Jump to content
Why become a member? ×

Baloney Balderdash

Member
 View Profile  See their activity

  • Posts

    4,082

  • Joined

  • Last visited

 Content Type 

Everything posted by Baloney Balderdash

  1. Baloney Balderdash
  2. Baloney Balderdash
    This is one of my all time absolute favorite doom rock/metal tracks: And this one, with J. Mascis from Dinosaur Jr. on drums, is great too: Not sure if this could be characterize as doom, but it is an amazing track regardless:
  3. Baloney Balderdash
    Say what? What on earth is this exactly supposed to mean? You jumped on the bass, and /it fell?/ or /you threw it?/ down some stairs, because the top string had fallen off (snapped?) mid show, which split the body of the bass in half? (is that it?) I am not trying to be snarky here, just genuinely can't make any sense of that sentence whatsoever.
  4. Baloney Balderdash
    Do I get part of your advertising money for this?
  5. Baloney Balderdash
    Do I get a share of your advertising money for this?
  6. Baloney Balderdash
    And extraordinarily poor upper frets access.
  7. Baloney Balderdash
    Make that: XVive Undulator (tremolo, but never actually engaged, used exclusively for its great buffer, or any decent buffer really) -> EHX Black Finger (tube driven optical compressor, with 2 preamp tubes operating at proper high 300V plate voltage, mainly used as a tube preamp stage though, driven to just at the edge of the tubes's breakup point, but with some very subtle compression dialed in as well) -> Zoom B1Xon (mainly used as reverb unit, including the {very subtle plate reverb -> subtle spring reverb} patch that is part of my basic "clean" tone, so even though it technically is a multi effect, I would be satisfied with just that patch, which i guess could make it count as just a single dedicated reverb pedal) -> NUX Melvin Lee Davis Bass Preamp + DI (loaded with a digitally emulated Aguilar Tone Hammer amp, and an Ampeg SVT-212AV IR cab simulation, with a subtle low gain overdrive blended in at a 50/50 clean/drive ratio) Which is what makes up my basic "clean" tone and is the core of my current "amp-less" setup (bar ending with the NUX MLD Bass Preamp going into an ART Tube MP Project Series (tube amp and DI, which I suppose technically isn't a pedal, so suppose I could have that too without breaking the premises of OP?), which I am extremely satisfied with. This is for my main instrument of choice, a just 28.6" scale Ibanez Mikro Bass, with its stock pickups pulled out, and just the reverse P pickup replaced for an EMG Geezer Butler P, which I use in tenor bass tuning, that is A standard tuning, as in the 4 upper strings of a 6 string bass tuned in regular B standard tuning, and strung accordingly, with Elixir Nanoweb coated guitar stings, threaded through the cut off ball ends of old bass strings for the strings not to fall through the bass bridge string mounting holes, of the gauges .068 - .052 - .038 - .028.
  8. Baloney Balderdash
    If you don't mind it weighting about a ton and it is reasonably priced (these old solid state Trace Elliot amps shouldn't cost much) I'd say get it for all the world! I never had a better bass tone than when I still had my old solid state Trace Elliot amp, and mind I owned one of those sought after legendary all tube Ampeg B-15S amps (the S model being the highest wattage of the B-15 amps, which delivered 60W, just exactly enough power for band rehearsals with a rock band and for playing up small bar sized venues without additional PA support needed) as well at some point. I very much regret being stupid enough to sell both, but at least it would be easy to find a new old Trace Elliot SS cheap used, a B-15S not so much, both rare and expensive to find used.
  9. Baloney Balderdash
    Indeed interesting. Just measured the reverse split P pickup on my Ibanez Mikro Bass. But since the Mikro Bass is just 28.6" scale length, and since 10" would be 1/3 of a 30" scale length bass, the equivalent measurement for the Mikro Bass, 1/3 X 28.6", would be ~9.5". And the middle of bass side of the reverse split P pickup pole pieces turns out to be at just about 9.6" measured form the 12th fret, while the treble side is at just about 8.3". So really close as well.
  10. Baloney Balderdash
    Well, that would be the obvious assumption, since that is exactly what music theory is a precondition for, and what is usually is good for, however that is not exactly what OP claimed, which is more in line with what I stated above. Music theory is an analysis of music.
  11. Baloney Balderdash
  12. Baloney Balderdash
    To play bass, which later was specified to "really" play bass, or some such nonsense, but without quotation marks.
  13. Baloney Balderdash
    And more specifically on topic: You pluck too light if there's too little power to get the strings to vibrate and sustain properly, that said this, at least if you pluck with the precision required, happens at an almost ridiculous light touch which would be very obvious. Of course you should however also pluck sufficiently precisely, which is probably of even greater importance for a proper result than the mere force you pick with, and with sufficient force, so that there is still dynamic space to go quieter and lighter without the above example happening.
  14. Baloney Balderdash
    WWJBD?
  15. Baloney Balderdash
    I think you misinterpreted my reply, if not right out ignoring parts of it, as far as I am concerned there is nothing wrong with responding to people's comments in a thread, rather than videos posted, although I am sure you are happy for the coins you get from people clicking it (if you didn't want people to comment on anything but the video, you could just have posted the video and spared your strongly opinionated write up as to why you made the video, which apparently now, according to yourself, is irrelevant, despite you choosing to post it ). Sure we all have biases, but sometimes it is a healthy exercise to at least try being objective, and actually challenge our own closemindedness. Only presenting facts that supports your opinion is not very objective and a rather lazy attempt, if even an attempt at all, to side step bias. If you had honestly actually at least tried to be objective, as your video title promise, you would have digged up examples that could support the opposite viewpoint, which, remember, was not weather music theory is useful, which would be right out silly to oppose, but rather if learning music theory is a necessity to become/be a proper/"real" bass player. Your own premises, not mine, which unfortunately you do absolutely nothing to investigate or challenge in that video, despite choosing a tittle that promises so, rather than being honest, for which the only reason I can think of being to attract more clicks. But at least after all you still seem to have enough integrity left to have spared insulting your viewer's intelligence further by including big red arrows in the video thumbnail.
  16. Baloney Balderdash
    More - Low
  17. Baloney Balderdash
  18. Baloney Balderdash
    I'm Waving My [Richard] in the Wind - Ween
  19. Baloney Balderdash
    What Part of Me - Low
  20. Baloney Balderdash
    Those are the Max Grip Nylon ones, which will produce a significantly different, rounder, warmer, less snappy and clicky, tone, than the Tortex ones. Also the Nylon picks are considerably more flexible than Tortex picks of the same gauge. For instance the Dunlop .73mm Nylon pick will be more flexible than even the .60mm Tortex one. When not using a combination of different finger picking/plucking techniques to play bass I personally prefer either a Dunlop Tortex .60mm pick or a 3.1mm soft Wedgie rubber pick, depending, as obviously they produce very different tone respectively.
  21. Baloney Balderdash
    Come to think of it there might be a misunderstanding happening here, I think when you say musician you might be talking about being a professional instrumentalist, in this context bass player, and probably maybe even hired gun/studio bassist more specifically, while I am talking about being a real musician, by which I am mainly thinking in the context of being an original composer. Also your video is alright I suppose, although rather biased and one sided, seems like you pretty obviously right from the start, rather than exploring the subject, as otherwise promised by the title of the video being posed as a question, had a clear one sided mission of proving your personal opinion about it, so a more honest title for the video perhaps would have been "Why You Need To Learn Music Theory As A Bass Player", which again suggests that you were prioritizing making more people click your video over clear communication. When that is said I never really commented/replied to the video, but on what you otherwise stated in the OP and replies you posted in this thread. Threads tend to evolve and branch out from strictly being about the OP (original post), you can't really expect people to solely focus on the the OP (original post), and to an even lesser degree your personal main objective with the OP (original post), and not to comment on what else is being said in a thread, especially not if it is responses to what OP (original poster) otherwise posted.
  22. Baloney Balderdash
    Sorry, but I don't know how to possibly have a constructive conversation with someone who straight out ignores all my arguments/points. As I already stated in my first response to you I am not opposing that music theory indeed can be very helpful when playing and composing music, I am however opposing your patronizing statements of it being a requirement to be considered a "real" musician and to make "real" music, and, as I also think I actually already pointed out pretty clearly, I am pretty certain that I have music history, at least the more modern one, on my side in that argument. I don't need music theory to recognize and know what sounds great, and I don't need music theory to know, or at least be able to find out, how to make that sound happen. Neither do I need music theory to tell everyone else how to play, cause I trust they got ears too.
  23. Baloney Balderdash
    So what you are saying is my music is crap, and it is supposedly because I don't know enough theory? And I don't need to have a great insight in music theory to know what music theory means. Just like I don't need you to point out your insults to know them for what they are.
  24. Baloney Balderdash
    Plenty of highly skilled, acclaimed professional "amateurs" by your definition then, and I struggle to see how that is not supposed to be seen as an insult. And you still totally ignore my point that you can still make amazing music without basically knowing any music theory, just by practice and actually using your ears. The only thing you really need is having a great pair of ears and training them to be better, might be easier if you learn some theory too, but not in any way necessary/a requirement to make just as amazing great music as one who learned the names of they sounds they make. Art doesn't need to be explained to be understood, and that is exactly the beauty of it. Also as I already said H.C Andersen was a dyslexic and Einstein struggled with mathematics in school. Plenty of great visual artists as well who never had any formal schooling, even some of THE greatest in history, though I am sure some smug academic, in a patronizing tone of voice, would tell you why they are not really to be considered so, and how they are better than those themself.
  25. Baloney Balderdash
    I was basically replying to you strongly insinuating that you couldn't be a real musician without learning music theory, but seems you missed that, even if I think I made it pretty clear, by actually starting out with only quoting the bold underlined sentence of yours here: And now doing it again, apparently completely choosing to disregard my response:
×
×
  • Create New...