Baloney Balderdash

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.

StickyDBRmf is a curious name for a restaurant...

Wouh, sentient tape! And a true testament to mind over matter...

Señor Coconut - El Baile Aleman (A Latin Tribute to Kraftwerk) :

Much of the same unfortunately apply to Denmark where I live, much unlike our Scandinavian brothers/sisters.

Also the majority voted a certain unfamous guy in Germany to power once. Hardly any valid measurement for quality or stuff being right. Popularity is a quantitative measurement and nothing else, in no way can it ever be a measurement for quality. And much in the line of the general hateful mindset of before mentioned fellow I could say little flattering stuff about the majority of people in general.

I actually really like bass as a solo instrument, just not this particular one. Uke bass is an abomination!

Impressive, but not a big fan of the tone of that bass. Completely void of any form of interesting character. Just absolutely neutral and tasteless, kind of like noodles without any spices or anything else whatsoever.

Scooping out the 800Hz frequency area is what the Tech 21 Bass Driver, or cheap Behringer BDI21 clone, does as well. I stroke my strings lightly too, rather than striking or pulling them, but I do so in sort of an inwards sort of slapping motion. Personally though I very much like my mids, and the articulation and snap that the 800Hz frequency area helps with enhancing. Not going to pay for having my tone, in my opinion, sound like a floppy dead dull wet noodle with no definition, articulation or edge.

You might not believe me, as this is predominantly all relatively budget gear, but: My Ibanez Mikro Bass, equipped with an EMG Geezer Butler P pickup wired directly to the output jack socket /-> ->/ My ampless setup: EHX Black Finger (tube driven optical compressor/tube preamp stage) -> NUX MLD Bass Preamp,using the Aguilar Tone Hammer amp emulation combined with the Ampeg SVT-212AV IR cab sim -> ART Tube MP Project Series (tube preamp and DI) /-> ->/ Effects Return (poweramp input) of my Peavey Solo Special 112 160W combo guitar amp, with its build in 12" speaker unit disconnected and instead hooked up to a FRFR PA speaker /-> ->/ The Box PA 502 (passive FRFR PA speaker with 1 x 15" bass/mids driver + 1 x 1.7" high frequency tweeter) If weight is no issue I simply can't recommend the quite budget The Box PA 502 enough for everyone looking for a passive FRFR cab (there's an active version as well, with a SS, not Class D, poweramp section, the The Box PA 502 A but have no personal experience with that), the only downside really is that it weights about a ton: https://www.thomann.de/gb/the_box_pa502_fullrangesystem.htm Truly amazing sounding, regardless of price, as said very clear and articulate, and with an impressive, but tight and punchy, low end response, and in it's price class simply unbelievably astonishing. Really punchy, clear and articulated.

As people before me has already said a tuner usually won't draw much current, so should last a very long time with just a battery. Just be aware that it will draw power from the battery as soon as a jack plug is plugged into the input jack socket of the tuner, regardless if it is engaged or not, so if choosing to power it with a battery remember to unplug it when not in use.

Wouh, that's bad, man, you would need a new bass, a new amp, a new wife, and quite possibly a new hip bone as well, to fix that!

I played bass in a hardcore and noise rock influenced math rock band where the not only the bass parts but also often the guitar parts would be rather complex rhythmically and go completely against the vocals parts. I'll never figure out how the vocalist who also happened to be the guitarist managed, but I got great respect for him being able to. To me it's kind of like as if having to solve a mathematical equation with one hand while simultaneously writing a poem with the other, no matter how well I know the bass and vocal parts individually. Seems absolutely impossible to me. To me it's a skill up there with people who are able to do tightrope walking while juggling lit torches.