an example B.C Rich perfected, being equally extreme, but kind of in the exact opposite end of the spectrum.

I can only agree, as I said in an earlier post, I bought the 1969 model of the B-15S amp, used obviously, about 25 years ago, and for the 10 years forward that I owned it all I did to it, beside ignorantly abusing it brutally, driving it at it's absolute max for 2 times 4 hours weekly at band rehearsals, plus the occasional gigs and jams, was having the tubes changed once, and in all those 10 years it never as much as just once threw any fits, or even just subtle hints, whatsoever, of malfunctioning at me in retaliation to my blatantly ignorant barbaric abuse, also might I add that it would still sound ever so sweet on the occasions where it was handled more gently and respectfully in the company of less furiously berserkering jam partners, and I'll even bet with quite high probability that it still plays on just as flawlessly warm and beautiful, or blistering aggressively grunting, depending on how it's current owner use or abuse it, as ever, somewhere out there. Something in me wishes that it still rages on in some furious avantgarde free jazz trio's company, as it once being responsible for driving the lead bass in an equally furious hard hitting, 2 bassists, 1 drummer, 1 guitarist/screamer, hardcore and noise rock influenced math rock band, now receiving it's final blessings in the form of a perpetual exploding firework of flashbacks from passed sonic wars fought as it's veteran award and recognition, ascended as it now has from punk to fine arts torture.

I am one of those people who actually really like most of the modeled modulation, delay and reverb effects that the Zoom products offers, the distortion and amp modeling not so much, and I own a Zoom G1Xon and a MS CDR70 multi effect myself, and have owned the B3, which I kind of regret letting go of, and I'll probably end up buying the newer B1X Four, with allegedly better and more advanced modeling quality of it's effects, though, a bit disappointing, having much lesser twekability than the old effects, in terms of available adjustable parameters and fine tuning of the effect models. In fact prefer i prefer the Zoom effect to the ones featured in the more expensive similar Boss products. They certainly came an amazingly long way since the awful sounding digital multi effects they made around the 90's, that definitely didn't hold up to Boss quality.. But yeah, if I am getting one of the higher quality modeling units I know for sure it isn't going to be the that spanking new G11 monstrum, quite disappointed in fact. I'd rather pay slightly more and get at least as high modeling quality, but with improved tweakability, at least in terms of number of parameters it'll allow you to adjust to fine tune the effects, and much more advanced and expanded routing capabilities ,and get the Line 6 Helix Effect nit instead, and that without having to really pay that noticeable more. Especially because I plan soon to get a preamp that should handle all my amp modeling and cab IR simulations needs, since I won't ever really be needing to be able to swap between 10 or more amps and cabs on the fly at any point, but just need one basic great tone in a box, and then have the rest of my needs for different tone flavors come from my effects and how I chose to route those. I'd even honestly would prefer the new Line 6 POD GO over the Zoom G11, which as far as I can see is both quite similarly priced and quite similar as far as features goes. If the Zoom G11 had been able to compete with the Line 6 Helix products in functionality, but with a price tag similar to the POD GO I'd definitely still be very interested, but as it is now the POD GO just seems like the better alternative for something with similar functionality and similar price, or by just paying slightly more get the advanced functionality of the Helix line with the Helix Stomp, even if admittedly that would be at the price of less on the fly ability to control the unit, and sadly for Zoom I believe that is what most people in need for something like that is also going to think. I don't foresee the G11 it to have much of a chance on the market honestly. Sadly, cause I liked the idea of Zoom offering similar great quality and functionality, but for less the price than their competitors, as they have pretty much manged up until now, starting from their B/G3/5(X) and B/G1(X)on line of multi effects. The G11 though I just can't see offering anything that makes it an attractive alternative to similar products on the market with a much similar price tag, perhaps even on the contrary, all except perhaps for it's, admittedly seemingly relatively superior (for anything just remotely near it's price tag at least), on the fly knob adjustments/foot controlled features capabilities. If they had made it cross compatible with the effects of their older products, made it possible to, via a software editor, download and store whichever effects from Zoom back catalog of digital multi effect pedals, bass as well as guitar focused (at least from all their multi stomp boxes and the newer B/G(X)3/5n and B/G1(X) Four, mulri effects), plus offering a bunch of constantly updated all new improved effect and amp models, and those being just as tweakability as the effects in their multi stomp box series typically are in terms of adjustable parameters, perhaps then even being able to take a small fee for that service, and it having the same advanced routing options as you get with the Line 6 Helix products, but still had been able to keep it at the same kind of price tag as it got now, then I have no doubt it would had a huge potential to become a huge success, I know at least that I wouldn't had any second thoughts about choosing that over any other multi effect on the market. But what do I know, perhaps that would have made it impossible for Zoom to actually earn anything noteworthy on the units, but on the other hand if that is in fact not the case, then I have no doubt they should have taken the risk involved, maybe earning a bit less on each unit, but on the other hand having a real and, I believe, even big chance to potentially making it the dominating multi effect on the whole market, all for except in the relatively small niche of really high end digital multi effects, instead of, as I see it, now having something with very little to offer as an alternative over similar products, with a similar price, and a similar quality, made by other digital multi effect companies with generally better reputation for quality, and, as I see it, something that has a big potential for becoming a huge gigantic flop. As it is now all I can see it really has to offer over it's competitors is just it's, as I mentioned previously, admittedly seemingly relatively superior (for anything just remotely near it's price tag at least), on the fly knob adjustments/foot controlled features capabilities.

I once owned an Ampeg B15-S, 60W, 1969 model, which unfortunately I was stupid enough to sell about 15 years ago, after it having served me well for about 10 years at that point, originally having bought it stupidly cheap from a 2nd Hand music gear related shop. Mind I am planing to make my bass setup ampless now, and coming next month buying the NUX Melvin Lee Davis Bass Preamp that I count on being able to do the job properly, planing to use it's build in amp modeling of the Aguilar Tone Hammer bass amp head, and then using it's 3rd party cab IR loader function to run a few 3rd party cab IRs that I already got in mind, for that. And even if I still had happened to be interested in carrying heavy amps to future jams, rehearsals and eventual gigs, which I am obviously not, I would rather have got an old solid state Trace Elliot bass amp for that job than the Ampeg B15-S. Though it did in fact still sound absolutely amazing, even if maybe not exactly the way I'd rather prefer now for the music I tend to play, and I do still very much regret haven been stupid enough to let go of it, back when I sold it.

Interesting. Especially your pickup choice, wasn't aware of the existence of these pickups, but just looked them up. Not something I would personally ever have need of, I just need one basic great tone that fits my personal preferences, but I can totally see how the options these pickups gives you could prove very useful and practical for some bass players. Quite cleverly thought out, at least as long as you like the basic tone of those pickups, which I guess will reflect itself through the different modes/wirings they are capable of, but even then, especially with 3 of them, you will be able to cover a tremendous amount of different tonal ground. No doubt going to be a super versatile bass you will get there.

Better wait with commissioning one till nano technology is at the stage where the bass would be able to transmorph completely according to your at any given time current wishes then.

The idea of this thread is to have those dreams gathered in one place. And no offence, but after 27 years of playing and several basses, some of which were 1000$+ instruments, regular 34" scale basses as well as short scales, I would think I know what I want and what I don't want in a bass. As for the 28,6" scale because I found that to be the perfect scale length for a 4 string bass for me, not too cramp, yet not too cumbersom to play, and to me without any negative side effects from the smaller scale, as far as I am concerned, after experience with a bass build out of Warmoth 28 5/8" (28,625") scale baritone parts, and a couple of Ibanez Mikro Basses. Seems to be about the smallest scale length for a 4 string bass before negative side effects will begin to come into play, and at the same time that scale length, for me, offers the absolute most comfortable playability, in my experience. I agree that what you say might be the case for some, but I am pretty certain that I actually know what I want. And even if other people shouldn't feel this way, what is there to loose, as said it was hypothetical question, not a binding contract to a commission work. To me at least it would be interesting to see people's preferences gathered in one thread, instead of having to read through the entire archive of posts on this forum from every member on it if one wanted that sort of information. I for one think the premisses of my thread are perfectly valid, or else I wouldn't have made it. The idea is not to judge people on their wishes but to see the diversity of them.

Hypothetical question, if you had the money needed, or was willing to spend the kind of money it would cost, and you could have a custom bass designed exactly to your dream specs and according to your dream visual design, what would it be then? Mine would be: Something like a 4 string 28,6" scale length bass, with mahogany body, bolt on maple neck, with a modern slim C shaped profile, a 24 medium sized stainless steel frets, about 14" radius, ebony fretboard, 38mm nut width, and 17mm string spacing at the bridge consisting of mono rails, and an accordingly narrow neck that would accommodate that, likely with a Nordstrand, The Power Blade, P style pickup in the neck/sort of middle position, and a Nordstrand Big Blademan, Music Man style pickup, in the bridge position, with coil split, and series/parallel switch, and in matte black finish with all black hardware, with the body/headstock shape somewhat inspired by a fusion between the B.C Rich Zombie Revenge and Beast bass (actually mainly like the Zombie Revenge bass, but with asymmetrical "devil horns" on the head stock and bridge end of the body, and slightly slimmer, more down angled, front horns, like on the Beast bass), and beside the coil/series/parallel switch for the Music Man style bridge pickup, just a pickup blend control, no volume or tone pot, and all passive. The B.C Rich basses that I am referring to looking like this:

The best neck I ever played was a the Jerry Jones Longhorn 4 string bass I once owned, but was stupid enough to sell, and as far as I have been able to research it is supposed to have a neck with a slim C profile, and a fertboard with a pretty flat radius of 14,5", and even though the nut width is 1 5/8" (approcimately 41,3mm) the neck is pretty straight, as in it doesn't expand much in width as you get further down the neck towards the bridge, with it's just 17mm string spacing at the bridge. I also quite like the neck of my current 4 string Ibanez GSRM20 Mikro Bass, which neck is likewise a slim C profile, the fretboard having a 12" radius, and the nut being 38mm wide. but the neck then expanding as you go further down towards the bridge accommodating a standard 4 string string spacing of 19mm at the bridge. But as far as I recall, which is a bit hard since some years has passed between selling the Longhorn and then to me getting the Mikro, I slightly preferred the feel of the Longhorn neck, which seems to suggest that I prefer an even flatter radius than the Mikro's 12", and an even more narrow neck than the Mikro's 19mm string spacing makes for, though the slightly more narrow nut width of the Mikro is nice. Also I prefer the slim C profile of my Mikro Bass over my Epiphone SG guitar's slim D profile. Weather then I might prefer other neck profiles over slim C I can't really tell, as I haven't really tried for example slim V or U shaped necks, but at least I know D isn't where it's at at, and slim does seem to be just the right thickness for me, also 38mm nut width seems to be just right for me, as does a quite narrow neck that accommodates for a 17mm string spacing at the bridge, and an even flatter fretboard radius than 12", closer to around 14", seems just right for me as well. And as for scale length, even if that really has little to do with the topic of this thread, the Mikro's 28,6" seems to be just absolute perfect for a 4 string bass for me. I still rather have the slighter shorter 28,6" scale length of the Mikro, over the Longhorn's 30" scale length, than the benefit of the overall more narrow neck given by the slightly tighter string spacing at the bridge and the slightly flatter fretboard radius the Longhorn would give me, but ideally I'd have a custom bass made at some point with a 28,6" scale length, a slim C shaped narrow neck, as narrow as 17mm string spacing at the bridge would require, with a 38mm nut width and a 14,5" radius fretboard with 24 medium sized frets. So I am actually pretty sure on what I prefer from a neck, even if there theoretically could be a possibility that a slim V or U shape would fit me better than a slim C shape. Otherwise narrow, slim, most likely C and definitely not D shaped, but with a vague possibility for maybe V or U shaped instead, and with a relatively flat fretboard radius, flatter than 12" and likely just around 14,5", seems to be where I feel most at home. All in all I got my preferences in just about everything from neck shape, fretboard radius, fret wire size, scale length, wood preferences, pickup preferences, electronics and control preferences, and overall design/shape preferences down close enough to a perfect fit for me that I would feel totally comfortable with getting a custom bass made exactly to my specs and be quite sure that I actually would end up loving the result, all I need now then is the kind of money that would require. But at least the 4 string Ibanez GSRM20 Mikro Bass that I own close enough for now,, if just it had had a slightly flatter fretboard radius, and slightly tighter string spacing at the bridge with the resulting slightly more narrow neck, had got 2 additional frets, and had had a Music Man style pickup at the bridge instead of a J style pickup, it would have been perfect, close enough to perfect at least that the fretboard wood being rosewood and not ebony, and that it'a visual design not matching my personal vision of my dream bass, probably wouldn't bother me to such a degree that I would still have a dream constantly itching about getting a custom bass made exactly to my preferred specs at some point. My Mikro's 28,6" scale length, mahogany body, bolt on maple neck, medium sized frets, and P style neck/middle position pickup, is spot on at least. I guess technically I could save up for about 15 month or so, not being able to buy any other musical gear or other "luxury" stuff in that time span, beside what I strictly would need to survive, and then probably have just about enough money saved up for getting my dream bass made by one of the cheaper luthiers who will make custom basses exactly to your specs, but unfortunately I don't possess that kind of discipline and patience, so for now I will have to do with what I got and let my dream bass remain nothing but a dream. Sorry for going way off topic, just seemed that it made my thoughts spin beyond that.

Swedish Karin Dreijer Andersson, electronic musician and singer from The Knife and her solo project Fever Ray, is also up there for me : Here as guest vocalist for Norwegian Röyksopp (She doesn't have the lead role in this music video, that's some super model, but is featured as the woman sitting at a dinner table in priest robes eating an apple, later in the video) :

I'd sell it an have me a custom bass made specifically to my specs. For one I've gone exclusively short scale. Something like a 4 string 28,6" scale length bass, with mahogany body, bolt on maple neck, with a modern slim C shaped profile, 24 medium frets, about 14" radius, ebony fretboard, 38mm nut width, and 17mm string spacing, with mono bridge pieces, likely with a Nordstrand, The Power Blade, P pickup in the sort of neck/midle position, and a Nordstrand Big Blademan, Music Man pickup, in the bridge position, with coil split, and series/parallel switch, and in matte black finish with all black hardware, with the body/headstock shape somewhat inspired by a fusion between the B.C Rich Beast and Zombie Revenge bass, and beside the coil/series/parallel switch for the Music Man bridge pickup, just a pickup blend control, no volume or tone pot, and all passive.

And another hit from their masterpiece of an album "Deep Cuts" :