Baloney Balderdash

I suppose one person's wild speculations might be another person's insight.

Or they might be selling you an empty box! Read the reviews maybe, featured just bellow the product? And look at the average ratings and how many people it was based on. I am pretty sure it is boost/cut, and that the power was measured with the EQ flat. Good thing Thomann got 30 days full, no questions asked, return policy, with shipping covered and all.

On most dedicated poweramps there isn't even any EQ controls at all, so would consider that an extra bonus anyway.

What is unnecessary to one person however might be extremely useful to another person though, and I am pretty sure it means exactly what it says. As in "does more than you will ever need".

That is the frequencies of the EQ controls, not the frequency response of the unit, which will be perfectly fine.

It should work perfectly well, yes.

Dad Can Dance

I have been wanting to the get the TC Electronic Spark Booster for a long time, cause I've heard so many great things about it, but haven't gotten around acquiring one yet. Though it will hardly help you I get the low gain, just above breakup point, overdrive grit on my bass from a combination of first an EHX Black Finger, with the input gain dialed up to drive the tubes in it to just on the verge of breakup, then a Joyo Oxford Sound dialed in to deliver a low gain overdrive, blended with clean signal at an about 50/50 ratio, via a Boss LS-2, then a NUX Melvin Lee Davis Bass Preamp with the Drive at a low gain setting, 9 o'clock, or 13/100, to be exact, and the clean blend at a 50/50 ratio, and then finally that into an ART Tube MP Project Series tube preamp/DI, with the tube in it also driven to just on the verge of breakup, and I am extremely satisfied with this combination. Which is actually also basically what makes up my always on "clean" tone of my "amp-less" setup.

I use the Rockboard ones and am really satisfied with mine so far. As far as I can tell low noise and low capacitance, and no other signal degeneration/high end suck, really flexible cables, and I have a hard time imagining how a patch cable plug could possibly get any flatter than this. Also non of mine has failed yet or developed any other issues, and I got a rather big pedal board, using a lots of them.

Found this text file on my harddrive, listing bad fictional dad band names: Daddy's Garage Danny Cool and The Cool Dads The Do Dad Riffters Whose That Dad? The Bad Dads IT'S DADDY! The Dada Daddys Daddy Peacehill and The Suede Overground Going Blind The Grateful Dads Feel welcome to suggest more...

Wouh! That man knows what he is speaking about! What an incredible insight, all around! Couldn't agree more with him, on just about everything he says. And on topic, in relation to the question asked by OP, he is right about the part about not playing too forceful as well. When I use the regular "traditional" 2 finger plucking I more so stroke the strings, in a slight inward slapping motion, with the outmost tip of my fingers/nails, rather than really striking, plucking or pulling the strings. This way the notes will sound fuller, as in richer and more full register, and also you don't get fatigue as easily in your fingers when playing fast. Introducing as third finger though, while not actually allowing to play faster, will take a lot of the strain off your fingers too when playing faster. Also regarding learning how to incorporate new techniques naturally into your play by far often it is actually lot more effective to just use 2 to 3 X 5 to 10 min daily really focusing on practicing that new technique you want to learn, than forcefully practicing it ½ an hour 3 times a week or whatever, but losing the focus each time 10 minutes in and not really using the remaining 20 minutes effectively, this way you will in far most cases will, depending of course, have it pretty decently down already after a month of doing so.

Madonna's "La Isla Bonita" : Heard: "Young girl with eyes like potatoes" Had to look up the actual lyrics, and disappointedly that is not what they actually say, but rather:

You should have told them that he had had some cutting edge sight activation technology build into his big old 4 string guitar, and that he needed to direct his eyes at just the right spot and with just the right kind of look for it to produce the desired sound, like a softer more tender look will produce a more mellow tone, whereas a firmer look a tighter tone, and angry look a more aggressive one, e.t.c, and that the strings are just there as guidelines to frame the active censoring area and divide it into 3 sections that respectively decides whether the note activated will be sharp, full or flat. And if they ever heard of sight reading in relation to music? And then told them it is related to that.

That's pretty cool, though I am more interested in the bass, more specifically that amazing red finish, is it just that picture, or does its actual color really resemble that of the photo, and if so was that the stock color and what is the name of that finish? Also what is it, a Squier/Fender Jaguar (judging from the controls), or something more exotic?

I hear you, but did you consider this fact: Flats are actually more truly round of shape than rounds! Shocking I know, but totally changed my perspective 380 degrees, and I have now come full circle, still spiraling out to where I've never been, before... My point being, who cares about points, in the end we are all just circling a hot potato, chasing our own tails, and what not...

Out of the ones you mention I would be inclined to suggest the Harley Benton HB-60 WB. I thought maybe you were preferring hollow body bass and a more old school thumby sound, but personally I would much rather have the Squier Paranormal Rascal than any of the basses you list in the OP. I too love how it looks, especially the green one with the mint pickguard, and it gets great reviews, while still being quite affordable. In fact it is very high on my personal GAS list, and I myself plan on getting one, when i at some point got the money to spare for it. Get it!

The perfect bass for the bassists who ever so often find themself regretting they didn't start out on harp instead of bass, but can't be assed to actually start all over learning how to play a new instrument. On a more serious note this bass do look pretty awesome and has nice specs as well. However not for me. 6 strings is more than enough for me, but then again I would tune the lowest string E or D, for the extra high notes, my current main is actually strung and tuned up for A standard tenor bass tuning, so guess I can actually understand the need for that upper range, if you insist on being able to go lower than the low E or D as well, though in most cases I will prefer just 4 strings, and 35" scale length is at least 1" too long for me, and in most cases will prefer short scale basses, my current main actually having a just 28.6" scale length, but then again I don't have the largest hands, despite being 6'4".

Harley Benton Wide Leather Padded Strap BK Material: Suede With 6 mm memory-foam velvet padding across the strap's entire length Width: 85 mm (~3.4") Length adjustable from 105 to 150 cm Colour: Black Made in Greece https://www.thomann.de/gb/harley_benton_wide_leather_padded_strap_bk.htm It's a great looking and amazingly comfortable strap, that makes even heavy basses and guitars comfortable to wear and play. However the memory foam that, together with its width, makes this strap so comfortable to wear is not covered by any protective fabric or similar, but just, seemingly, somehow treated with something that makes the foam somewhat more resistant and durable, this, as I kind of feared, has made the foam sensible to sweat, which it to some degree will absorb (something I experienced while using it this hot summer), and when it dries up causing the foam to become slightly harder/less flexible and seemingly somewhat dryer, appearing like as if it might had become more porous and prone to break off. Now the foam has not actually deteriorated in any way, and it becoming slightly harder/less flexible has not actually affected the comfortability of the strap either, but I am kind of suspicious that, as the foam gradually gets exposed further to stuff like sweat over time, it will eventually. I find this oversight a bit strange, but guess they do save a few bucks by not having the foam protected by an additional layer of fabric, and thereby being able to sell it a bit cheaper than they otherwise would, but honestly I would have been willing to pay that, I imagine fairly neglectable, extra price, for having had this otherwise pretty amazing strap made less prone to potentially deteriorating to the point of rendering it useless with time. In any case, despite this, as with most Harley Benton products, it is pretty astonishing value for the money.

As I stated earlier I do the same with my NUX Melvin Lee Davis preamp, and though it is digital I do run a tube preamp stage both before and after it, as respectively the very first thing, after the bass and a buffer, and as the very last things before the amp's Return poweramp input of the Effects Loop of a Peavey guitar combo amp with the build in 12" guitar speaker unit disconnected and hooked up to a FRFR 15" + 1.7" PA speaker instead. But come to think of it, a big part of my tone actually is in my fingers, as I more so stroke the strings, in a slight inward slapping motion, rather than striking, plucking or pulling the strings. Though that is interchangeably combined with flamenco style guitar index and/or middle finger flicking technique, classical guitar style finger picking technique, and double thumbing. And I do sometimes use a pick too, either a Wedgie Soft 3.1mm rubber pick, or a Dunlop Tortex .60mm one.

Actual fact is that sound was made before fingers became an evolutionary fact!

Nope, I have never tried any of their amps. Though I have pondered, and am still pondering, on possibly getting their take on a micro amp, the BAM200. But, as listed in my previous post, my current setup is "amp-less", so will likely get the Harley Benton mirco poweramp instead, to replace the bulky Peavey guitar combo that I currently use for its poweramp, hooked up to a passive FRFR PA speaker. But if I ever do need a full micro bass amp I will by far most likely get the TC Electronic BAM200.

You do realize that Thomann got a full 30 days, no questions asked, return policy, right? Also I am a bit of a gramma nazi, so can't take your post seriously.

I suspect you might be experiencing some impedance mismatch.

Well, what I am looking for in the clean 1 octave up signal is one as authentic/realistic sounding as possible to that of a guitar or octave course 8 string bass, of course pitching up your signal a whole octave is always going to sound somewhat artificial, but after much research I found the Sub'N'Up to get closest, and after much experimenting with customizing Toneprint settings I finally came to a result that I think is the absolute closest to the real thing that you will get with a regular octaver without further specialized synthesizing. I have previously, a while back, posted a guide how to do this, with my Sub'N'Up Mini settings listed (works for the regular big version of the Sub'N'Up as well): And to me, judging from the demos I've watched featuring it, the Brainwave just won't cut it for that. As for power supplies I use 3 linked units of the Harley Benton PowerPlant ISO-2AC Pro Modular, with 5 isolated, filtered and short-circuit proof outputs each, 3 outputs that can be switched to deliver either 9V or 12V, and 2 outputs that can be switched to deliver either 9V or 18V, plus some additional daisy chaining from that unit to get power to all my pedals, as those 3 units will "only" get me 15 power outputs : And for patch cables I use Rockboard Flat Patch Cable's, of various lengths :