Baloney Balderdash

I don't have photo of my current setup, and still working on a complete rearrangement of my pedal board. This however is the pedals that makes up the basic core of my "amp-less" setup, that is the pedal signal chain that is responsible for my basic "clean" tone: Mosky XP Booster (clone of the Xotic EP Booster V1) -> 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) -> 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) -> Boss LS-2 [Loop A + Loop B Mix] (always on effects loop switcher/mixer) ->{ [Loop A Send] -> Joyo Oxford Sound (clone of the Tech 21 Oxford preamp pedal, which is an all analog emulation of an Orange type amp, including a simple analog cab sim filter, dialed in to deliver a low gain overdrive, and mixed with the NUX MLD Bass Preamp from effects [Loop B]) ->|+|<- [Loop B Send] -> 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, and mixed with the Joyo Oxford Sound from effects [Loop A]) => [Loop A Return] + [Loop B Return] (mixed at an approximate 1:2 ratio) => [LS-2 Output] }-> ART Tube MP Project Series (tube preamp and DI, technically not a pedal though) -> Gives me a really great vibrant and clear, but at the same time full sounding, mids heavy and very lightly overdriven, tone, and I could totally live with just that... Though, assuming my preferred "clean" tone was already being provided, next on my desert island pedal wish list would be the pedals that makes up my high gain distortion setup, which then would be placed after the EHX Black Finger in the above listed signal chain, looking like this : -> TC Electroni Sub'N'Up Mini (digital polyphonic octaver, exclusively used for a custom made 1 octave up Toneprint, always used stacked into the high gain distortion setup/signal chain in front of it) -> Boss LS-2 [Loop A + Loop B Mix] (effects loop switcher/mixer) ->{ [Loop A Send] -> Mosky Black Rat (RAT clone, in Turbo RAT mode, dialed in to deliver a high gain distortion, mixed with the {Joyo Orange Juice -> Boss MT-2 Metal Zone} from effects [Loop B]) ->|+|<- [Loop B Send] -> Joyo Orange Juice (Orange amp like overdrive, dialed in to deliver a low gain overdrive, either used alone, mixed with clean signal from effects [Loop A], or stacked into the Boss Metal Zone in front of it, and mixed with the Mosky Black RAT from effects [Loop A]) -> Boss MT-2 Metal Zone (dialed in to deliver a medium gain distortion, always with the Orange Juice behind it stacked into it, and always mixed with the Mosky Black RAT from effects [Loop A]) => [Loop A Return] + [Loop B Return] (mixed at an approximate 4:5 ratio) => [LS-2 Output] }-> Which delivers a monstrous ballsy, raunchy, fuzz-esque, and massively heavy high gain distortion tone, which though is still surprisingly well defined and articulate. Next on my wish list would then be my NUX Tape Core Deluxe pedal, which is a pretty amazing digital emulation of the legendary Roland RE-201 Space Echo tape delay, and which would be placed after the Zoom B1Xon in the top signal chain list above. And last on the list would then be following modulation setup signal chain, placed after the the TC Electronic Sub'N'Up Mini in the second from top signal chain list above: -> Boss LS-2 [Loop A + Loop B Mix] (effects loop switcher/mixer) ->{ [Loop A Send] -> Monarch MFL-22 Stereo Flanger (basically a rebranded version of the Arion SFL-1, sometimes stacked into the HoTone Trem in front of it, mixed with either clean signal, or sometimes the Behringer VP1 Vintage Phaser, from 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 effects [Loop B]) ->|+|<- [Loop B Send] -> Behringer VP1 Vintage Phaser (clone of the original big box EHX Small Stone phaser, with Color switch engaged for deep sweep and high resonance/feedback, always mixed with the Monarch MFL-22 Stereo Flanger from effects [Loop A]) => [Loop A Return] + [Loop B Return] (mixed at an approximate 50/50 ratio) => [LS-2 Output] }-> Which fulfills all my modulation desires... Well almost, a TC Electronic Tailspin vibrato, which is a Boss VB-2 clone, would be a nice addition to this.

I ever only had experience with Hartke amps and speakers through one of their tilt back combos featuring a 15" aluminum cone speaker unit, 120W I think it was rated at, that I owned years back, so a much earlier model than their current tilt back combo offerings, but to be honest I was, mildly speaking, not impressed. Sounded flat, dull and lifeless. From a tone perspective hands down the worst bass amp I have ever played through. That said I do realize that this was one of their cheaper offerings, and that they also might have improved since then. I also admittedly have had a keen eye on Hartke HyDrive HD112 1 x 12" + 1" tweeter cabinet for a while, which on paper, spec wise, seems like a genuinely great light weight cab, and the demos I have watched featuring it have actually also sounded great as well. However to this day my experience with that tilt back combo back then still makes me sceptic of their amp offerings. Great that you found the right amp for you though, and congratulations on getting an endorsement deal on it.

@LiturghianPope I just edited my initial reply to you in this thread with this, I think, valid reservation, when browsing through the different pickup models on Nordstrand's homepage: Note though that the pickup descriptions on Northstrand's homepage seems more like tongue in cheek parodies on the usual nonsense marketing babble than really being of much help getting closer to any kind of real idea of what they might sound like, though the tone charts provided for the different pickup models is of some help at least, but to really get a better idea of what to expect from them I'll advice you to look up YouTube demos/reviews. Also here's the link to their homepage: https://nordstrandaudio.com/

The 24dB/Oct of this pedal is actually a quite drastic HPF, typically most HPF'rs commonly used for this purpose is 12dB/Oct.

Breaking the law!

I just use the switchable HPF build into my ART Tube MP Project Series tube preamp, which is placed at the end of the signal chain of my "amp-less" setup. It is not adjustable though, fixed @ 40Hz 12dB/Oct, but it does really help a lot tightening up the low end. That's right, your low end actually gets, not only more defined and articulate, but actually also more pronounced and punchy, from cutting off all that sub bass low end rumble that only serves to muddy up your signal anyway. Other than that a HPF will allow for your amp and speaker cab(s) to work much more efficiently, and could actually mean that you will be able to turn up a bit higher as well, because their power is not sucked up by sub bass (the lower you go the more power is used), as well as it might prolong the life of your speakers as well.

Also this is the truth! Music should be done out of passion and love (well ideally everything should, but we all know that that unfortunately is not how the World "we" build happens to actually work. At very least let the music stay sacred (in spite of the perversion that makes up Top 40)). But not only for the sake of the musicians, very much for the sake of the audience as well. It really does shows (listens?) if that is not actually the case.

Seems like you missed the main essence of my initial reply. I also disagree that it wouldn't matter which distortion is used, the character of that distortion is very much RAT like, and very pronounced and defining for that tone, as far as I am concerned, and probably a Turbo RAT to be more specific, not every distortion sounds really dirty, grainy and raspy like that, I'd say using the right distortion pedal is quite crucial to get the general vibe of that bass tone. I agree though, as I also already said, that there is definitely much more going on than simply mixing in clean signal, definitely two separate bass tracks, a clean and a distorted one, that each has been individually compressed and EQ'ed (yes, I did actually write that in my initial reply, that somehow you boiled down to just "mixed with clean signal", I think missing my point entirely). On the other hand that is extremely likely just to be a studio post production thing, which the song of that video very much is, and chances are that live it might very well had been as simple as just a Turbo RAT blended with clean signal, also a signal put through a RAT would actually handle some of the distortion specific EQ profile of that recording automatically, even if I do think, among other stuff, that some LPF might have been applied to the clean signal, post production, I also hear much more than just the high mids affected by the distortion, definitely not your typically fizzy top end polished Darkglass distortion laying on top of a clean signal here, much more grunty and dirty than that, and somewhat more full range as well, the clean signal however to me does also sound somewhat mid scooped, which might be what you hear as the distortion being specifically focused in the high mids, but again that too would very much be a post production processing studio thing.

At least that makes newspaper articles and books a fast read. Go by the headlines and covers and make up your own story and version of reality. The general trend of today, as seems to be treating facts if as they were merely unqualified opinions, which admittedly frankly worries me. I do understand where it is coming from though, we've gotten used to being force fed lies presented as facts for so long and are getting to the point of being fed up with it. Making up your own lies and presenting them as facts however doesn't exactly improve the situation. (I should properly make it clear that the first couple of sentences are intended as a humorous comment to your reply, while the last couple of sentences are not intended aimed at you in specific, but just a somewhat related general observation and concern following the same line of thoughts to a proper conclusion). Regardless though have a nice festival.

Well, ask his bandmates, they might know, or be able to get you in contact with the former bass player. My best bet though is some kind of RAT based pedal mixed with clean signal and compression, also probably a Turbo variant of a RAT will get you closest. The MXR M85 Bass Distortion, which is indeed based on a RAT, and does in fact feature both a silicon diode clipping classic RAT mode, and a LED diode clipping Turbo RAT mode, as well as allowing you to blend in clean signal, might be able to get you in the approximate same ballpark. Be aware though that the song in that video was produced and mixed in a studio, so I think it is pretty safe to assume a lot more is going on than just that, most certainly a separate clean and distorted bass track, each processed individually with compression and various equalization, and that the bass player with all possible likelihood didn't actually sound exactly like that when playing live, heck for all I know the actual distortion on that track might very well be a VST effect. But as said, to me it sounds very RAT like with clean signal blended in, so that is what I would aim at, if the band can't be of any help to you.

Yeah, you are absolutely right, at 45 you are done! Just look at all those famous great acts that decides to break up and retire at age 45. I mean I can't really name any off the top of my head, but I am sure there a loads of examples... Ah, yes, how about: Iron Maiden, Bruce Springsteen, AC/DC, Rolling Stones, Paul McCartney, Neil Young, Bob Dylan, Frank Sinatra... And the list goes o... Oh, wait... They didn't, did they? Well, that admittedly was probably not of much help, plenty of great pieces of advice and helpful suggestions in this thread already though.

Santa's Coming Over - LOW Oh, well, on the wrong page *doh* Choke the Rhythm - Sentridoh

I quite like the color it seems to have on that photo though. Also if I actually learned to accept tortoise pickguard as a valid option for basses, something I never thought would happen, that bass/finish screams for a black pickguard, or maybe even a green one, if one is more daring. The tortoise one doesn't look awful, just doesn't really compliment the finish of that bass all too well.

Curious... But well, in any case every current production Squirer and Fender Mustang Basses are slab body designs without any contours.

Is that an original stock Fender one though?

You forgot to point out the really poor upper frets access. (Edit!: Well to be fair, not quite as bad upper frets access as the Fender Mustang, which it by the way also shares the un-contoured slab body design with) Oh, and then of course also the typical Gibson clunky/clumsy 3 point bridge that is notorious for failing, more specifically sooner or later likely to lift from the body.

Listen to the provided samples and pick the one you think sounds best? You really got no preferences when it comes to nut width and fingerboard radius, cause they are quite different in that aspects, from a playing feel perspective? Also one got just 20 frets whereas the other got 24.

Well, whether the higher end pickups have a higher or lower output, and whatever character they got, very much will depend on the specific pickup model in question, rather than price tag. Also as far as goes 3 piece bands, essentially Tool is so, that is a guitarist, a bass player, and a drummer, they just have a dedicated singer, instead of either the guitarist, bass player or drummer additionally also being responsible for delivering the vocals. As for which pickups I don't have any specific suggestion, but might be an idea to check out Nordstrand's offerings (note though that the pickup descriptions on Northstrand's homepage seems more like tongue in cheek parodies on the usual nonsense marketing babble than really being of much help getting closer to any kind of real idea of what they might sound like, though the tone charts provided for the different pickup models is of some help at least, but to really get a better idea of what to expect from them I'll advice you to look up YouTube demos/reviews). Here's the link to their homepage: https://nordstrandaudio.com/

By now I have grown quite fond of having it tuned like this. Don't miss the lower range much, and love the added upper range. Obviously it does change the voicing of the bass, but as said I really do like the change. Though actually the stuff I composed for my bass and drums sort of duo project still work perfectly well. However it is no doubt going to change the way I compose on it going forward, with more regular chord work incorporated than what was the case previously.

Alan's Psychedelic Breakfast - Pink Floyd

Bloophf squitzch quaquawble åbleøbÿõ ka'poq zhzkl-boiñgkh squáshtz plãgabloïnkzch lobleöph nøblé ZÄáPp zoïnk æhlph!

I suppose there will always be people perceiving having a sense of humor an offence.

An electric bass predominantly being an electrical instrument is not an opinion. You are of cause still free to question reality, it is not like it can actually be proven to not be nothing but an illusion. But unless assuming it is not all communication is rendered absurd and obsolete.

I heard nothing. Neither weeping or shooting. I am afraid that is all in your imagination. Simply stating the truth. You really prefer a forum full of misinformation to daring face factual misconceptions? I get you might already have your facts straight, but there are other people than you using this forum. Which as far as I see it is as much a collection of knowledge, a place to search for information, as it is a social space.

Also if you end up getting a Harley Benton, Thomann has a full 30 days return and money back policy, including shipping cost back covered, no questions asked, and I never had any issues returning items and getting a full return, that way the only thing you'll loose if the bass doesn't turn out to be to your liking is the initial shipping costs, which to begin with really isn't much.