Baloney Balderdash

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.

Not sure... Which interesting and decent short scale basses with good upper frets access were out in 1976? A Hagström, maybe?

Thank you for the suggestion, but I did try that once and shot an additional 15mg of methamphetamine, but that had a negative effect on my ability to focus, and the drummer didn't appreciate me starting to bang his China cymbal wildly mid song with the headstock of my bass, so I decided to go back to normal dosage before a show.

I've never found adrenalin and playing properly mutually exclusive:

You didn't, and I don't think that I was in any way suggesting so either. I wasn't really arguing with you, I was elaborating in a similar line of thought. I nowhere in that reply said I disagreed with you, quite on the contrary I think. The stuff I said build upon your conclusion. I don't agree with the notion that you should mistrust everyone's opinion in general on forums though, just access whether the specific person and in the specific post in question sounds like they know what they are talking about or not. You know just be sensibly critical in general. Some specific posts, and I guess certain specific posters in general, should be taken with a pinch of salt, sure, but not every single opinion, poster and post.

Just as certain people are quickly to judge you as one of those people, or of the opinion that such words has no meaning. People misusing terms or having no idea what they talk about, randomly spewing around random buzzwords, is nothing new, and is not specific to people who play bass either, doesn't however mean that words are meaningless, or can't be used to describe sound/tone in a meaningful way.

On a more serious note, personally I make use of an "amp-less" setup, with the main preamp device being a NUX Melvin Lee Davis Bass preamp + DI, which I am extremely satisfied with. It's digital, but of really high quality, and got 3 different amp emulations to chose from, I use the Aguilar Tone Hammer one, and 8 stock IR based cab sims, with 8 additional slots for 3rd party IR cab sim files, I use the stock Ampeg SVT-212AV one, and with the build in overdrive set to an always on rather low gain setting and mixed with parallel clean signal at a 50/50 ratio. Though I do additionally have a tube preamp stage at the very start of my signal chain running into it, then a subtle spring reverb emulation just before it, and an additional tube preamp/DI stage running after it, as the very last thing before the poweramp/PA. But really the NUX sounds great all on its own as well, and is truly amazing value for the money.

Yes, and pickups are even worse in that regard.

Well, you don't have to do what the majority is doing, and doing a bit of thinking before posting is absolutely still appreciated.

200W @ 4Ohm, same as the Trace Elliot ELF, which people seems happy about. Also in my experience 100W is plenty to keep up with a drummer and a guitarist in a rock band, even to easily play up small bar sized venues without PA support, and bigger venues usually will have PA support, reducing your bass amp to nothing but a glorified stage monitor anyway. I've played small bar sized venues up with a 60W bass amp in a loud rock band, no trouble with hearing myself or being heard, and done the same at big open air festivals with PA support and stage monitors provided. Unless you have a serious deaf wish there is really little reason to go any higher than 200W or so.

Short scale fretless Harley Benton Beatbass is a thing, I already posted it a few times here, and sounds amazing too, this video starts out with it straight DI'ed and nothing else done to the signal: https://www.thomann.de/gb/harley_benton_beatbass_fl_vs_vintage_series.htm Unlined, but with side dots markings where the frets would be. 175£/199 Euro Amaranth (Purple Heart) fretboard, which is very close to as hard and stiff as Ebony.

Everything But the Dad Dad and The Family Stone Captain Dad and The Dad Band Dad Jr.

Dad in June The Dads of Invention Mega Dad Beach Dads New Dads on the Block Public Dad

Is that the much dreaded ManPigBear?