Baloney Balderdash

It was TB, and he ended up getting kicked, then came back several years later, and ended up getting kicked again, together with me, after several heated arguments.

You know nothing Oliver Blackman.

How do you expect the nut to sit any lower than the strings basically touching the wood of the headstock? Also it seems to me that you haven't set the witness point, that is the strings bending at an abrupt angle at the nut rather than sitting like in a soft bow that causes the strings go upward in a bow in front of the nut, rather than siting flat in the nut slots. Apply pressure from two fingers at the same time on the individual strings respectively just behind and just in front of the nut to set witness point, and see if that helps. Unrelated to this issue the way you wrapped that string around the tuning peg doesn't look sustainable from a tuning stability perspective.

I mostly use the traditional index + middle finger 2 finger plucking style, but more so stroking the strings with the outmost edge of my fingers/nails, in a slight inwards slapping motion, rather than really striking or pulling the strings, and I am working on incorporating the ring finger as well, currently the ring finger is almost exclusively used when I have to do the gallop thing, but I also make frequent use of thumb + index + middle finger classical acoustic guitar finger picking style technique, double thumbing, and index and/or middle finger flamenco guitar style finger flicking technique, depending, all techniques with their own advantages and difference in fell and tone. I also occasionally use pick, either a Dunlop Tortex .60mm or a Wedgie Soft 3.1mm rubber pick, depending.

Jeff Berlin is also strongly against the use of metronomes when practicing, but otherwise has some rather reactionary old fashioned views on the subject of learning and teaching. Of course neither takes away from his indisputably absolutely astonishing chops on a bass, but I would personally hesitate taking advice from him. That said Cort instruments in general are incredible value for the money, even the cheapest budget basses leaving their factories are genuinely great instruments.

Brand New Love - Sebadoh

I got some serious GAS for the fretless version of the Harley Benton Beatbass FL, Beatles/Violin Bass, and will no doubt buy at some point, would become my first fretless. This demo starts out straight from the box and straight DI without any further processing of the signal: The fretboard is treated Amaranth (Purple Heart), which is very close to being as hard and stiff as Ebony. Unlined, but got dots on the side of the neck marking where the frets would be.

This! Well except I've never played in a cover band, and was born in 1976.

https://reverb.com/news/did-leo-fender-invent-the-electric-bass

Out of curiosity though, what is that F2 factory preset favorite of yours?

Sorry, but to be perfectly honest with you I am not a big fan of that generation of Zoom effects either. Been a long time since I owned one, but as far as I recall it sounded horrible, even worse than the current G1 Four and B1 Four, but some of the same kind of that plastic like artificial boxy vibe to it's tone as those, and got the same issue with limiting tweakability. Maybe I really ought to have just made this a general Zoom effect thread, and live and let live, but there is a reason I picked the specific multi effect models listed as I did.

So this is the thread to share you pictures, thoughts and patches for the precious generation of Zoom digital multi effect, which includes the still in production Multi Stomp pedals, that is the MS-50G/MS-60B/MS-70CDR/G1on/B1on/G1Xon/B1Xon as well as G3 and B3. I made this thread because I love these cheap multi effects, and think they are superior to the current production G1 Four and B1 Four and the digital effect models these comes with, I do actually own both of these newer generation Zoom multi effects, but to me they sound as they look, plastic like/artificial and somewhat boxy, and the possibility for tweaking the effects are limiting in comparison with the previous generation of Zoom multi effects. For one the effects are way more flexible and tweakable, and the G1Xon and B1Xon allows for assigning every one parameter of any one effect of each path to be controlled at whatever range and direction one should wish with the great build in expression pedal, or it can be set to control either pre effect input level, or post effect output level, as well (and again range and direction can be set to whatever one should wish), and that without taking up an extra effect slot, whereas the expression pedal of the G1X Four and B1X Four is limited to only work for a handful of dedicated expression pedal controlled effects. Further more with these precious generation of Zoom multi effects you can, via a 3rd party unofficial effect manager/firmware hack called "Zoom Effect Manager", load any effect you should wish from any of these pedals to any other of these pedals, opening up for a huge library of effects at your disposal (something Zoom in my opinion ought to have offered themself long ago. This app doesn't work for the G3 and B3 though). Admittedly the octaver/pitch shifter, drive and amp/cab models on these units leaves something to wish for, and are in my opinion pretty awful, but just about any other effects on them are good, some even great or amazing. I personally own no less than 4 of these effects (beside the current generation G1 Four and B1 Four, which I am pretty sure I will never use again), all loaded with the same effects, thanks to the mentioned 3rd party firmware hack program, an MS-70CDR, a B1Xon, a G1Xon and a G1on, and currently actively using the B1Xon in my current main setup, mainly as my reverb effect unit, with a variety of different reverb patches, including in a huge lush reverb that is used as a swell in pad effect, using the build in expression pedal to control the input volume), though the patches I have set up also includes a trippy reverse delay patch, and a LPF envelope filter based "wah" pedal patch, controlled with the build in expression pedal, among the patches I use. The B1Xon is even one of my absolute favorite effects, out of all the effects I own, probably only beaten by my EHX Black Finger. I'll start out with sharing the subtle reverb patch that is part of my basic always on "clean" tone, a very subtle plate reverb stacked into a subtle spring reverb, which I actually think sounds pretty amazing (surely much much better than anything I could get out of the G1 Four or B1 Four I own, and believe me I tried, and even gave them several chances), I'd say as good as any good reverb, and absolutely perfect for my use : - Effect 1: "Plate" : / PreD: 10 / Decay: 33 / Mix: 25 / Color: 45 / LoDMP: 80 / HiDMP: 85 / Trail: On / Level: 100 / -> - Effect 2: "Spring63" : / DWELL: 25 / MIXER: 15 / TONE: 50 / LEVEL: 100 /

I've noticed that probably 90% or so of all the music I write on bass will be in the key of either the lowest or second lowest open string, on a regular E standard tuned 4 string bass that would be in either key of E or key of A, and with a small favor towards A. I am curious as to whether anyone else have this habit of gravitating towards making riffs on your bass in either E or A (or whatever your two lowest strings are tuned to)? I'll estimate that for me it probably looks something like this: 45% in key of A 35% in key of E 10% in key of D 10% other keys This by the way seems to translate to when I am composing on computer using midi programming as well. The key might modulate during the compositions but for the main parts this seems to be pretty consistently true.

There is, yes. So you can really only use the drive, either as an always on effect, as an integrated part of your always on basic "clean" tone, for a tube like grid, or as a dirty boost function. Personally I don't mind though, as I think it adds a really nice touch of tube like harmonic richness and subtle grid as a part of my always on basic "clean" tone. But yes, not really useful as a unity gain drive effect that can be switched on or off as you wish. Edit!: I remembered incorrectly, at least at the setting I use, there actually isn't a notable volume jump between drive being engaged or not.

"3 strings are enough" is somewhat of a bit less credible quote from a man who is known for playing a 12 string Chapman Stick.

I rest my lower part if my arm on the contoured part of the upper body of the bass above the bridge, and then of course when I am palm muting the edge of my hand on the bridge saddles.

It is an important aspect for understanding how and why Fender and their instruments came to be, are what they are, why they are what they they are, and why they gained such popularity over other similar offerings on the market. Hellzero pointed out I was wrong in this observation, which I don't believe I am, hence my reply to that. And this is relevant because it originally was a reply to someone asking a, I think relevant, question in this thread, related to the topic of it.

When I say businessman I am talking about a mindset, not a profession. Yes, Leo Fender very much had the mindset of businessman, which as far as I am concerned made him a businessman, as I am pretty sure the businessman is not an academic tittle. You might as well has claimed that Bill Gates was not a businessman but a computer programmer. While it is true that his profession is computer programmer, and Leo Fender's profession was a radio repairman, they is/were undeniably first and foremost businessmen. One does not rule out the other in any possible way. Just like someone haven a small goaty does not rule out them having a giant swirly mustache.

Imagine someone asking a violinist that same question... That said Billy Sheehan knows perfectly well how to play 5 and 6 string bass, and does in fact also do so on some recordings. But I guess his point is that it is not like playing a 4 strings bass exclusively will ever make you run out of musical possibilities or that it will ever prevent you from developing your playing further or yourself further as a musician, that it is in fact not really musically limiting in any way or makes you any less of a musician (hence my initial reference in this reply to a violin player).

Why it went extinct.

So you play 9 string bass?

Hey Fat Boy (A**hole) - Ween

4 plus times one half is 6 I know as little, I know just this Now to the matter at hand When it comes to a band It's a matter of simple supply and demand So when it's all hands down to the beat Who cares about the number of strings? As long as your fingers move to the rhythm of the feet

Great! Not sure I approve on having fun with a gun though. Also his name was John, not Jacob, though known as Jaco.