Baloney Balderdash

This seems to be a better idea:

That's just silly...

I was introduced to Manowar by a friend in my early teens, which became my favorite band (at the time) right there, deeply fasinated by their fantasy universe, mostly having listened to classical music prior to that and singing in the local church choir, so I decided I would learn how to play guitar to be able to make music like Manowar. As it happened to be however a couple of friends were starting a punk band, and I was hired to play guitar in that band. A couple of years later, gradually starting to lean more towards noise and indie rock than metal, I accidentally picked up the bass players bass at band rehearsal and jammed a bit on it, and I fell in love with the deep tone and feel of it right there from that moment. Shortly after I answered an add by a drummer and a guitarist/vocalist that needed a bass player for their noise rock band, and I went to an audition. Borrowing a bass for it, as I didn't own my own one at that point. However, even if basically having no experience at all with this instrument, playing bass somehow just felt really naturally to me, all chords and scales I had practiced on guitar for some reason just made much more sense to me on bass, I figure I had really been thinking more like a bassist than a guitarist all along, and I made some great melodic bass lines, that supported the relatively simple, mostly chord based, guitar parts perfectly, right there on the spot, and I got complements from the drummer for my playing, who already then was a fairly experienced musician, knowing how to read music, and also, beside drums, playing piano and guitar, and I was in. Quickly bass took over as my main instrument of choice, and ironically with time playing bass also made me a much better guitarist.

Way Down The Hole - Tom Waits

The Stranger Song - Leonard Cohen

Also known as the crazy knob fiddler, making sure no one gets absolutely no wiser at what the controls of a pedal does or how it actually sounds.

The Danish band Swan Lee made this entry to the title song for the James Bond movie "Tomorrow Never Dies", but as we all know a different song was chosen for the movie:

No particular order: :-: Niels-Henning Ørsted Pedersen (NHØP) :-: Victor Wooten :-: Chris Wood :-: Bill Laswell :-: Trevor Dunn :-: Julie Slick :-: Justin Chancellor :-: Cliff Burton :-: Lou Barlow :-: Paz Lenchantin :-: Peter Hook :-: Jack Casady :-: Out of those from what I can see only Jack Casady and Cliff Burton is on the voting list currently.

Tremolo - HoTone Trem Flanger - Monarch MFL-22 Stereo Flanger (rebranded Arion SFL-1 Stereo Flanger) Chorus - Valeton Aquaflow Vintage Chorus (based on the circuit of the legendary Boss CE-1 chorus, but with more controls, and in a mini pedal format) Phaser - Behringer VP-1 Vintage Phaser (clone of the original big box EHX Small Stone phaser, better than EHX's own Nano reissue) Octaver - Sub'N'Up Mini (used exclusively for the 1 octave up effect, and the Toneprint editor makes it perfect, as it makes it possible to dial in as close to an authentic/realistic 8 string bass/guitar effect/tone as possible with just a simple octaver, tracks perfectly and with very low latency, wouldn't recommend it for the 1 or 2 octave down effect though) Overdrive - Joyo Orange Juice / Joyo Oxford Sound (Orange amp type drive/preamp, based on the circuit of the discontinued Tech 21 Oxford preamp/drive) Distortion - Mosky Black Rat (RAT clone with both a "Vintage", original, silicon diode clipping, RAT mode, and a "Turbo", Turbo RAT, LED diode clipping, mode, slightly darker voiced and retains low end slightly better than both the originals and most other RAT clones on the market) Fuzz - Behringer SF300 Super Fuzz (clone of the Boss FZ-2 Hyper Fuzz, which again is a take on the legendary Univox Superfuzz octave fuzz circuit) Delay - NUX Tape Core Deluxe (amazing sounding digital emulation of the legendary Roland RE-201 Space Echo tape delay) Compressor/Tube Preamp - EHX Black Finger (tube driven optical compressor featuring 2 preamp tubes operating at proper high 300V plate voltage. I use it primarily as a tube preamp stage though, with only a very subtle compression dialed in) Graphic Equalizer - Artec Graphic Eq SE-EQ8 (8 band graphic equalizer) Preamp - NUX Melvin Lee Davis Bass Preamp + DI (high quality digital preamp and IR loader, featuring 3 different digital amp emulations, and 8 stock IR cab sims + 8 user IR slots for loading 3rd party IR cab sim files) Digital Multi Effect - a firmware hacked Zoom B1Xon Utility - Boss LS-2 (parallel effect loops mixer/switch)

I use shielded wire, with the ground running as a braided shield all around and along the individually insulated hot wire, made especially for this purpose, which can be had relatively cheap at Thomann.

Ween sounds like a lot of bands (yet at the same time just like only they can sound), here respectively Motörhead and Pink Floyd : Motörhead : Pink Floyd : I am also pretty sure they sound like some specific Country artist here, but not being very well versed in the Country genre I couldn't pinpoint exactly who:

Maybe I ought to get one of these as well. As is currently I stack and blend in parallel several preamps and drives to obtain proper depth and complexity, 3D effect if you will, of my tone in my "amp-less" setup. It does work great, however it would be nice if if could get that from just one single unit. (I too by the way tend to use the build in drive in preamp pedals to add harmonic complexity and heft, rather than as a build in extra effect, and I feel that this was actually the intended purpose too on a lot of preamp pedals, at least as far as I am concerned it usually works best that way, even on pedals where the build in drive got a dedicated footswitch)

Very interesting. A genuine mystery. And pretty cool if there really is a connection to John Entwistle. Neck cavity though?

Well, it is nothing like the TC Spectradrive. About the only thing they got in common is that they both pedal form bass preamps. It's an original product, not a clone of anything, as with most of NUX's products, and it's Melvin Lee Davis's signature preamp, developed in co-operation with him. As said it got 3 different great digital amp emulation of great quality to chose from (more is claimed to be added in the future), and is IR cab sim compatible as well, featuring 8 great stock IR cab sims, with additional 8 empty IR user slots, giving the option to load and use any 3rd party IR cab sim one should wish (the IR section also features an adjustable respectively HPF and LPF that can be added after each of the 16 IR cab sims independently). The drive sounds great, but I haven't actually tested out its full range, I just have it dialed in to deliver a low gain overdrive blended with clean signal at an about 50/50 ratio, just adding some nice warm tube like grid and extra harmonic complexity and depth, using it as an integrated part of and to enhance my basic "clean" tone, which it, like the drive section of most pedal form preamps really, does function best as, rather than as a standalone extra drive effect (I got other pedals for that).

Got to be my NUX Melvin Lee Davis Bass Preamp + DI, which got 3 different digitally emulated bass amps of really high quality to chose from, as well as 8 great stock IR cab sims, with the option of loading an additional 8 3rd party IR cab sim files of your choice to the pedal. Pretty amazing preamp, as said really high quality, 32bit AD/DA converter, 1ms latency, and at a pretty amazing price too for what you actually get. Now an essential, and main tone shaping, part of my "amp-less" setup.

On a more serious note, this might be a great alternative for laying down drum and percussion tracks on my home recording projects, and then eventually being able to edit further to correct mistakes and other inconsistencies afterwards (if used as a midi controller), instead of having to program everything or using the weighted keys of my midi keyboard. What would the latency be though? Same as pretty much any other midi controller?

If you do like clank though, which I happen to do, the discontinued Tech 21 Oxford, or the current production much cheaper, but genuinely great, Joyo Oxford Sound clone of it, does a much much greater job at that than any Darkglass distortion, which sounds more like thin fizz than clank really to me, but if you happen to like fizz for some strange reason, which apparently, judging from how popular Darkglass is, many does, most cheap generic guitar distortion pedals will give you all the thin fizz you could ever want.

I hate when treble pierce my knees like tiny knifes and bring me crying to the ground. So painful.

Perfect for those new hot hologram bands. In the future I bet we'll be able to have a completely empty stage but still hear music at concerts. Heck I predict we will not even need to go anywhere, and not even be restricted to hear just one band playing, just plug in your headphones and you'll be able to hear any music you'll want. Emperors new music!

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The emulation of the DBX 160A compressor on the Zoom MS multi stomp boxes and B1/G1(X)on units is indeed a great compressor, and perfect for exactly this purpose. For a subtle compression that add a bit of punch, snap and bite, adds definition and articulation to the top end and tightens the low end slightly, I have personally used following settings on the Zoom DBX 160A emulation compressor model: Threshold: -7 ; Ratio 2.5:1 ; Gain: 7 ; Knee: Hard ; Level: 50 (for unity at this setting). However if you want the compressor to make things punchier, as OP actually asked for, you would want a longer attack time for it to emphasis the attack, rather than dampening it. 10ms, as is the maximum attack time setting for the compressor OP currently got, even seems a bit on the short side for this on bass.

Yeah, I never got why people were so eager to do free advertising for big corporate companies and their mass produced products that they'll even pay said companies to qualify for that questionable honor. I guess sadly by far the last idiot who will thank you when you kick them in their butt have been born yet. Personally in by far most cases I will cover up any branding, regardless of price point, unless an independent luthier or a piece of art (which by the way seems far less blatant about their branding in most cases).

Way overproduced and very oddly mixed as well, it kind of sounds like everything has been run through a ton of really cheap reverb, something the like of the Behringer pedal one, making everything sound oddly thin as disjointed, but beside that I love it, and I can imagine how awesome it could sound if produced and mixed better, I totally get what you were going for though, and actually the bass tone is pretty amazing still.