Baloney Balderdash

Sound pieces of advice!

No! Why I've only played in original bands, and only bands who's music I like. Also I need to have some influence on what I play. I am perfectly okay with suggestions, and prewritten parts for that matter, to a certain extend that is, but I would want to predominantly write my own parts and also overall contribute to the compositions. Anything else is pointless for me as far as goes playing in a band/being part of a musical project. It got to a large extend be a collective effort, including the songwriting, where everyone at least got some say in the final product. Or else it might as well had been a solo project.

Everything in the end is pointless, eventually we are all going to die anyway.

Owing both the G1 Four, B1 Four, G1on and B1Xon, I still disagree. The new generation of Zoom effects were a step back in quality as far as I am concerned. And in terms of twekability a huge step back, just as one out of many examples the B1Xon allows you to assign whichever one parameter (from which there are way more than just the limiting max 4 of the B1 Four to chose from, which really allows to to tune the individual effects to sound exactly as you prefer) from whichever effect of each patch to the build in, and by the way great, expression pedal, however you like it, that is in terms of direction and range, the B1X Four on the other hand gives you only a handful of predetermined dedicated expression pedal specific effects, and that is the only thing the build in expression pedal can be used for on those units. Also the new "Four" models just doesn't sound as good as the "on" models (given of course tweaked right).

Big Fat F*** - Ween

Sure I have played with that thought before, so this is just a copy/paste from the text file, knowing well that in by far most likelihood I will never have the kind of money to spare for it to become reality: A custom made 4 string, 28,6" scale, bass, with a slim modern C profile, bolt on, 5 piece laminated Jatoba/Maple (just 2 relatively narrow layers of maple in between 3 wider layers of Jatoba) neck, with a thin clear satin finish on the back, graphite rods reinforcement and a double action trussrod, a tilted 2+2, classic B.C Rich inspired, headstock, but overall slightly more narrow, and with the "devil horns" slightly shifted, so that the upper slightly larger "horn" is sitting a bit more forward than the slightly smaller and slightly retracted lower "horn", equipped with small black tuning pegs, a 24 medium jumbo stainless steel frets, 12" radius, figured Ebony, fretboard, an ESP LTD F-204/F-1004 style inspired Mahogany body with a spalted Maple top, in a transparent matte black burst finish, equipped with an EMG Geezer Butler reverse P pickup in the neck/middle position, and in the bridge position a DiMarzio Relentless reverse P pickup with a series/parallel switch equipped with a blood red knob, both pickups having their covers painted blood red, additional controls consisting of an active stacked LPF/HPF tone filter control for each of the 2 pickups, as well as an active pickup blend control, equipped with knobs made of solid transparent dark green plexi glass (acrylic), black milled steel mono rail bridge pieces with a string spacing of 17,5mm (or perhaps instead even a wammy/tremolo bridge with 17,5mm string spacing), and an accordingly more narrow neck, however a 40mm wide graphite nut, but the neck not widening all that much as you get further up towards the bridge, strung with Elixir Nanoweb guitar strings of the gauges .080 - .062 - .046 - .036 strings, tuned in F# standard tuning, as in 2 half steps above standard 4 string bass E standard tuning.

That's absolutely a valid point. Simplicity has it's own advantages. Also Caline makes a cheaper clone, the CP-71 6-Band Graphic EQ, at less than half the price, and with an added Level slider, which the original lacks, leading to the issue of not being able to compensate for boosting or cutting frequencies affecting the overall output volume, as @RikiB mentioned, that this clone fixes. Also I can warmly recommend the Artec SE-EQ8 Graphic Eq, 8 band graphic equalizer, which is dirt cheap but non the less works great and is actually also build really well and sturdily. And in my opinion the center frequency of the 8 bands respectively makes more sense than say those of any of the Boss 7 band graphic equalizers.

So as the headlines says, what are the most durable and low capacitance budget instrument cables on the market? They don't have to be super cheap, but they do need to not break within a month and not affect the tone and not cost a fortune.

I am in the process of completely rearranging my setup, so all I got set up at the moment is the core of my "amp-less" setup that gives me my basic "clean" tone, and then my high gain distortion setup, as described earlier here in this thread. Further more I haven't really got any way to record it properly at the moment either, but promise I will do so when I have my home recording gear set up properly again.

I got nothing to proof to you, you asked for advice and I bothered giving my genuine take on it to you, and as I said: Which seems to be exactly what you chose to do.

Wouh, just what the...? Why on Earth would you think that? I am being dead serious. This gives me an awesome high gain distortion tone, really ballsy and heavy thick fuzz like, very doomy, type of distortion, but with a surprisingly amount of definition and articulation still. Mixing two different types of drive in parallel really is the key to a great bas distortion tone as far as I am concerned. You are of course still free to laugh at and ignore my advice. Your loss...

Blending 2 drives in parallel with each other, and eventually blending in some parallel clean signal as well, or perhaps even staking a 1 octave up effect into it all, I found to be the answer. A Joyo Orange Juice, set to a low gain overdrive, stacked into a Metal Zone to tighten it up, then blended in parallel with a Turbo Rat, works for me.

That reminds me of a situation back when two of my friends shared a flat. One of them had started doing just that, mind in their own private room, and when he was not around we thought we would "assist" him in his endeavour and started to make labels for everything, a chair got a "Chair" label, a table got a "Table" label, a lamp a "Lamp" label, a wall a "Wall" label e.t.c.

If it plays nicely and have no fret buzz at the kind of string action you prefer some frets not being properly seated is not a major issue, in fact I'd call it a rather minor issue. And I would personally expect to install a new set of strings on any new bass bought, regardless of price tag or whether it being band new or used, to get the brand, type and gauge to my personal preferred liking. Also why exactly does the bridge suck? On a different note judging from the string alignment on those pictures, them being slightly shifted towards the higher strings, it looks like the neck could do with being reset in the pocket.

At least he didn't pose naked himself in the pictures alongside the Ampeg gear.

No unfortunately not, the presets on the EQ2 are buttons, not foot switches, so you would have to bend down to switch between them, but you connect an external foot switch for swapping between presets by foot. Not sure what it is you think look like one, but no scroll wheel on the EQ2. So if you need really flexible, extensive and surgically precise EQ'ing the EQ2 would be the one to get, but if you just need some more basic graphic eq'ing but need to be able to switch between different EQ setting in the middle of songs the Boss would probably be the more sensible choice (unless money is no issue, in that case the EQ2 + external footswitch would still be the best choice by far).

No, not at all. I wasn't lying, or didn't know what I was talking about. Read the manual. The Source Audio EQ2, basically gives you 2 x 10 bands of fully parametric equalizing, that is full adjustment of both frequency point, Q/bandwidth, and of course gain, for each of the 2 x 10 bands, which can be run as 2 x 10 bands of EQ as two seperate channels or in stereo, 2 x 10 bands run in series, effectively giving you a full 20 band parametric EQ, or 2 x 10 bands mixed in parallel, plus option for running the outer bands as shelving EQ filters instead, as well as additionally a HPF or LPF for each of the 2 channels, also can be used as a 10 band EQ + a 10 band EQ'ed foot switchable effect loop. The Boss is basically just slightly more flexible standard graphic EQ. I guess only downside to the EQ2 would be the requirement of connecting it to a computer and using an app to set it up and take full advantage at all these incredible features.

I once had a bass I had ordered at Thomann stuck at one tracking point along the way to delivering for 14 days straight. To be fair that was around Christmas times though, and while the Corona madness was still on full throttle. A miracle occurred though and I just exactly managed to get it before Christmas, and got it delivered on the 23rd of December.

I actually like the click and snap you get from a relatively flexible pick (regardless of flexibility some materials contribute to more click and snap than others), also to me it gives me better control over my picking, including dynamic range, and I don't like the more kind of "thuck" sound you get when striking the strings with a thicker inflexible pick. Mind I am a fairly light picker, both when using a pick and when I use my fingers, only stroking, rather than striking or pulling, the strings, with the outmost tip of the pick or my fingers. That said I do quite like my 3.1mm Wedgie Soft rubber pick, however, again, despite the thickness it is still relatively flexible, but definitely produce a softer tone, I guess you could describe the tone as kind of like an odd compromise between pick and finger picking, though it does really have its very own unique tone, but quieter volume wise than finger picking or any other pick I've tried. And as I wrote a few posts back in this thread, I've given up on finding the one pick that gives me the one ultimate tone, or deciding definitively between either only using picks or fingers, and finally ultimately have come to the conclusion that I really need a broader palette of tools to cover all my needs, which though I think I have narrowed down to 3 different picks, plus using both either the tip or round corner of one of them, as well as a combination of various different finger picking techniques:

Also consider the Source Audio EQ2, vast superior to both the MXR and Boss in any possible way, in fact the most advanced equalizer in pedal form ever made, miles ahead of all other options on the market.

The previous generation of Zoom multi effects, including the B1on and B1Xon will drive a poweramp, the newer Four models however won't. Also in my opinion the B1Xon is superior to the newer B1X Four in every possible way. Way more tweakable and customizable with a very flexible UI, and also sounds better as far as I am concerned (and with the 3rd party unofficial firmware hack the "Zoom Effect Manager", that allow you to load every effect you should wish from that same generation of Zoom digital effect models to it, also way more effects available to chose from, that is all the effects from the B1(X)on, G1(X)on, MS-50G, MS-60B and MS-70CDR).

Also consider the just 28.6" scale 5 string Ibanez GSRM25 Mikro Bass. https://www.ibanez.com/usa/products/detail/gsrm25_02.html https://www.thomann.de/gb/ibanez_gsrm25_bk.htm

Jolly Fine Mental Laxative, great name for an avantgarde free jazz band!