Baloney Balderdash

There was in fact a Fender Precision Bass Junior in production at some point, if memory serves me right produced in Mexico, though that one featured a just 28.6" scale length, and it served as the main inspiration for the current production Squier Mini P Bass. The Fender P Junior (not in production anymore) I believe being the second mess produced bass ever to feature the 28.6" scale length, the original Höfner Shortie being the first (the current production Höfner Shortie features a standard 30" short scale bass scale length), and then after that the Fender P Junior, followed by the Ibanez Mikro Bass and LTD B4 Junior Bass (the LTD B4 Junior not in production anymore, also technically that one actually had a 28.5", rather than 28.6", scale length, for some reason), eventually then the Jackson Minion Bass, and finally the resurrection of the Fender P Junior through the Squier Mini P. Personally I am a big fan of the Ibanez Mikro Bass.

Bloody Kisses (A Death in the Family) - Type O Negative

Another example (which also features quite the bass noodle), from my psychedelic electronic music project: Which can be downloaded for free here: https://electrojarjar.bandcamp.com/track/spacefuzz-2016 And again, links to my cross project SoundCloud and YouTube profiles in my signature, where you'll find links to the individual project's Bandcamp pages, from where everything is available for free download and listening.

My first guess was a bad battery connection somehow, and as I read on it seems like I was right (well that is almost right, my actual guess was that the jack socket battery ring connection didn't connect properly to the jack plug).

Impossible to answer for you. A very personal thing to ask, and no one got any chance of knowing your personal preferences, even less if you don't even yourself. Also doubtful that your next bass within your budget will be properly shielded from stock, leaving you with ending up still having to do it yourself anyway or having to pay someone to do so. That said traveling around to different music gear stores and trying out as many basses firsthand yourself, actually playing them, might prove fruitful to you.

Not the first time I've heard that. But thanks.

From my dark drone/ambient project Fjernsind (which originally shared my name, hence why it says Jacob Læby and not Fjernsind😞 Up for free download here: https://fjernsind.bandcamp.com/track/den-hvide-d-d-the-white-death-3 Otherwise check out my cross project SoundCloud and YouTube channel, linked in my signature bellow here, both featuring links to the individual project's Bandcamp pages, where all the music I have produced is up for free download. That said I was once a part of an indie pop duo where one of our songs, where I contributed to both the composition and lyrics, and played lead guitar, bass and did backing vocals on on the recording, got added to the Danish national radio's playlist, still hardly any great commercial success, and hardly qualifies as a hit either:

Between burping and farting? Well, both are ways to dispense surplus gas that is produced as part of the digestive process, but in opposite ends of the body. Also they sound and smell different.

Sterling by Music Man Stingray Vs. Music Man Stingray ...???

Composed by Angelo Badalamenti, lyrics by David Lynch, vocals Julee Cruise :

It will not in terms of reach till lower end of the fretboard (longer reach) and space/room for fretting at the upper end (more space/easier access), but in every other aspect it very much will feel like a short scale, that is in terms of shorter reach between notes/frets and narrower neck/narrower string spacing, which actually is ideal for me (lower string tension, but relatively (to gauge and tension) stiffer strings as you move up the board, as well).

Damn! I've wanted one since I first saw it back when it was leaked, this particular metallic green version too, but this video just confirmed to me that I absolutely need to get it. That much for trying to convince myself that I didn't. In general I am not too fond of Lobster's taste in tones, however he dial in his amp, but the bridge pickup soloed in this video actually sounded pretty darn great, regardless.

As posted earlier tonight in the "Ibanez Owner Club" thread, a bit more and an update about my 5 strings Ibanez GSRM25 Mikro Bass : Replacement/Upgrade pickup suggestions are very welcome :

I got this 5 string Ibanez GSRM25 Mikro Bass, tuned in F# standard tuning, that is 2 half steps higher than regular 4 string bass E standard tuning, that sounds nice acoustically and plays amazing, but that I haven't played much due to my dislike of the stock pickups. It did help a lot to wire the 2 stock J pickups in series and wire them directly to the jack output socket, and it actually sound just fine now, however still not like I'd ideally want it sound, like a bit too polite, and even if in series a typical J Bass burby and growly quality to it, where I'd want no burb, less growl, and rather want snap and bite instead, if that makes sense. The issue however is that the stock pickups and the respective cavities are both the length of regular 4 string neck J pickups, but then the mounting screw "ears" are located like those of a regular 4 string J bridge pickup. So what are my options beyond simply re-routing the pickup cavities to whatever pickup I desire? I figure I could rehouse a regular 5 string J pickup in the stock pickup housings, if the replacement pickups are not sealed and not too long, eventually get a non sealed 4 string rail/blade bridge pickup, if 5 string pickups won't fit the housing, but that does limit my options quite a lot. What other options would I have, and which pickups would you suggest? I should maybe add that ideally I want something a bit more edgy and aggressive sounding than your typical J pickup, but not at the expense of definition and articulation, not too bassy either, but preferably with a relative strong mids presence, and , as said, more snap and bite, less growl, and no burb, as well as they ideally should be hum cancelling (I have nothing against wiring two regular single coil J pickups in series though, if that is what it takes to get my desired hum free tone. Oh, and the string spacing is 16.5mm. Here's a bit more info about the bass in question, as well as a photo:

Don't think I've posted this before here, my just 28.5" scale 5 string Ibanez GSRM25 Mikro Bass, with a Poplar body, Maple neck and Jatoba fretboard, tuned to F# standard tuning, that is 2 half steps above regular 4 string bass E standard tuning. 16.5mm string spacing, and as good as perfect fretwork from stock, allowing for nice low action without any fret buzz whatsoever, which makes it really nice to play. However I really didn't like how the stock pickups sounded, though it did help to wire them in series, but still not really satisfied with the tone they deliver, even if the bass sound nice acoustically, and are really quiet, even before I wired them in series, as Ibanez apparently started using shielded wiring, even in these budget basses. The problem however is that both pickups are standard 4 string J pickup neck length, but while he mounting "ears" got standard 4 string J neck spacing, so finding replacement pickups is somewhat problematic. So haven't played it much, but just gave it new strings and tried play it again, and as said, it plays really nice, and with the stock pickups in series it doesn't sound bad either, just kind of bland and not my taste, despite as said actually sounding nice acoustically. So yeah, need to find some replacement pickups to my liking that fits the unusual pickup cavities, or having them re-routed to give me more options. Anyway here it is : Replacement/Upgrade pickup suggestions are very welcome :

I'm 6"4' and my main instrument of choice is a just 28.6" scale Ibanez Mikro Bass. Stanley Clarke is even taler, and also he got huge hands, yet his main is a 30" scale short scale. Then again you have just as tall/big guys playing Gibson 24.75" scale guitars as well without anyone ever questioning it.

Did you draw it from a stone too? Also the naming is quite a contrast to my "Dud Bottomfeeder", though I did use to run it with an always on 1 octave up effect on for the longest time, which now however I exclusively have switched on when using my high gain distortion. But would like to own the short scale 8 string Hagström H8-II bass at some point.

Please count me, as well as the majority of the kind of audience I've ever played for, out of that statement. And I'd claim that any person who love music and is at the gig primarily to actually listen to music, rather than just to be entertained, would.

That's not as objective a truth as you try to make it sound like. Personally I don't like a fizzy effected high end floating on top of a clean low end, even if I realize that approach has become quite popular, possibly, as you say, because you get a pretty consistent result, almost regardless of which effects you use, (even if in my opinion seldom a result that actually also sound good). And I assume I am not the only one like that. Also the tone from the guitar amp/cab including the HPF is already going to be brighter with some low end cut, but also, in my experience and opinion, it is going to sound much more complex and blend in better and more naturally with the bass amp signal than a straight simple single point crossover to a single output amp/cab, though definitely will require more overall work and accurate adjustments to work optimally (whether that then is worth it or not I guess would be up to the individual player to decide, and depend on the specific context/application as well as the player in question and their personal preferences/tonal aspirations). That said I would absolutely advice OP to try out both approaches, if they don't already know what kind of sound they are after more specifically (even if they did specifically mention bi-amping). It is simply not going to be the same sound/result, and one approach, while both having advantages and disadvantages, will not give an objectively better result than the other, but very much depend on the specific context/application and individual personal preferences.

Won't give the same effect as running a separate bass and guitar amp with each their own respective speaker cabinet! And this worked/works fine for Chris Squire and Billy Sheehan. And then there is Lou Barlow (from Dinosaur Jr.) who split his signal between 3 amps, without any kind of filters in between, to get a mix of their different characters: an overdriven Marshall JCM800, all tube amp head, for its top end focus/qualities, a clean old SS Peavey bass amp head (forgot the exact model) for its midrange focus/qualities, and an old overdriven Ampeg SVT, all tube amp head, that he drives further with an Exotic BB Bass Preamp in front of it, for its bottom end focus/qualities, and he sounds amazing live. As long as one is aware of these potential issues that you mention and place/adjust the individual cabs/amps accordingly. To OP: Yes... A HPF set to somewhere between 80 to 120 Hz or so for the guitar amp, and a HPF set to about 40Hz for the bass amp seems about right. You should be completely safe cranking the guitar amp as long as you are using an effective HPF set to somewhere around 100Hz or so before it.

I prefer to mainly play one instrument both at home and otherwise, though which that instrument is might change over time. I think it important to know one's instrument as well as possible and be completely at home playing it in order to be capable of delivering an optimal performance, and you only get to know an instrument by actually playing it, and playing it as much as possible. And with instrument I mean literally individual instrument, and not just instrument type in general. Fact is you are simply not going to play as well on an instrument you only play live, that is unless you are a full time live musician. But even then you would still play better on an instrument that you are also actually playing off stage when practicing/rehearsing. Studio/recording sessions are different, because having a certain specific tone/sound is more important, or even can be quite crucial, there, but also very different from a live situation as you practically got as many takes as it takes to get it just right.

Well, I don't like Big Muff on bass, I think they pretty much without exception turn everything into an undefined inarticulate mid scooped mud fest. That said they both sounded equally horrible, sure if I got either of them for free I would take it, but I would never spend as much a 1c on any of them personally, admittedly though I do like how Ram Head style Muffs sound with guitar a lot. But trying to be completely objective I do think you came to the absolute right conclusion, it's not like one of these Green Russian Muff clones sounds better over the other, but I do think, judging from the settings that you demo, that they both have settings where they respectively shine in particular, that is certain settings where one sound better than the other. But, yeah, if someone asked me to pick the one that overall sounded the best it really could be either one, impossible to chose. In any case keep up the good work, you do some excellent pedal demos!

I guess Geezer is included in the concluding ", or...", though a bit strange I forgot to include him by name, I got his signature EMG Geezer Butler signature P pickup in my main bass, and much like him it's absolutely exceptional. Also I happen to be one of those jazz weirdos you speak of, though more of an experimental/avantgarde music weirdo really, but used to be a metal head, and still listen to some of that devilish heavy music every once in a while, though most day I listen to the Danish national radio's DAB/online streaming jazz station. As for Les Claypool I got kind of an ambivalent relationship to his music, regardless I have great respect for his bass playing and artistic skills in general. Rest I largely agree with though, if only I knew this Jerry you mention (I genuinely got no idea... Edit! : Just looked it up, but while I do know Misfits, I am just not particular well versed in their musical output, which perhaps is a grave oversight from my side). Also don't get me started about Red Hot Chili Peppers. I am never going to forgive Anthony Kiedis, that small minded conceited donkey hole, for sabotaging Mr. Bungle's career and contributing to their break up (basically he called all festivals that had both Red Hot Chili Peppers and Mr. Bungle on the program, and refused to play if they didn't drop Mr. Bungle), just because they happened to call their album, which was released about the same time as Red Hot Chili Pepper's "Californication", "California". I guess he was jealous of Mike Paton for actually being able to sing, and a genius at that too might I add, or maybe because Mr. Bungle's "California" album made Red Hot Chili Pepper's "Californication" look like a child doodle, devoid of any kind of real talent, in comparison (not that Mr. Bungle's genius experimental/avantgarde prog rock in reality was ever going to be any real competition to Red Hot Chili Pepper's sucking up watered down mind numbing pop rock). That said Flea actually seems like a genuinely nice and well meaning human being, despite acting like a 7 year old with ADHD (and as far as I recall from what I read about this whole incident he did actually at some occasion apologize to Mike Paton for Anthony Kiedis actions).