Baloney Balderdash

Is it though? What makes it super then? Doesn't is somehow chemically/physically bind it self to the surfaces it is applied to with a pretty strong bond? If you actually tried this yourself I of course will take your word for it.

And "amp-less" setup that will secure consistency of that, that is giving me approximately the same tone whether I practice at home though FRFR studio headphones, at band jam/rehearsal through a FRFR PA speaker, or at a venue through their PA system. Which happens to be what I use currently. And it looks like this on written form: As said currently in the process of completely re-arranging my setup, so only my always on pedals that gives me my basic "clean" tone, and the pedals that gives me my overdriven and distorted tones are currently set up, but this is pretty what it is going to look like (mind some of the pedals are place holders, as the online pedalboard manager app lacked some of the pedals in my setup): And this is my preferred instrument of choice: A 5 string Ibanez GSRM25 Mikro Bass, feauturing a just 28.6" scale length, Poplar body, and a Maple neck with a Jatoba fretboard, the stock neck J pickup have been disconnected, as it was faulty, and the stock bridge J pickup has been wired directly to the jack output socket, and it is strung with Elixir Nanoweb coated nickel-plated roundwound hex steel core guitar strings, gauge .080 - .062 - .046 - .036 - .026, tuned in tenor bass, G standard, tuning, that is as 3 half steps above the 5 upper strings of a 6 string bass in regular B standard tuning. I named it "Mr. Growley - The Noodlemancer".

Won't superglue fix that grub screw to the thread so that you won't be able to adjust it again?

Use your ears and adjust so that the output balance across strings. Numbers are useless, especially when not knowing what kind of magnetic pull your specific pickups exerts on the strings, and what strings you use. About 3mm low string side and about 2mm high string side with strings fretted at last fret is a good bet of a starting point though, but you would probably want to adjust downwards from there, to avoid too much magnetic pull on the strings, until the output across the strings is balanced. Note that the closer the pickups get to the strings the bigger difference in output and tone relatively to the adjustments made will be.

Hire an assassin and have them kill all your band mates as well as the guitar tech, just to be absolutely sure the accident doesn't repeats. Then get an appointment with a shrink to have him prescribe some strong antidepressant drugs to help you deal with the trauma of your tragic loss.

No, but it has to do with not everything Jaco did being the Godsend example for all mankind to follow blindly. And there is certainly no need for spamming this topic with quotes of my reply either. Context, fella, context, it was a reply to something, look at the quote above the reply you quote me for. Also I suppose dark humor is not everyone's favorite cup of tea, or to even get for that matter.

I Can't Put My Finger On It - Ween

He also only needed a butter knife to remove the frets of his bass, and got beaten to death after provoking a bouncer at a bar, neither of which comes to mind as something I would recommend anybody doing. There is more to life than partying, and certainly to music as well. Personally at least most of the music I create, and most of what I listen to as well, aspire to more than that.

Thanks. Well, I don't play in any band at the moment, and it is not really supposed to cover the role of a traditional bass. It's more of a low tuned melodic/chord instrument, and I plan to use it in various solo projects I got going, along side a regular bass. I am also working on a stoner/doom rock project that I named "all I nil", where the idea is that this bass, along with drums and vocals are going to be the main core instrumentation, with a bit of more flavor oriented instrumentation added, sort of covering both the role of bass and guitar, but really being something unique on its own, and I already wrote a couple of handful tunes for this project, where the "bass" parts and mostly the basic form of the songs are more or less in place. This is really what got me started tuning my 4 and 5 string Mikro Bass up like this, with above mentioned project in mind.

I just recently converted to playing my 5 string Ibanez GSRM25 Mikro Bass as my main instrument of choice, from my 4 string Mikro Bass, though having a just 28.6" scale length I have it tuned to G standard tuning, that is 3 half steps above the upper 5 strings of a 6 string bass in regular B standard tuning. So really closer to a baritone guitar tuning wise, but with only 5 strings, wider string spacing (16.5mm), and tonally really sounding more like an actual bass. I do however play it as you could perhaps imagine one would a hybrid between a bass and a baritone guitar. My point though being that, while I struggled a bit adjusting to it at first, eventually I actually really felt it a relief having that broader range on the fretboard vertically, and it really seems to make a lot of sense that you basically have 3 octaves within hand/finger reach, and gives a lot of freedom. Here it is, named "Mr. Growley - The Noodlemancer", by the way :

I must admit I liked how the reverse "Strat" jack socket looked, also seems to me that it would be more practical considering jack plug/cable insert. But it is your bass, so of course what matters is that you like it. The black hardware I agree with though, definitely suits it much better than I would imagine chrome hardware looked on it.

Lullaby - Low

Just to specify, the reason why the processing takes longer the lower the frequency of the incoming signal is is that the wave length gets longer the lower you go, so it takes slightly longer for the pedal to actually get a signal that it is able to detect/track as a specific note. So no matter how fast the processor and algorithm of the picthshifter is there is simply a physical limit to how fast it is possible for it to track.

The neck of the GSRM25 is 67mm, not 70, at the 22 fret, Ibanez's own specs: https://www.ibanez.com/usa/products/detail/gsrm25_02.html It has a 16.5mm string spacing, so just a question of reducing the string spacing at the bridge, and just doing so by 0.5mm, to 16mm, to gain the additional 2mm missing, easily doable with individual bridge pieces. To compare the 4 string Hofner Violin Bass only got a string spacing of 14mm at the bridge, so not like narrower string spacing than 16.5mm is completely unheard of and unplayable on a bass, and the 0.5mm reduction required to make it work will hardly do a huge difference in feel.

I don't know if it counts, but one of my ex-girlfriends used to carry around with a couple of those.

I am extremely satisfied with my Sennheiser HD 380 Pro studio headphones. Very faithfully neutral and clear reproduction of the audio source, which is what you would want from a set of studio headphones. Unfortunately they are not in production anymore, but suppose the Sennheiser HD300 Pro would be the closest current production equivalent. Those are not crazy expensive, 152£ at Thomann, but about the same I paid for the HD 380 Pro ones, from new, over 20 years ago. That said my ultra cheap (23£ at Thomann) Behringer BH470 studio headphones are surprisingly decent, even if they definitely far from have the same neutral flat frequency response and clarity, and there is a bit of a boost of the lower frequency spectrum. But on a very tight budget I would absolutely recommend them for practicing bass, if that was all that could be afforded (but would strongly advice against using them for music production/mixing).

I know this is not answering your question, but which headphones do you use? You would want them to be FRFR, that is higher end "studio" headphones (you should expect spending at least 120£ or so for a decent pair), not "Hi-Fi" ones.

All the more reason to get a Hotone Ampero II Stomp instead which is about 150£ cheaper, but, at least spec/processing power wise, superior: https://www.thomann.de/gb/hotone_ampero_ii_stomp.htm Or this for just about the same price: https://www.thomann.de/gb/hotone_ampero_ii_stage.htm

The Boss BD-2 Blues Driver works great for bass, and have a surprisingly wide range, from just on the edge of breakup, to a really grindy sort of high gain overdrive, and everything in between.

Of course, but to a considerably higher and much more essential degree so did playing in original bands with skilled musicians. Edit!: I think I misunderstand the question. Not music school, but public school. In that case the answer is a big fat absolutely definitive NO!

Buy a good bass mic and insist on using the miced signal, so that it actually sounds like you. If they can do that for guitars, they can do it for bass too. And a lot of professional bass players/soundmen actually does do this. As someone pointed out the sound guy is supposed to work for you, not against you or to his own whims. Yes, it is much easier for him to do the exact same routine on every single bass he encounters, but that isn't actually doing his job properly. Different bass players and bands do tend to have their own sound that defines them, they are not supposed to all sound the same, and a soundman who doesn't recognize this is a lazy hack who shouldn't have been given the responsibility over the PA system and mixer.

Call an exorcist!

Are You Shivering? - Coil

Prince Harry?