Baloney Balderdash

How do you think Stanley Clarke looks then? And what is your stand on tall big people playing guitars, or even violins? If I may give you a tip that might safe you some confusion in the future then remember that you need to use your ears not your eyes in everything related to music. Also if it is any comfort I am 6"4' and my main instrument of choice is a just 28.6" scale Ibanez Mikro Bass. Why? I tell you, it's not because I expect to win any beauty contest, but because I really like how it feels to play in my hands, and how it sounds as well.

I like Power Tools, as well. This probably being my favorite of theirs:

As far as I can tell they look exactly like any standard Gibson PAF style guitar humbucker pickup, just except for only having 4 exposed pole piece screws, with regular bass string spacing, instead of 6, with guitar string spacing, and then having an extra pickup adjustment screw attached to one of the sides of the pickup rings, but in every other aspect otherwise, visually at least, practically being perfectly identical.

Thanks for trying to help out, appreciated. But just downloaded that IR pack you linked to and tried to load a couple into my MLD preamp via the editor, and as I expected without any luck, it still gives me the exact same error message as with every other IR file I attempted to load to the pedal, claiming that they are not wav files. I even tried using NUX's own IR format converter, and even files converted to the supposed right format are rejected by the pedal. And as said I also tried to download and update both the firmware and editor twice, to rule out a software error, and still without getting it work. I also tried out loading the IR files to different empty user IR slots, to no avail either. And I think it is safe to rule out the USB cable I use too as the editor as well as the firmware updates otherwise reacts and works flawlessly, exactly as it is supposed to, in every other aspect. So, as said, I am quite certain my pedal is in fact faulty.

Amazing track out with one of my friend's project "Jellyfish Nebula", featuring H.P Lovecraft's poem "Despair" :

I've tried downloading and reinstalling the newest firmware update once more, and downloaded the most recent version of the editor again as well, but it still refuses to load any 3rd party IR's to the pedal, no matter the format, including the supposed correct one, with the error message that it is not a wav file. So pretty certain that my pedal is in fact faulty. Still I couldn't be bothered to send it back, cause I am actually extremely satisfied with the above quoted settings, using the stock Ampeg SV212 IR cab simulation. And in every other aspect, except for being unable to install 3rd party IR files, it does work flawlessly, exactly as it is supposed to. So my this is what my current "amp-less" basic always on "clean" signal chain consist of: Xvive Undulator (tremolo pedal, though never actually engaged, and exclusively used for it's great buffer, as the Black Finger input impedance is only 150kOhm) ->> EHX Black Finger (tube driven optical compressor, though only a very subtle compression beside the natural compression that the tubes produce is dialed in (low compression ratio, relatively long attack time, high threshold, and compressing the high end slightly more than the low end), and really primarily functioning as a tube preamp stage, with its two EHX 12AX7EH preamp tubes, operating at proper high 300V voltage, driven to just on the verge of the breakup point) ->> Zoom B1Xon (which is mainly used for various reverb effects, including an always on subtle reverb, consisting of a very subtle plate reverb stacked into a subtle spring reverb) ->> NUX MLD Bass Preamp + DI (using the above quoted settings) ->> ART Tube MP Project Series (tube preamp and DI, with its build in fixed at 40Hz -12dB/Oct HPF engaged, and its 12AX7EH preamp tube driven to just on the verge of breakup)

Now this is how you are supposed to play real jazz (an all stars avantgarde/free jazz quartet with some of my favorite players on their respective instruments, featuring Peter Brötzmann as well) : And I am not even being ironic, I love this, one of my absolute favorite YouTube concert clips. That said though I do love Bill Frisell too, and not just his early more experimental stuff, this is absolutely beautiful: Another favorite of mine is Medeski Martin & Wood.

Now I don't actually own a Boss LMB-3 in specific, but a couple of my pedals got a similar issue, however only if not powered by a properly individually isolated and filtered power supply outlet. In the latter case they are in fact dead quiet.

As the headline says I am curious to know if you are focused on practicing any specific techniques in particularly at the moment, and in which case which? Personally, though while of course practicing many other things as well, I in particularly at the moment focus my practice on getting better at and incorporating my ring finger in my string plucking, that is whenever I otherwise use traditional two finger plucking technique or classical guitar finger picking technique, instead of just alternating in between respectively index/middle finger or thumb/index/middle finger. It still doesn't really come naturally, but am surprised at how quickly I am actually getting a hang of it, and already am able to do so fairly consistently, even if it does still require of me to really focus and concentrate to be able to do so, and I do still mess up frequently. Also where I am now it doesn't really allow me to play any faster than when just using my index and middle finger, that is except for when galloping, which definitely is a whole lot easier using three over just two fingers, and it does give a bit of a different feel/tone than just using two fingers as well, not least because the plucking done with the ring finger naturally will be closer to the bridge than the other two fingers. I also, though far less systematically, have started to practice on getting better at and incorporating tapping into my play. The hardest part here I feel is getting a hang of incorporating it naturally into my play, but I definitely can see a huge potential for doing some rather amazing stuff with it once really getting a proper hang of it.

No need to apologize, just it, as said, isn't really mud buckers. That's just a fact that neither you being factual wrong or me pointing it out really changes. I don't think you ruined anything, except for your own joke perhaps.

Uhm? That's not Mud Buckers though (regular humbuckers), neither is the one in Ped's Mustang (Thunder Bird humbucker). HümbÅgg3r5 I5 ThÅ53!

"A Self Called Nowhere" from what might have been They Might be Giants's last great album, though a masterpiece at that that is, "John Henry".

Well, really I was just trying to score some funny points at your expense. On a more serious note I actually think the car wheel balance weights seems like a really brilliant solution. So much that I will definitely be looking into where to get such and likely try it out on a slightly neck heavy (or rather unusually light weight body) bass of mine. Even if personally I would probably fit the weights inside the control cavity, rather than outside to the back of the body.

The Harley Benton GuitarBass (take on the Fender Bass VI concept) that I own came with absolutely dead on perfect fretwork, even the nut slots were cut dead on perfect, and while that is not among the absolute cheapest basses/guitars that Harley Benton offers, it is not among their most expensive offerings either (which in any case are still in the budget/lower middle tier price range). I realize this is pure luck, cause certainly buying budget instruments is a bit of a crap shoot, although these days with pretty high odds for getting a more than just decent instrument, and talking fretwork in specific it needs to be a considerably higher priced instrument before anything additionally is done in the fretting process before shipping from the factory anyway, also Harley Benton instruments are generally known as some of the best value budget instruments out there, and finally Thomann got 30 days full, no questions asked, return policy, with shipping expenses for the return covered, so really nothing to loose but the initial shipping cost (which actually even will be free as soon as the order is above a certain value that most instruments, even budget ones, would exceed anyway). As for OP's question, yes, a proper setup should be considered needed for any bass or guitar when bought new, regardless of price, it's not exactly rocket science though, and there are plenty of great guides to be found either in written form with illustration or in form of video instructions on how to do this on the internet, just a YouTube or Google search away.

Just drill a series of holes through the fretboard all the way through the neck where the dot fret markers are now, and chop off excess wood from the headstock as well, then fill the control cavity with cement/concrete... Fixed!

I've always thought Dorian to have a very pronounced folky quality/character to it. Like traditional folk in specific. "Scarborough Fair" for example is in Dorian. However though the Dorian Scale can get quite jazzy too, depending on which notes in specific you chose, especially if some chromatic notes are mixed in as well, specifically from the Blues and Minor Scale in the same key. Still folky is definitely Dorian's inherent quality/character if you ask me.

Adding a shim won't allow for lower bridge saddles, only higher, also, not sure if it is this you speak about or not, but a shim won't cure a so called ski jump at the upper frets end of the neck either. Finally 1/2 a millimeter part shim seems overly excessive, you need much less than you might think. If the neck indeed got a ski jump (again not entirely sure if this is actually what you speak of or not), that is a kink upward angle at the upper frets end of the neck, I would send the bass back for a replacement.

Tim Hecker - "Hatred of Music I" from the masterpiece of an album "Ravedeath, 1972" :

Your loss! Being capable of engaging with the audience is actually considered a valuable asset in a front man...

Or firmly.

While that definitely would have helped you chose something closer to what they actually wanted to hear, and potentially perhaps even could possibly have had you pass their audition, it's mainly their responsibility and fault as far as I am concerned, and their loss if they miss out on a potential otherwise best suited candidate (not saying you necessarily was that, but in general) because of their lacking auditioning methods/procedure, that as I have argued in previous replies, at least judging from what you told us, really leaves a lot to pure coincident and doesn't really test/prove anything that would actually matter in terms of whether/how well a given applicant/candidate would fit into their band or not.

It's kind of a cliché, and I don't agree either, still in the context that was actually pretty funny.

Sure, fair point, however that doesn't change the fact that their method of auditioning would prove little about a given bass player's actual qualifications to play in their band, and that there would have been far more obvious and effective ways to actually test this (that is at least if the main objective is to find out whether the applicant/candidate's playing suits the band, rather than testing the applicant/candidate's ability to conduct research and solve riddles). Also the analogy is not quite accurate, as it is really easy to test a bass players ability in actual action, while that is not really a convenient method for testing candidates for a job in a bank. Also him playing Jaco tells absolutely nothing about how well he would fit into the band, neither on a personal, social, skill or playing style level, and neither really would him having played just about anything else, which is my main point. Enjoying and being able to play Jaco doesn't in any possible way rule out anything else (though, assuming it is done right and well, it at least does prove a certain level of technical proficient, unlike churning out root notes). Again though, true, we don't know the full context, so could very well be that this was not actually the only deciding factor, however, commenting on the actual information that we did get, that still doesn't make that particular method an actual valid way to test/prove anything whatsoever, except maybe for complete lack of skills (that is as a valid method to detect lack of skills, but nothing else, and beyond that otherwise to conclude anything concerning the nature of the applicant/candidate's personality, general taste, general personal playing style and ability to adapt and fit in, would be faulty logic, likely to be based on prejudices alone, hence my initial comment about them obviously being retards), which conclusively actually would make playing something that would require a high level of skills seem like the obvious and most logical choice. So alone judging from the information we were given it seems like the real reason that he was turned down was that he had too high thoughts about his fellow human being's ability to think rationally and failed at being able to read their minds (which sadly seems to be the shortcoming and following downfall of many a reasonable person).

The point is however that he is not actually Jaco, and just because he played Jaco doesn't mean that is the only thing he can do or that he can't also serve simpler rock tunes, or wouldn't have fitted into a band doing so. It's a matter of their inquiry not proving anything or being suited to test whether he fit into the band or not. For one I enjoy some complex jazz tunes as well as some much more simple rock songs. Their method of auditioning simply doesn't make any sense, there is no logical reasoning behind it (in that case it is at best faulty logic), and it is simply not a valid test, especially not for a bass player, as the alternative, as I wrote, would be him playing root notes for 5 minute straight solo, which would have proven exactly just as little (or actually it would in fact have proven even less). It would have made sense though if being able to read minds were their main criteria for a bass player. As I edited in in my original reply (while you were writing your reply): It's like in that ancient Icelandic saga where a woman is tested on her wits by being told to neither come naked nor dressed, neither fed nor fasting, and neither alone nor in company for a date.

Yeah, wrong choice, you obviously should have played "Smoke on the Water". Seriously what the flip did they expect, you playing root notes from songs solo in 5 minutes straight? Just doesn't make any sense. It's like in that ancient Icelandic saga where a woman is tested on her wits by being told to neither come naked nor dressed, neither fed nor fasting, and neither alone nor in company for a date. Makes me wonder how they auditioned their drummer and how he ever managed to pass. If they wanted a bass player who doesn't womble but serve the song, fair enough, but then you would think they would have wanted to actually hear you in the context of the band actually playing songs. I'd say probably for the best you didn't get the job cause obviously they were retards.