Baloney Balderdash

An acquired taste no doubt. I do like some aspects of it actually, but the body design is a tad overly bulgy for my taste, and the neck too wide, and in my personal opinion the color of the wood used for the neck/fretboard, I assume Maple, doesn't match the body, if I had had a say in the design I would have used Wenge as fretboard wood, even roasted maple would have looked better. That's of course a question of personal preferences, and I actually get why somebody might like it, as said an acquired taste, just not for me personally.

Well, the stock pickups on the Jackson Minion are definitely, at least in my opinion, better sounding, but in every other aspect I prefer the Ibanez Mikro, better upper frets access, reverse P pickup, smaller frets, and overall look of the Mikro as well (especially the matte black Weathered Black finish, with black hardware, version). But overall quality wise I think the Jackson Minion and Ibanez Mikro are very similar (the Mikro is made at the Cort factory in Indonesia, except the real early ones which was made somewhere in China, and for everyone who is familiar with Cort basses they know that means high quality all across the entire price spectrum, down to their cheapest budget models). The more recent production Mikro's, unlike the earlier ones, comes with contoured/rounded off neck joint, real metal pot knob, and shielded wiring. The Jackson does though feature a graphite enforced neck, but the neck on my Mirko is the most stable neck I ever had on any bass or guitar, it practically never needs adjustment, unless I change for significantly lower or higher tension strings. And my EMG Geezer Butler P equipped Mikro Bass sounds no short of amazing. In any case congratulations to OP.

They sound absolutely identical and work exactly the same way, use the exact same octave engine/algorithm and all, only difference is that the regular bigger version physically got a switch and an extra control knob, and is, well, bigger, obviously, but since the physical knobs available can be assigned to control any parameter you'd wish and as many you wish, at whatever range and rate, via the Toneprint editor, it isn't all that important, and totally irrelevant if all you need is one single permanent 1 octave up Toneprint and setting.

I am pretty sure it is. From his videos, playing, and just general appearance, he always stroke me as a huge old school fusion jazz fan.

In that case, yes, the Quint Machine, as far as I am concerned, would be your best option. @makab Edit!!!: But if you have the courage to customize your own Toneprint, via the Toneprint editor, on the TC Electronic Sub'N'Up I don't think there is any other octave pedal on the market that can get as close to a neutral/authentic sounding octave up on it's own. I could even instruct you in how to do so, if you decide for this. On the other hand the T-Rex Quint Machine does sound good, additionally give you the option of a 5th up, and its 1 octave down works better as well.

Out of those the T-Rex Quint Machine, but personally I am really satisfied with the TC Electronic Sub'N'Up Mini, the latter does kind of require of you to not be afraid of making your own custom Toneprint in the Toneprint editor (if you do though I don't think there is any other octave pedal on the market that can get as close to a neutral/authentic sounding octave up on it's own). That is for an as neutral and authentic sounding octave up sound as possible though (even if pitching up your signal a whole octave is always going to sound somewhat artificial), but if you don't mind it sounding somewhat more organ like, then the EHX Micro POG.

And the bass with a tuba!

Looks blue to me.

Very unlike my usual style of composing, a somewhat psychedelic jazzy instrumental, with first takes improvised guitar and bass recorded on top of a backing track of programmed drums/percussion, synth and bells : Composed, programmed, recorded, mixed and mastered in a matter of just a couple of hours.

Admittedly I haven't tried the real Ampeg SVT212 AV cabinet in person, but my preferred IR cab sim for my "amp-less" setup is of that cabinet. That said it will very much be a matter of personal preferences, and I would advice against just getting any random 210 cab, and ideally checking it out in person before buying, second best do a search and check out some YouTube demos, as every cab will sound different and have a rather big effect on your tone.

That's because Attack whenever we are talking compressors really means attack time, so a long attack time = a slow attack, as it sets how long it takes for the compressor to kick in. Also a maxed knob/potentiometer will always mean as far to the right as it can go.

Yeah, agree, too trivial, I would rather have had him doing something like this:

What is the best FB group for Metal?

He is clearly talking about the control knob labeled "Attack", hence the capital letters. That is crank it.

Well, nothing new about the nuances of language being lost to some people, or the lack of ability to think abstract. And I am not even a native English speaker.

Luckily I don't know any people who plays any of those, or ever played with any (well, except for when I was playing guitar in the local music school band years ago), and programing trumpets and horns on the computer doesn't have this issue. Also I do have a bit of an aversion against saxophones (unless played by Peter Brötzmann), clarinet can sound quite nice though, and I do love and make quite a bit of use of French and English horn, and especially trumpet, in my compositions.

Dynamite - Stina Nordenstam

Where Is My Mind? - Pixies

I never slap, but as my setup is an "amp-less" setup I make use a FRFR PA speaker when not going through a full PA system, which naturally got a tweeter (1.7" high mids/treble tweeter, 15" bass woofer/mids driver) to be able to reproduce the full frequency spectrum (and I do believe the crossover of the FRFR PA speaker that I use is at about 2kHz or so, referring to Bill Fitzmaurice post above this one). However I also make use of an IR cab sim, but while that cab sim is actually also of a bass cab that does feature a tweeter, namely the Ampeg SVT 212AV, looking at the frequency response the high end roll off of that IR does start at about 5kHz, with an abrupt steep decline at about 7kHz, as well as the LPF of the IR loader I use is activated with a cut off point set to at just about 14kHz, so the really high treble content of my signal is reduced significantly anyway. Having this expanded frequency range, compared to say a cab with a single 15" driver and no high frequency tweeter, results is a more natural/balanced, less bloated, tone, with more clarity and better definition, and a nice amount of snap and bite, but without it getting thin or shrill in any way.

I am not talking about IR loaders, but the actual IR files, so what is your favorite IR cab sim file, and why? Also please include how you use it, and which IR loader(s) you use. Mine is the stock Ampeg SV212AV IR cab sim that comes with the NUX Melvin Lee Davis Bass Preamp + DI. And even though I additionally use quite a bit of EQ'ing to get the tone that I want I simply can't seem get there with any other IR I've tried. My setting on the NUX MLD Bass Preamp is as follows: Aguilar Tone Hammer amp emulation Low Shelf @ 40Hz ~+6dB Mids with a rather broad bandwidth @ 398Hz ~+10dB High Shelf @ 4kHz ~+1dB Ampeg SV212AV IR cab sim HPF @ 40Hz LPF @ 13947Hz Further more I have an always on subtle low gain overdrive, from the build in drive section of the preamp, dialed in, blended with parallel clean signal at a 50/50 ratio. And the signal chain that makes up my basic "clean" tone looks like this: Buffer -> EHX Black Finger (tube driven optical compressor, though with just a very subtle compression dialed in, primarily used as a tube preamp stage, with the tubes driven to just on the verge of breakup) -> Zoom B1Xon (digital multi effect, among other stuff handling the subtle reverb that is part of my basic "clean" tone, which consists of a very subtle plate reverb stacked into a subtle spring reverb) -> NUX Melvin Lee Davis Bass Preamp + DI (with settings as listed above) -> ART Tube MP Project Series (tube preamp and DI, with the tube driven to just on the verge of breakup, and with the build in fixed @ 40Hz HPF engaged) I would describe the tone as very well balanced, open and articulate, natural, clear and well defined, with a nice amount of punch, snap and zing, but still with a certain warmth and harmonically richness to it, the latter two qualities though probably especially thanks to the tube preamp stages in my setup. And I simply can't seem to get the same amount of clarity and definition and as natural and balanced a tone with any other IR I've tried. A lot of the other IRs I've tried tend to sound somewhat either bloated or thin in comparison.

I think it looks passive aggressive...

Even if prices on some of these has increased slightly as well recently, stressing slightly that is, good thing we still got Harley Benton. When that is said I kind of like the non matching bare wood headstock on the insanely overpriced "budget" Sterling by Musick Man.

I used to hate flatwounds, just like OP, but while they are definitely not my preferred cup of tea I've finally have come to terms with that they do have their place, especially on fretless basses. Though it's still more a case of me having learned to appreciate the kind of tone other people get out of them in the right context, rather than actually enjoying using them myself. If I really need that kind of tone for a composition/production I just palm or foam mute my roundwound strings and apply some extensive EQ post production. With the right treatment you can make roundwounds sound exactly like flatwounds, but it is impossible to make flatwounds sound exactly like rounds.

I would imagine them tone wise being similar to single coil '51 P Bass pickups, by the look of them.