Baloney Balderdash

A good point, and I think formulated excellently as well. Listening definitely is the key, not only with learning to play stuff, but in all aspects of playing, whether that be learning new tunes, writing new songs or parts, improvising, or playing stuff you actually already know. If you don't know how it sounds you are kind of shooting in the dark and will definitely not perform optimally. It seems obvious when you say it but listening really is what music is all about. I'd go as far as to say if you just listen learning theory will be secondary (which in my opinion is really where it belongs hierarchically anyway), if you just notice what it sounds like when you strike a certain fretted note eventually you will learn it and know instinctively where to go to on the fretboard. You should hear what you are playing inside your head as you play it.

Cult of Luna :

Yes, but just because it is the right choice for him doesn't mean it is for everyone. There is no one ultimate way to mix music, and it will definitely depend on the specific musical context in question as well. Yes, using delay instead of reverb does give a more clear effect, as I have already mentioned, but it also doesn't sound exactly like reverb, and it certainly doesn't mean it is the right choice for everything and everyone, personally I prefer a subtle reverb over delay on my bass.

That's a misconception. Learn on the instrument you are actually going to play. That will always be the absolutely most productive way of practicing. If you plan to continue predominantly playing 5 string, learn on that, if you plan on switching to mainly playing 4 string, learn on that. Also never too late to learn. And I'd suggest you spend some time on practicing improvisation as well.

I am 6'4' as well and my preferred main bass of choice is my just 28.6" scale Ibanez Mikro Bass. Then again you have people just as tall playing 24.75" Gibson scale guitars, and no one seems to think that looks strange. I also believe Stanley Clarke must be just as tall, if not even a bit taller, and further more have pretty huge hands, and he plays a mean upright bass as well, yet his preferred electric bass of choice is a 30" short scale Alembic.

Reverb stacked into distortion or fuzz is a beautiful thing.

Jeff Berlin would still disagree... He is the most avid proponent against the use of metronone. Strangely enough as he is otherwise also quite an avid proponent for old fashioned strict music theory teaching and practice.

Leave it alone as it is! (well except for having a new nut cut obviously) You are not going to restore that to it's original state, as you then might as well just buy a similar bass that hasn't been modded. Enjoy this bass for what it is, or sell it to some who would appreciate the work done on it, seems like an absolute killer bass, and to be frank a vast improvement over the original.

Yes, a subtle reverb, more specifically a really subtle emulated plate reverb stacked into a subtle emulated spring reverb, is part of my basic "clean" tone. It contributes to making the tone slightly fuller sounding and sort of gives an extra 3 dimensional depth to it. Delay I use more as a special effect for certain parts, though set to a really short delay time and sufficiently low in the mix it can actually be used as a sort of always on subtle faux reverb, and some prefer this to a real reverb, as it tends to give a somewhat more clear effect than reverb, which basically consists of multiple very short, often EQ filtered, delays with slightly different delay times.

If it plays and sound nicely I'd say keep it as it is. What I would have done at least.

I think the individual bass player should be allowed to decide for themself whether they prefer playing a 2, 3, 4, 5, 6, 7, 8, 9 or 10 string bass, and as such non of these are by default pointless for bass players in general. I don't gatekeep playing bass by making up rules for how low or high a bass i allowed to be able to go to be a real bass, if it exists it is by definition a real bass, and if just one person in the Universe finds it useful then it is by definition not pointless. This thread however for a large part is, even if definitely still indeed being very real.

Yes, and as said, you can run those two channels, either as two independent separate channels, in stereo, in parallel with each other, or in series, the latter effectively giving you a 20 band fully parametric equalizer.

Stig Pedersen from the Danish band D:A:D (Disneyland After Dark) too:

Yes.... Else there wouldn't be much point in being able to run the 2 X 10 band EQ channels in series or parallel either. You need to hook it up to a computer and adjust via an app though to do so. But as I also wrote you got 4 presets, 8 if you hook up an additional pedal to control them. https://www.manualslib.com/manual/1847200/Source-Audio-Eq2-Programmable-Eq.html

How is it tuned, and how do you even play that, two hand tapping? 34" scale length?

What's that bass, and what's those pickups? A modded Jazz Bass? Doesn't look like J pickups, and also both positioned closer to the neck than usual. The neck one looks like it may be a humbucker. As well, as there seems to be 2 switches, a big one and a smaller one. Pickup selector and a parallel or single coil switch for the neck humbucker?

Yes, should have said:

Actually the EQ2 got 2 separate channels of 10 fully adjustable full featured parametric EQ bands each, which can be run either as separate/stereo channels, or parallel to each other or in series, which in the latter case actually would effectively give you a 20 band fully parametric equalizer, plus an additional fully adjustable HPF and LPF, plus the two outer bands can be set to work as shelving EQ filters instead. All in all an amazing EQ pedal, with an astonishing amount of features. No doubt the most advanced pedal form equalizer ever, miles ahead any other pedal from equalizers on the market. Also it is +/- 18dB per frequency band, but then an additional up to +12dB clean boost, that it is capable of. It is in fact also not a combination of graphic and parametric equalizing it is fully, full featured, parametric equalizer, that is full control over both center frequency, Q/bandwidth, and boost/cut, for each single band, it just looks like a standard graphic EQ, and it does require to be connected to a computer to take full advantage of all its features via an app, though it got a presets function that allows you to store and recall different settings.

How do you expect anyone being able to answer that question? Seems like paradox to me.

As far as I understand Tortex as Dunlop uses for some of their picks, is a slightly altered Delrin formula, so my question is, is there any difference in feel and tone from a Tortex and then a regular Delrin pick of the same gauge, and in which case what?

Sex with Sun Ra (Part I - Saturnalia) - Coil

The Mothers of Invention - Who Are The Brain Police

I thought everything was real once too, then I took LSD and realized that reality is just an illusion. I don't even consider my 6 string basses real basses anymore.

If I was you I'd probably stick the 4 string, but install a D-tuner (or whatever they are called) tuning mechanism on it. Will be quicker and more practical than both tuning down the 4 string manually or switching to a 5 string, in fact as simple as just flipping a lever (and flipping it once again to get back to E tuning).