Baloney Balderdash

3 hours ago, kwmlondon said:

This. This is the picture.

 

I saw the video of Lizzo - I think she's fantastic and her music is great. Ian Allen did a breakdown of the bassline in About Damn Time asking if it was one of the best of all time 

 

SBL lost it's credibility long ago.

Down to Ian's scribed gestures and facial expressions, and all the way down to his very fake laugh.  

The world has enough bad actors as it is.

This is just a way to get clicks from Lizzo fans, cause she's popular.  

2 hours ago, hemdee666 said:

Hi, what’s the organiser-app you used? Hugely interested to re-organise my overcrowded pedal board. Grtz, Marc. 

This is the one I used: https://www.pedalplayground.com/

Everyone I Went to High School With Is Dead - Mr. Bungle

4 minutes ago, Rayman said:

They’ve tried to redesign to allow better upper fret access. Personally I never go above the 12th fret.

I for one appreciate that.

I don't know what it is with Fender and 19 frets necks with the last 3 frets sitting on the body, being inaccessible.  

7 minutes ago, Jean-Luc Pickguard said:

I've just recalled what they remind me of — Those folded faces that were a bit of a meme a while ago

 

 

Isn't that only because you see a "not Fender Jazz" Bass, rather than an unique instrument/model in it's own regard?

I think it looks great!

Certainly better than a traditional Fender Jazz Bass.

Cool!

I 100% approve on trying to bring the Sunn amp brand back.

But when that is said, as many already pointed out, at those prices for those kind of specs definitely something I'll even consider, and I doubt they are going to stay in business for long.

If I should ever want the Sunn amp sound at some point I'll buy one of the many Sunn preamps on the market from smaller builders, maybe even one with tubes, I know a couple like that that are quite reasonably prices, an allegedly pretty amazing.

On 12/08/2023 at 15:09, scrumpymike said:

The distance between the bridge and bottom strap button will position the fretboard close to where it is on a standard scale length.

Yes, just like the new Squier Paranormal Rascal Bass (and the old original Fender Rascal Bass for that matter).

Which I think might have been the exact point with suggesting the Rapier as being an alternative to the Rascal Bass (beside them both having a similar bridge + neck humbucker pickup configuration, and being in just about the same kind of price class as well).

Though the Rapier is 31" scale length, while the Rascal is standard 30" short scale.

3 hours ago, Woodinblack said:

Isn't it just one of the pickups of the gretsch g220 that he actually made his name with but is to cheap to make much money from?

3 hours ago, Dazed said:

I don’t honestly know, but repros by The Creamery, Stonewall and Curtis Novak certainly aren’t cheap

This is what it says about the other smaller G2220 Electromatic Junior Jet like bridge pickup on the page that the link in the OP leads to:

So it's a custom humbucker by Fender themself.

At the moment I am in the process of a complete rearrangement of my pedal setup, which is part of my "amp-less" setup, but this is how it most likely is going to end up (I have used an online pedal board organizing app to do this, it was lacking some of my pedals, so I have used the ones that had the closest resemblance to the actual pedals of mine missing, and numbered those, so I could list what they represent):

1 : Danelectro FAB Metal

2: EHX Black Finger

3: HoTone Trem

4: Mosky Black Rat

5: Mosky XP Booster (secured under the pedal board)

6: XVive Undulator (secured under the pedal board)

7: Monarch MFL-22 Stereo Flanger

8: Joyo Oxford Sound

9: ART Tube MP Project Series (the picture doesn't resemble this ART tube preamp at all, other than by approximate size)

10: Behringer VP1 Vintage Phaser (this is a picture of the correct pedal, just partially covered by a pedal that is to be secured under the board)

11: Zoom B1Xon

Quote

 

My entire signal chain explained in written form  (currently in the process of rearranging my setup, following is the most likely outcome) :

 

(*pedals listed in [ red/bold/underline text ] are "always on" effects*)

 

 

4 string 28.6" scale Ibanez GSRM20 neck + GSRM20B body Mikro Bass (equipped with an EMG Geezer Butler P pickup, and strung with Elixir Nanoweb coated nickel-plated roundwound hex steel core guitar strings, gauge .068 - .052 - .038 - .028, tuned in tenor bass, A standard, tuning, that is as the 4 upper strings of a 6 string bass in regular B standard tuning) ->

 

->> XVive Undulator (tremolo pedal, but never actually engaged and used exclusively for its great buffer) ->> 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, driven to just at the edge of the tubes's breakup point, but with some very subtle compression dialed in as well) ->> TC Electronic Sub'N'Up Mini (used exclusively for an 1 octave up effect, delivered by a custom made Toneprint, dialed in to mimic an 8 string bass/12 string guitar, to fill out more sonic space, mostly used in conjunction with my high gain distortion setup) ->> DigiTech FreqOut (feedback generator) ->> Boss LS-2 [A+B Mix <-> Bypass] (parallel effect loops mixer/switch) ={ [Loop A Send] ->> Monarch MFL-22 Stereo Flanger (sometimes stacked into the HoTone tremolo in front of it, and always mixed with either clean signal or the Behringer phaser from parallel effects [Loop B]) ->> HoTone Trem (tremolo, sometimes used with the Monarch Stereo Flanger behind it stacked into it, and always mixed with either clean signal, or sometimes the Behringer VP1 Vintage Phaser, from parallel effects [Loop B]) ->> [Loop A Return] ->|+|<- [Loop B Send] ->> Behringer VP1 Vintage Phaser (clone of the original big box EHX Small Stone phaser, used with Color switch engaged for deep sweep and high resonance/feedback, and always mixed with the Monarch MFL-22 Stereo Flanger from parallel effects [Loop A]) ->> [Loop B Return] ([Loop A] + [Loop B] mixed at an approximate 50/50 ratio) => [LS-2 Output] }=>->> Boss LS-2 [A+B Mix <-> Bypass] (parallel effect loops mixer/switch) ={ [Loop A Send] ->> Mosky Black Rat (RAT clone, in Turbo RAT, LED diode clipping, mode, quite raunchy, fuzz-esque, high gain distortion, always used mixed with the {Orange Juice -> Metal Zone} from parallel effects [Loop B]) ->> Behringer SF300 Super Fuzz (Boss FZ-2/Univox Superfuzz clone, octave fuzz, always mixed with either clean signal, or {Orange Juice -> Metal Zone}, from parallel effects [Loop B]) ->> [Loop A Return] ->|+|<- [Loop B Send] ->> Joyo Orange Juice (Orange amp like overdrive, dialed in to deliver a low gain overdrive, always used stacked into the Boss Metal Zone in front of it, and mixed with the Mosky Black RAT from parallel effects [Loop A]) ->> Boss MT-2 Metal Zone (distortion, dialed in at a rather moderate gain setting, always used with the Orange Juice behind it stacked into it, and always mixed with either the Mosky Black Rat, or sometimes the Behringer Super Fuzz, from parallel effects [Loop A]) ->> [Loop B Return] ([Loop A] + [Loop B] mixed at an approximate 50/50 ratio) => [LS-2 Output] }=>->> Zoom B1Xon (used predominantly as reverb unit, with various different reverb patches, including the always on {very subtle Plate Reverb -> subtle Spring Reverb} reverb patch that is part of my basic "clean" tone, and an extremely thick, lush reverb patch, used as a pad effect with volume swells from the build in expression pedal, though also used for a couple of additional effects, including a prominent "wah" pedal patch and a trippy reverse delay patch) ->> Danelectro Fab Metal (post reverb high gain distortion, often used stacked into the Orange Juice in front of it) ->> Joyo Orange Juice (post reverb medium gain distortion) ->> Behringer VD400 Vintage Delay (clone of the Boss DM-3 Analog Delay) ->> NUX Tape Core Deluxe (amazing digital emulation of the legendary Roland RE-201 Space Echo tape delay) ->> NUX (NBP-5) 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) ->

 

->> ART Tube MP Project Series (tube preamp and DI, with build in HPF, fixed @40Hz -12dB/Oct, engaged, tube driven to just on the verge of breakup point) ->

 

// ->> Band rehearsal/jamming/gigging  // ->> Home practice // ->> Home recordings //  : 

 

// ->> Band rehearsal/jamming/gigging ->> Effects Return (poweramp input) of a Peavey Solo Special 112 (160W combo amp, with the build in speaker disconnect and instead hooked up to a passive PA speaker) ->> The Box PA 502 (passive full range flat frequency response PA speaker with 1x 15"  woofer/mids driver + 1.7" high frequency tweeter horn) // ->> Home practice  ->> The T.Mix Mix 502 (mixer) ->> Sennheiser HD 380 Pro (studio grade, that is FRFR, headphones) // ->> Home recordings ->> M-Audio Fast Track (audio interface) ->> Reaper (DAW) //

And this is what my temporary setup looks like currently, until I have the full setup proper pedal board sorted again:

19 hours ago, Dazed said:

So if it’s in a similar location and isn’t as boomy as the original tele pickup it has to be a different pickup. It can only be the pickup or location changing the sonic output. 

Yes, that's exactly what I said in my initial reply to you:

On 10/08/2023 at 23:21, Dazed said:

I wonder if that’s an actual remake of an original Telecaster wide range humbucker or the later one that’s more muddy, like you get on the re issue Tele’s they’ve released over the years. 

On 11/08/2023 at 00:09, Baloney Balderdash said:

Likely the ones they use for the new Paranormal Rascal, which doesn't sound muddy at all, but actually pretty nicely well defined and articulate.

As in the ones they use new for the new Paranormal Rascal Bass is not the same pickup, since it doesn't sound muddy at all, but actually pretty nicely well defined and articulate.

10 minutes ago, Rayman said:

Cheers mate. Yeah, it was lighter and browner before the wax..... but I like dark fingerboards, ideally ebony, but if not as dark as possible. I'm not keen on the Indian Laural board on my Epiphone Newport.... but I can live with it. 

 

Mate, if you have some TIs, I'll take those, they're my favourite. TI flats or D'Addario Tapes are my choice at the moment. I can live with the coloured silks.

Ebony can be brown with white/grey figures, Macassar Ebony often is, just like it, at least looks like, on the pictures you posted of your bass before you treated the fretboard.

I don't think it is Ebony though, but it looks even less like Pau Ferro, in fact nothing like Pau Ferro, at least not on those pictures (I realize though that it might have looked differently in person than on the photos).

I personally think it looked very unique and beautiful (again at least on the pictures), but hey, it's your bass.

4 minutes ago, Stub Mandrel said:

That's not a solder blob.

 

Your bass has manifested the spirit of Phil Lynott.

 

Fit a mirror pickguard immediately!

 

This changes everything!

Call whatever the British equivalent to FBI is immediately!

This is an X-Files!

And who knows, this Phil Lynott rash might be infectious and spread! 

On a completely different note, it's quite an odd spot to drop a blob of solder.

Not in any possible way suggesting that he did it on purpose, that would make even less sense, just genuinely can't wrap my head around how it could possibly end there.

40 minutes ago, TheGreek said:

By treating the fretboard did you lose the patternation ?

It looks very close to black - are you sure it isn't Ebony?

It does look like the figures in the wood are gone, which I otherwise thought looked very unique and beautiful.

Also, judging from the 2 pictures OP originally posted, it definitely looked a lot more like figured Ebony than Pau Ferro, as otherwise suggested by OP, but honestly I don't think it really looked like neither. 

15 minutes ago, Dazed said:

That could be as much about pickup

placement than the actual pickup. 

The Paranormal Pascal got a neck and bridge pickup, I would think the neck pickup would have been more boomy, which doesn't seem to be the case, than this middle position one, if it indeed is the same pickup.

So no, not really, not in this context.

Though pickup placement does have a rather big impact on tone in general.

1 hour ago, Albert Derrida said:

I like mine but I find the "Drive Select" switch veeeery subtle.

I would think it would naturally be so on relatively lower gain and/or relatively higher clean mix settings, and be more prominent and obvious the more gain and the more drive is added to the mix. 

Also I would think the difference between respectively the mainly even and mainly odd harmonics drive settings to be most obvious (forgot which drive setting number is what).

What are acrylic's toneplastic properties? 

Embrace the change and apply more solder blobs to make it a thing!

As the Chinese proverb goes: “When the winds of change blow, some people build walls and others build windmills.”

3 minutes ago, BassAdder60 said:

In fairness Supernaut was correct I had tried Rotosounds so I don’t think he had driven to Suffolk and entered the manor to rummage through the trash ! 

Well, that's the point of the joke, isn't it?

He had been going through your trash and found a used Rotosound string bag, and now hold you responsible for it. 

How else would he know? 

7 hours ago, Supernaut said:

What are you on about, Riki?

I am pretty sure that was a joke, referring to the fact that your initial reply, if hypothetically assuming it was written with an inquisitive intention, could make it look like as if you had been spying on/keeping a record of OP's posts here on the forum, humorously illustrated by you systematically digging through his trash on a regular basis, to dig up, well trash, about him, and meticulously noting down your findings.

That looks beautiful! 

What is the fretboard wood, interesting, and actually in my opinion great looking, figuring/grain?

I trust you know what you are doing and I am not familiar with Monty's Fretboard Conditioner, but just in case you don't, you do realize regular mineral oil based fretboard conditioner (often sold as lemon oil, which it is not (and shouldn't be either as that will go rancid)) can make the wood soft if you apply too much and/or too often, which you definitely wouldn't want, especially not on a fretless bass, right?

Regular mineral oil based fretboard conditioner should be applied very sparingly, something like just a couple of a drops, literally, for the entire fretboard, distributed and rubbed in and then excess immediately after wiped away, and you should never let it soak, as otherwise it potentially can make above happen.

It makes it look pretty, and nothing else, you wouldn't want moist wood, there's a reason that you dry wood for a long time before you use it for a guitar build, and that roasted Maple is more stable than regular untreated Maple.

47 minutes ago, Dazed said:

Depends how they do it, I can’t say I’m a fan of shuffling the bridge 2” further up the body. 
 

I wonder if that’s an actual remake of an original Telecaster wide range humbucker or the later one that’s more muddy, like you get on the re issue Tele’s they’ve released over the years. 

Likely the ones they use for the new Paranormal Rascal, which doesn't sound muddy at all, but actually pretty nicely well defined and articulate.