Baloney Balderdash

Poop Ship Destroyer by Ween

The trick is using studio grade, that is FRFR, headphones, and not those horrible regular so called "hi-fi" headphones that boost the bass and otherwise has a baked in so called "enhanced" EQ profile/uneven frequency response, so what you hear is actually also how your signal really sounds. I can't listen to music now on regular headphones that boost and cut all kind of frequencies messing up how the music was actually mixed and supposed to sound after I got used to listening to the approximate neutral reproduction of my Sennheiser studio headphones. Those headphones might be good for 112 kb/s MP3 electronic dance music, but it sounds like utter crap for everything else.

2 (but with the resistance still being adjustable and with the option for still bypassing it) And yes, I do realize the differences will be quite subtle, and that no one cares, but I do.

I haven't got any personal first hand experience with the Dimaezio Model J J pickups, but I see a lot of mention on how they are the most P like J pickups on the market, which makes sense since they are a split coil design just like P pickups are. That is having two in line coils on each half of the pickups connected in series, which also means that they are hum cancelling. Now, while they might be the most P like J pickups on the market, they won't sound exactly like P pickups, since the coils are smaller and not least slimmer, as well as the two coils/halves are not shifted in relation to each other as on a regular P pickup but rather in line with each other, just that they do have some P like qualities. So yes, I would expect a bit more bottom end, or at least a somewhat tighter bottom end, a bit more mids content, a bit less top end, less bite and burb and a bit more snap and punch generally, as well as, compared to regular vintage voiced J pickups, higher output and more aggression, also partially due to this pickup being based on a Ceramic bar magnets and steel pickup pole pieces construction, rather than featuring Alnico 5 rod magnet pickup pole pieces as otherwise traditionally used. Mind that all of above for most parts is based alone on me listening/watching/reading demos, comparison videos, reviews and general blurb featuring the DiMarzio Model J pickup, and that I, as said, do not have any personal first hand experience with these pickups.

I think a few people confuse, or at least need to define, the difference between neutral, clean and sterile, cause, while those words do share some overlapping connotations and sometimes annotations, they definitely do not have the exact same meaning/denotation, as well as they, especially in the context of music amplification, rarely share the exact same annotations.

Have you actually tried this yourself, or is it a solution you just came up with off the top of your head, cause as I understand what you just wrote I can see several potential issues with this that wouldn't make it work very well in practice?

Not a strap solution, but this might solve your neck diving issues: As some people note later in the thread linked to above adding the small weight inside the control cavity is an option too.

For me the main attraction of an "amp-less" setup. That is much more precise/detailed control over tailoring your tone, as well as much more consistency between respectively your home headphones practice, band rehearsal through a FRFR cab or FRFR PA speaker, and live gig venue PA, tone.

Can't answer for them, but that is what I would do, as the Effects Return socket is effectively a power amp input, bypassing the preamp section for it not to color the output of your Monique. And as, as far as I understand it, you got a line level poweramp transformer output on the Monique, meant to be fed into an additional more powerful external poweramp to amplify it further in order to reach normal gigging/band rehearsal levels, but while still giving a tube poweramp tone, the whole point with this tiny tube amp (that is getting the full tube pre+power-amp tone, which then just needs to be amplified further), adding another tube poweramp into the equation would be kind of obsolete, and in fact possibly even unwanted in order to not further color the intended, already full tube pre+power-amp, tone from the Monique too much.

Get a mini mixer and get the mix from the desk send to it.

I don't have a Sqiuer Mini P, but I do own an Ibanez Mikro Bass, which is the same scale length as the Mini P, that is 28.6", and I love it, in fact it is my main, though I do tune it to F#, 2 half steps above regular 4 string bass E standard tuning, and of course have it strung up with accordingly lighter gauge strings. I ripped out both the stock P and J pickup, and replaced the P pickup for an EMG Geezer Butler P, which I have wired directly to the output jack socket. Also I use roundwound strings. Sounds pretty amazing and is such a joy to play. Can get a little cramped for chord work high up the fretboard though.

Music is marketing. Those bastards will try to sell it to you. But just say no to drugs, Mcayy?

I got a bass with a single P pickup wired directly to the output jack socket, but if I was to experiment with emulating the slight roll of high end and shift in the pickup's resonance point that a regular full on volume + tone pot configuration gives, say adding a 500kOhm pot, so the resistance can be adjusted to the effect that everything from a full on 250kOhm V+T to 1mOhm V+T would normally have on the tone, where would I add it? Something tells me just across the hot and ground wire of the pickup, but then wouldn't that just make it act like a regular volume control? How do I go about adding such an adjustable resistance, and also what kind of taper would I likely want it to be?

My beloved Ibanez GSRM20 neck + GSRM20B body Mikro Bass, that I named "Dud Bottomfeeder". Maple neck with Rosewood fretboard and an unusual light supposedly Mahogany body (what the official Ibanez specs said for that year of production, and does look a lot like Mahogany too, the extremely light weight just doesn't quite match up with that), the stock J pickup pulled out, replaced for a piece of folded black cardboard, the stock P pickup pulled out as well, and replaced for an EMG Geezer Butler P pickup, wired directly to the output jack socket, the stock sound mounted barrel type one pulled out and replaced for a regular jack socket, mounted in one of the redundant pot holes (since the pickup is wired directly to the jack socket), the two remaining pot shafts equipped with transparent and black PRS lampshade knobs, and then red and green strips of electrical tape (also known as insulation tape) and stickers added as shown on the photos. Respectively the most recent shot, and then a bit older but much better shot that does how it really looks more justice (except for one of the knobs now having red electrical tape applied to the top of it, rather than green, as shown on the first more recent photo): Yes, hanging it upside down for 1½ year or so ought to get it more evenly distributed. Eventual give it a good shake every now and then to speed up the process, and to ensure more even splating.

Love how that Ibanez looks. This is my rather mistreated Aria Pro II Laser Electric Classic from 1986, though I bought it around the mid 90's used, as my first bass ever, one of the last Aria models that was made on the legendary Matsumoku factory in Japan, before Aria Pro moved their production to Korea. Amazing quality bass, even if it wasn't one their high end models back then, and still tends to go for absolutely ridiculously low prices whenever one comes up for sale used compared to the actual quality. The fact that this was my first bass ever, and my main and only bass for the first 10 years or so of me playing bass (bar a short love/hate fling with a vintage 70's Rickenbacker that I quickly ended up hating (most expensive piece of crap I've ever bought) before eventually banishing to it's case under the couch in our rehearsal space at the time and returning to my trusted Aria Pro), might play a role in this, but it just feels so good in my hands, like coming home (so much that it isn't actually really any more difficult to play than my just 28.6" scale Ibanez Mikro Bass, which otherwise has been my main bass for the last past 12 years or so (and I have almost exclusively played short scale basses for the last past 16 years or so). For some reason it also kind of incite my fretting hand to instinctively and very naturally stay in the correct position most of the time. And actually for some stuff actually easier to play than my 28.6" scale Mikro Bass because fingering doesn't get as cramped on the regular 34" scale of the Aria. And it sounds amazing as well. That humbucker neck/middle pickup with its pole pieces arranged like a reverse P (while as far as I gathered it is actually a full humbucker pickup, that is the parallel coils actually going the whole length of the pickups and not just under the pole pieces) just sounds awesome, very punchy and ballsy, but at the same time really clear and articulate. It features a very stable 3 piece Maple neck, slightly figured beautiful Rosewood fretboard, and an Ash body. Might very well become my main bass again. Here it is: It does weight about half a ton though.

51"= 1295.4mm or 129.54cm So 1" is roughly just about ~25mm or 2.5cm, or that is ever so slightly above that, 25.4mm/2.54cm to be exact.

The Ampero Mini, unlike the Ampero Stomp II, doesn't support parallel effect processing. But, yeah, practically just about every single multi effect, from the absolute most budget one and up will allow you to change between different patches on the fly, each individual patch allowing for being set up with whatever combination of effects you might desire. Or am I misunderstanding you point with this?: The only way I can understand this, yes, the Ampero Mini would allow for this, as would by far most multi effects on the market, as said from pretty much the most budget one and up.

That's a great examples of why it isn't always great with a too expansive bass.

It doesn't have to be expansive either.

I honestly wouldn't know, I guess I focused more on the first part of the name "Sticky", and just overall though it would be a rather absurd name for a restaurant, even with the rest of the letters being nothing but a meaningless random combination of lower case and capital letters. But just looked it up, and this is what Wikipedia says: "dBm or dBmW is a unit of level used to indicate that a power level is expressed in decibels with reference to one milliwatt." Still absurd, if not particularly funny.

Fixed... And I see we don't share the same sense of humor. I just thought I would find it curious if I actually encountered a restaurant with that name, especially a successful one, but apparently I am the only one who finds that thought amusing.

That's only half the truth... Scientifically speaking.