Baloney Balderdash

Out of my top 12 of favorite bass players 5 of them play P or PJ basses, 2 play J (one of those plays just about as much Höfner Violin Bass, and sometimes double bass, and the other mainly plays a fretless J Bass), 1 plays double bass, and the remaining 4 play on various other non P or J pickup based electric basses. So not sure if it is actually true that a majority of pro bass player plays J basses rather than P basses, certainly not from my point of view.

Some of the sound comes from the specific design of the pickup sure, but by far predominantly the specific sound comes from the specific position of the pickup. So a bass with any random type of pickup placed in the traditional P pickup position is going to sound more like a P Bass than a bass equipped with an actual P pickup that is placed elsewhere than the traditional P bass position. Also I think you misunderstood it a bit, I don't think sound engineers/producers in general necessarily go to a length to make every bass sound like a P Bass, but most of them do prefer to work with a P Bass in the first place, because that is what most of them will have most experience with, knowing how to manipulate it to get whatever bass tone they are aiming to achieve out of it, and exactly how to make it work well in a mix, to a much higher degree than is that case with just about any other type of bass, which typically will be somewhat more out of their comfort zone.

I'm sorry, can't help you, just wanted to make you aware that there is most likely not going to be any notable difference between the two single coil positions, but of course entirely up to you whether it is worth it to you, personally I wouldn't bother. And the only really worthwhile options as far as I am concerned would just be being able to switch between having the two coils in respectively either in series or parallel connection. Though I am certain someone who knows how to is going to chime in with how to wire up what you have in mind properly, if you still want to go through with it.

I get the same if I knock on a turned on microphone with a drumstick. Any suggestions how to avoid that?

I would have though the difference between the SY-300 and SY-300 to be just about that same.

The roundwound set seems fine, but the flatwound seems really heavy and will have super high tension and be super stiff and hard to fret. Flatwounds got more tension in relation to gauge than roundwounds, and Rotosound flats are known to be extra high tension. My advice would be to get a gauge .095 to .040 flatwounds, those will be closer to the tension of the roundwound .100 to .045 string set you are planning on buying, and also I would advice getting a different brand of flatwounds than Rotosound as well. I am not really an expert on flatwounds though, so which other brand you should get instead I really have little idea of, but i am sure someone with more knowledge will chime in and suggest a good set.

Belly of the Beast - Anthrax

Check out some of Phil Jones's bass combo offerings: https://www.thomann.de/gb/solid_state_bass_combos.html?manufacturer[]=Phil Jones&gk=GIBACOTR&cme=false&filter=true

Coughing Up Tweed - Sonic Youth

D'Ad Oreo (no strings attached) D'Ad Oreo and The Biscuits Dad and The Darios Dawn of the Dads Night of the Living Dads Dead Dad Dodo Dodo Daddy-O Daddy-O and The Dodos Daddy-O and The Zeros Daddy 0

It's all analog technology though and not digital. Look up the definition of digital.

Class D is not partially digital either, not based on a CPU running binary 0s and 1s based software, and I have hard time imagining how a poweramp could possibly based on that. Try to look up the definition of digital.

Get a new set of D'Addario XL gauge .095 to .040 balanced tension (.095 - .070 - .055 - .040), and remember to give your bass a proper setup while you are at it (tons of great guides online) once you have changed the strings.

Baby -Justin Bieber Too late: Trapped In New York - Eric's Trip

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From Cayman Islands With Love - Stina Nordenstam

There is no such thing as a digital poweramp.

I meant mixing those two pedals with each other in parallel, not mixing either with clean/dry signal. It does require some fine tweaking of the pedals involved and the ratio of which they are blended for it to sound right though. But as said if you do use the time to do that with the right pedals you can potentially obtain some truly amazing tones not possible with any single pedal, or stacking for that matter. Though of course not all pedals blend equally well with each other, regardless of settings, but would think the two you mentioned would. Drives tend to work particular well for this approach, but some modulation effects does so as well, mixing flanger and phaser in parallel with each other for instance can sound amazing, chorus and tremolo works great for this too.

I love how the Gibson Ripper and Grabber basses look. Lou Barlow's (Dinosaur Jr) current main bass is a Grabber (which was also his first bass, that was used to record Dinosaur Jr.'s first album, before he sold it and got a Rickenbacker). That said this got me thinking, it's rather strange to have neck dive and having the headstocks being prone to snap off as a signature design concept. Of course it seems to have worked for them just fine, but I am pretty sure rather in spite of that, rather than because of it, and probably also the reason why Gibson basses never became quite as popular as Fender's.

I am thinking you likely could obtain this by literally blending those two pedals in parallel with each other at the right ratio, via for example a Boss LS-2. That would make 3 pedal to obtain this, and I realize you pointed out that you wanted one single pedal, but probably not getting it any better than this. Mixing dirt pedals with each other in parallel really gives an incredible tonal depth, a result that is much more than the individual parts, and for lack of a better, less cliché ridden, word, a quite 3D like feel.

Wonder if anyone else experience this, that you have gotten so used to one specific bass that everything else feels and sounds somewhat odd in comparison? Cause I experience this with my main bass. I might play on a different bass and be fine, even enjoy the different flavor, but then as soon as I go back to my main, it's almost like a relief, like realizing that I have missed it and feeling like coming home, even if I might not have noticed while playing the other bass, like getting back in your comfort zone after having been somewhat out of it. Like: "Ah, this is what a bass is supposed to feel and sound like".

Just to specify, with the EHX Hot Wax you get a Hot Tubes, that, unlike the regular Hot Tubes pedal, got a clean blend, and separate bass and treble EQ controls, versus just a regular tone knob on the regular pedal, plus of course the option to stack it with the other half of the pedal, an EHX Crayon, which to my knowledge is EHX's take on the Xotic BB Preamp circuit, if not an exact clone.

Just get a broom stick, a washtub, a string, and a Music Man Stingray decal. Eventual also get a tattoo done saying "The World's Greatest Bass Player" on your forehead. No one in the audience will be able to tell the difference anyway.

Absolutely! Forgot about that. That's it! Without doubt! Absolutely perfect! A 1976 Rickenbacker 3000 : Thank you! If I had the kind of money these goes for though, which I don't, as cool as it looks and it would be to own one, I would rather buy something else.