Baloney Balderdash

Your track reminds me so much of early Ween.

My 3 votes happens to go for the first 3 entrances, that is yours, Lurksalot, Leonard Smalls, and MoonBassAlpha. I already voted for Leonard Smalls.

I could only submit, or at least only submitted, 1 vote, by mistake? Were we supposed to vote for 3 tracks?

"Dud Bottomfeeder - Revenge of the Noodles IV - The Final Stand (an avant-garde epilogue)" from the album "Live at The Noodle Factory - There's Light at the End of the Tunnel, and I Think I Am Going to Die" 5 string 28.6" scale Ibanez GSRM25 Mikro Bass (strung with Elixir Nanoweb guitar strings, of the gauges .080 - .062 - .046 - .036 - .026, tuned in G# standard tuning, that is one half step bellow the upper 5 strings of a 7 string bass in regular B standard tuning) -> ->> XVive Undulator (tremolo pedal, but never actually engaged and used exclusively for its great buffer) ->> EHX Black Finger (tube driven optical compressor, with 2 preamp tubes operating at proper high 300V plate voltage, primarily functioning as a tube preamp stage, driven to just at the edge of the tubes's breakup point, but with some very subtle compression dialed in as well) ->> TC Electronic Sub'N'Up Mini (for adding a 1 octave up, mimicking an effect somewhat similar to that of an 8 string bass, using a custom made Toneprint) ->> DigiTech FreqOut (feedback generator) ->> Boss LS-2 [A+B Mix <-> Bypass] (parallel effect loops mixer/switch) ={ [Loop A Send] ->> Mosky Black Rat (RAT clone, in Turbo RAT, LED diode clipping, mode, quite raunchy, high gain distortion, always used blended with clean signal from parallel effects [Loop B]) ->> [Loop A Return] ->|+|<- [Loop B Send] ->> [Loop A] (clean blend) ->> [Loop B Return] ([Loop A] + [Loop B] mixed at an approximate 70/30 ratio) => [LS-2 Output] }=>->> Boss LS-2 [A+B Mix <-> Bypass] (parallel effect loops mixer/switch) ={ [Loop A Send] ->> Joyo Oxford Sound (clone of the Tech 21 Oxford, which is an all analog emulation of an Orange Amp type preamp, dialed in to deliver a high gain overdrive, always used blended with "clean" signal from parallel effects [Loop B]) ->> [Loop A Return] ->|+|<- [Loop B Send] ->> ([Loops B] empty, used to blend in "clean" signal) ->> [Loop B Return] ([Loop A] + [Loop B] mixed at an approximate 50/50 ratio) => [LS-2 Output] }=>->> Zoom B1Xon (used predominantly as reverb and delay unit, including my always on {very subtle Plate Reverb -> subtle Spring Reverb} subtle reverb patch) ->> Mosky XP Booster (Xotic EP Booster V.1 clone) ->> NUX Tape Core Deluxe (amazing digital emulation of the legendary Roland RE-201 Space Echo tape delay, most of the time dialed in to deliver a lush reverb like effect) ->> NUX (NBP-5) Melvin Lee Davis Bass Preamp + DI (loaded with a digitally emulated Aguilar Tone Hammer amp, and an Ampeg SVT-212AV IR cab simulation, with HPF @40Hz, LPF @14kHz, and a subtle low gain overdrive blended in at a 50/50 clean/drive ratio) -> ->> ART Tube MP Project Series (tube preamp and DI, with build in HPF, fixed @40Hz, engaged, tube driven to just on the verge of breakup point) -> Zoom H4n (handheld recorder) Rat is not on at the very start of the composition, and the FreqOut only comes on towards the end briefly, otherwise are all units in this signal chain always on (bar the tremolo pedal first in the chain, that is used exclusively as buffer) Kind of a Sonny Sharrock inspired piece.

"Dud Bottomfeeder - Revenge of the Noodles IV - The Final Stand (an avant-garde epilogue) - Live at The Noodle Factory"

That's a shame. I'll try to start participating in the composition challenge in the future then. I just don't have the means to record anything beyond one single track right now, so to start with it will most likely just be noodling.

This is my latest noodling:

Has the Noodle Bar closed, so to speak... Or where do one find the current noodle thread?

Original lyrics by me, adapted to AI heavy metal music via SUNO: AI POWER METAL for the way!

And more noodles:

The track "Stains of Winter's Grass" by my project "Fjernsind" is opening the "Droning Earth Vol81" compilation, that can be listened to and downloaded for free here: https://droningearthrecords.bandcamp.com/album/droning-earth-vol81 This is my contribution to the compilation:

Nice feature, though that would kind of defeat my idea about having effects and effect parameters adjustable as easily as you would onboard bass controls.

I would be tempted to get one and attaching it directly to the body of my bass. My main bass has the pickup wired directly to the output jack socket, so I could just remove the pots/knobs and install this instead on top of it, for real time hand control of effects.

On bass it was an original song, don't remember which, with the originals noise rock band Prune, that I, after having picked up a bass randomly for fun at a rehearsal with a band I played guitar in at that point, and falling in love with the sound and feel of it, right there, went to "audition" for playing bass in, and got in on the job, with praise of my playing from the drummer, who was actually a relatively trained multi instrumentalist, who also played keys/piano and guitar on the sideline and knew how to read and write music, not even owning my own bass at that time, and previously only really having experience with playing guitar for a couple of years. That's when I found out bass was really my instrument, and that playing bass came much more naturally to me. And we are not talking merely root notes. Somehow all the practice that I struggled with really integrating meaningfully into my guitar playing came in place, and suddenly made much much more sense to me.

I admit to not really having followed up further on tapping much. But I just decided to start it up again. This time also practicing on using both my index, middle and ring finger for tapping, instead of just my index finger. We'll see fi I forget to follow up on this, this time as well, but for now it is my intend to practice this. Luckily my main basses does respond very well to tapping, so not too hard. Again the most challenging part really I find is to practice it to a point where it becomes an integrated part of my playing and composing, and not just disjointed focused technique practice. I did get the part of integrating my third, ring, finger, that I mentioned in the OP, into my playing down though, even if I do not actually use it very often, but at least now I am able to if needed. For galloping, though I do not exactly do much of that, unless feeling like channeling my inner Stave Harris, I do find using both index, middle and ring finger crucial, no idea how other people, and Steve, manage to do that with just two fingers.

You need to attack the fretted note with less velocity, that is don't attack sudden and fast with the fretting finger, do so in fluent motion, with less sudden speed up and power.

The big twin tubes EHX English Muff'n, that despite the name is not Big Muff based, but rather a Marshall inspired genuine tube overdrive, is pretty damn amazing for bass. And the tubes in it run at proper high 300V plate voltage too. Is not in production anymore, but fairly common to find on the used market, and for quite reasonable prices too, considering what it is.

This will be my first mod to it: Though if I really like the guitar, but find the pickups a bit lacking, I'd most likely upgrade them for a Seymour Duncan SH-2 Jazz neck pickup, and a DiMarzio DP100 Super Distortion bridge pickup, at some point.

So I've been eying this beauty for a while, and finally just pulled the trigger and ordered it. A dirt cheap Harley Benton TE-20HH SBK Standard Series, double humbucker Tele. Which though have only received amazing reviews. Basswood body and a Maple neck with an Amaranth (Purpleheart) fretboard, and string through. Plan to string it up accordingly and tune it to C standard tuning. Really looking forward to get to try this.

Unless something other more interesting happens in the meantime I am pretty sure my next multieffect will be a Boss GX-10.

Well, it is a great pedal no doubt, probably one of the very best relatively affordable octaver pedals on the market. Amazing tracking and about as low latency as it is physically possible, and also about as authentic sounding you can get from a simple pith shifting effect, without further more complex synthesising processes involved. But it won't quite emulate a rhythm guitar, as it will be an octave up from you bass, but then additionally, if desired, a 5th up from your bass, not a 5th up from the octave up. But I reckon it will still do a great job filling out sonic space.

Adding a 1 octave up signal parallel with your regular bass signal is a great idea for this, for a faux 8 string bass -esque effect. Here is a guide I made on how to get an approximate realistic/authentic 1 octave up tone out of aTC Electronic Sub'N'Up or Sub'N'Up Mini : I've also only heard great things about the T-Rex Quint Machine for this, which would also allow you to additionally add a 5th up, for more of a power chord emulating effect.

To sum up the thread: You are wrong! You are all wrong! No one can tell the difference in the mix, and most people doesn't even know the difference between a bass and a guitar. You should be more like them, you know normal! Realize that no one cares about your bass, or you for that matter! Just quit!

As the thread title says how low can you tune a 25.5" scale guitar and still get great clean tone? I really would like to tune it down to C standard tuning, but afraid that would effect the tone negatively. Also what kind of gauge strings should I look at for this kind of tuning?

Most recent shots of my 4 and 5 string Ibanez Mikro Basses: "Dud Bottomfeeder" "Mr. Growly - The Noodlemancer"