Baloney Balderdash

I refrained from voting as I never heard any low B on any bass, regardless of scale length, actually sound great. And as far as I am concerned anything bellow low D1 (that is 2 half steps bellow regular 4 string bass low E) just doesn't work all that well for bass guitar. It does sound great on a grand piano though.

That's a really cool looking bass! Congratulations!

Depends... Is it a micro chip for tracking? If so it might mean that your tech is spying on you! 😱

And yes, English is not my native language, but I do wonder what is wrong with my English that you fail to understand me? Also did you actually bother to listen the compositions you inquired through to the end? How about we hear your original compositions?

You can speculate in all the conspiracy theories you want, but I got a bad habit with posting before i have made sure that I have actually said what I wanted to say and the way that I wanted to say it, I am aware that this can be annoying to others, and while I know it is not really any excuse me suffering from ADHD would at least explain it. And frankly I missed the part of your reply at first where you inquired examples of my own compositions. Also I fail to see what damage have been done, when you didn't reply to it in the meantime? And yes, English is not my native language, but I do wonder what is wrong with my English that you fail to understand me?

And is these measurements taking account for the relative ratio of the scale length? And yes, distance between pickups will mean little, measure from 12th fret to pickup poles, and remember to take account for above. Also, I don't understand why you couldn't set up a test rig like I described and then give the measurements or mark on the real body the position that you find from that to the one routing the pickups cavities?

I would chose C. Both A and B seems extremely close to bridge to me, C would be relatively closer to where you would normally place a bridge J pickup. And it would work better should you decide to add a both single coil pickups in series option, which I think would be a great idea. But ideally you would attach the neck of the bass in question to a test "body" plank where you can moved the pickup around freely to test where you think it sounds best (connecting the wiring temporarily with some of those small metal clamps).

And this time it might be a good idea to wait with attaching the neck till the body is 100% done.

While they do look cool on paper, as other have pointed out the reason why they are not more popular is that it's niche product, basically, few people really need to be able to replicate that many different tones, plus then of course then the price, how badly do you need a single bass to be able to sound like whatever. When I first started out playing bass it was all about how many pickups and switches, how many different tone I could possibly get out of a single instrument, but also by the same deduction that surely more would be better, I would end up turning everything on at once and leave it there, regardless if that actually gave me the best possible tone for what I was doing, since I had absolutely no clue anyway. Now that I know about tone, and know what I want, I try to make every instrument sound the optimal it can to me, and leave it there, not any switching around, and my favorite bass is a one single reverse P pickup configuration wired directly to the output jack socket, not even any volume or tone control. Now I do realize that the amount of beginners opting for this pickup probably is limited, out of reach both in terms of general availability/exposure and because of the price, which basically limits the target audience to any bass player who does know what they are doing and who does truly want/need their instrument to be a jack of all trades, which I would think would be rather a minority. I don't doubt that these pickups do actually sound killer, but they are just not what most bass players would be looking for.

This would be correct, the short scale in general means less harmonic content and more emphasis on the fundamentals, not less.

Ironically it seems like you were triggered by me suggesting to practice improvisation and writing skills. But I never claimed that it was an either or. In fact quite the opposite. However it seems to me that your point all along was that I did. Hard to argue made up points. And again you totally ignore context. And just what the... You are the one keeping to put words into my mouth, that is your game, and I give up playing it. Couse no matter what I say you are just going to make up stuff I never said to make it look like I am wrong and your are right. Which honestly seems to be your preconceived and only real point. Congratulations you won! As for my compositions, here are 3 examples (lo-fi alternative folk - dark drone/ambient - psychedelic electronic), though I fail to see what that has got to do with anything, or what it is suppose to prove or disprove :

I strongly disagree. In both these claims. But plenty of people, far too many, sadly the vast majority, will tell you just that, will tell themself just that. To the point where they don't even recognize themself anymore. Far too few are ready (daring/capable of) to truly embrace and realize their full potential. And far too underappreciated when someone does, for above exact reasons. I am not suggesting that I truly dare and have accomplished this, but I really do try my best. The world would be a so much better place to be if we just dared to realize our true self, only then will we be fully prepared to embrace other's as well. Everything else you said in that reply, you are making quite a few assumption about stuff I never actually said, and taken completely out of the context they were written in. But to play your game: Is practicing how to improvise and write original music really that horrible of a thing to do, as far as you are concerned? And if that is stupid and arrogant, then what are you?

You don't do it without actually also practicing improvising and writing basslines in specific, which was my point. If all you ever do is just copying other people you will never learn how to write music yourself. And not least find your own unique voice and style. Do read the context this was said in.

You certainly won't learn how to as long as you are simply copying the fingering of the original. Also plenty of legendary bass players who didn't possess Jaco's acrobatic skills on a fretboard but still managed to write legendary music and bass lines.

Start practicing improvisation and writing your own stuff, maybe?

Then ask yourself, would anyone not making a living from washing dishes consider themself a dishwasher? That tells you something, doesn't it?

Musician is what I am, no matter if I can make a living of it or not, music is the most important thing in my life. Can the same be said for what most people do to earn a living, and why is it less acceptable to identify as a musician, than say a dishwasher? I don't get it. Why would anyone think of themself as a dishwasher?

The Banishment - Jex Thoth

What would be really weird would be consequently buying coated Elixir Nanoweb stainless steel rounds, only to artificially age them through various processes in order to make them sound dead. I personally love the sound of new rounds, and definitely don't like dead strings, but for those who do to me it makes perfect sense, and not odd at all, to age them artificially to get there.

Sorry. Yeah, just read the OP again, and apparently the headline for this topic had colored my memory of what the actual OP post said. In any case, great that you now have a good idea of what amps referred to as hi-fi usually will sound like, and know what you are looking for. Knowing what you are looking for is a huge step towards actually being able to achieve it, cause then all you really have to do is to use your ears.

A credit card thickness relief is way too much, a business card thickness relief at about 8th fret, with first and last fret fretted simultaneously is more like it.

Well OP wanted the amp not to color the tone of his bass, and I assume that would because he wants an uncolored tone. No use having an amp that doesn't color your signal if the speaker does, and a regular bass cab will, even quite a lot. I agree though that an uncolored FRFR representation of the signal that comes from your bass rarely actually is desirable.

Pointless without a FRFR cab or PA speaker. The budget The Box PA 502 passive PA speaker that Thomann sells is surprisingly amazing for this. 300W 1x15" bass/mids woofer/driver and a 100W 1.7" high mids/high frequency tweeter :-: 300W RMS/1200W Peak :-: Crossover Freq: 2.3kHz :-: Freq response: 35Hz-20kHz (-10dB)/40Hz-18kHz (-3dB) :-: Sensitivity (1m/1W): 96 dB. Weights about a ton though. But comes in an active bi-amping (regular SS, not Class D) version too, the The Box PA 502 A. Run the bass through a neutral preamp/DI and into this and you got it!

Avoid: Stingray Sterling by Sterling Music Man by Ernie Ball by His Sister's Ex-Girl Friend's Grandmother's Best Friend's Dog's Trainer's Wife's Cousin by Ernie Ball Music Man by Music Man Earnie Ball by Sterling But instead go for: Sterling Stingray by Ernie Ball Music Man by Sterling by His Best Friend's Dog's Trainer's Wife's Cousin's Ex-Girl Friend's Grandmother's Sister by Sterling Music Man by Ernie Ball Music Man by Music Man