Baloney Balderdash

"Love is..." - Dinosaur Jr.

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Personally I like music that isn't stuck in strict conventions for the mere sake of conventions, or should I say lack of imagination or fear of sticking too much out from the norm, to the point where the result is the music equivalent to a mediocre mass produced assembly line product, ending up sounding exactly like just about everything else, with no soul or personality. That said more than anything I like each instrument to fit into the respective piece of music they happen to be playing a part in. There is definitely a time and a place for the bass to be flashy, just as there is a time and place for it to play nothing but root notes. But there is definitely such a thing as underplaying as well, where the music suffers and never reach its true potential because of it.

Easy, that's just listing all Royal Blood and Death From Above 1979's songs, starting from one end of their back catalog up until and including their most recent release.

This!

EHX 16 Second Digital Delay (the big flat black and white one with sliders) Maxon FL9 Flanger (the small 4 knob yellow one) Pigtronix, I think, phaser of some kind (Envelope Phaser?, not really that familiar with Pigtronix models) (the big green one with big yellow fonts). The small green one he pretends to be tweaking in that shot is likely either a Maxon or Ibanez Tube Screamer, but could also be a Boss PH-1 Phaser, the 3 knob blue one next to it looks to me like it'll be a Boss CS-2 Compressor, though it could also possibly be a Boss BD-2 Blues Driver, the one he is covering with his arm on that shot, under the small blue and the small green one, in between the Moog, which by the way appears to be the MF-105 MuRF resonance filter one, and the Whammy, from what I can tell by studying the short clip of the video that focus on the pedal board, appears to be the original big box EHX Big Muff Pi NYC, the small 3 knob purple one, I have no idea, but my best guess is some kind of fuzz.

Battle of the B Pop bands. Got to say there are some rather bizarre bastards in between. The Voyager song does display a genuinely solid musicianship and a pretty outstanding understanding of how you craft an absolute Eurovision pop banger, and you got to give them credits for successfully managing to fusion in aspects of genres otherwise usually not associated with this format, although unmistakably still pop (progressive Eurovision pop fusion?), but like everything else in this competition it is painfully overproduced and over polished, and the lyrics are toe crigingly bad as well. A genuine superfluity of cheese for sure.

Does that mean that cabinet building based on Celestion speaker units really was more or less nothing but qualified guesswork prior to 2008? Or have I misunderstood something (which is very likely, as I have very little theoretical knowledge of how to properly build a cabinet, or what a speaker's specs actually means, beyond frequency response, sensitivity and wattage, for that matter)?

When I tried the NYXL strings I thought they sounded too polite and lacking character compared to the regular XL strings, which in my opinion got a bit more of an interesting edge and personality. Now, the NYXL doesn't sound bad in any possible way, actually on the contrary my main issue with them is that they sound too perfect, so if you prefer a more polite and polished, hi-fi I suppose, tone, they might be exactly what you are looking for.

I think they are super cool looking.

So I decided to give these rubber picks another try, and to my surprise I actually found that I really like how the soft rubber 3.1mm sounds. I guess my issue when I initially tried them out was the they sounded neither like regular plastic picks sounds or like finger picking really, and that I failed to really use/grab them properly for strumming, causing them to get stuck on the strings. However this second try I managed to grip them in a way so that strumming is no issue, and also for some reason the sound I got with that soft 3.1mm one really clicked with me. Got this round attack, that still is somewhat prominent, but neither the kind of slap or thud, depending, of finger picking, or the kind of click or snap, depending, of regular pick picking, kind of hard to explain, but just this round soft emphasis of the attack (the best single word I can describe it with would be "boom", but not in a bad boomy way) and a really soft, but at the same time huge and actually very clear tone as the strings ring after the initial attack, the attack and ringing out sort of blending seamlessly together, but while still having an emphasis on the attack, that somehow reminded me of the sound of a finger picked nylon string acoustic guitar, just obviously lower tuned, or perhaps even more so like a piano with the mute and sustain pedal pressed simultaneously. This is my new favorite way to pluck the strings of my bass. The Wedgie Soft 3.1mm rubber pick.

I love my Sennheiser HD-380 Pro headphones, as much for casual music listening, as far recording, mixing and practicing bass and guitar, but I really need a new pair of headphones, as these has served me well for something like nearly 20 years now. However the Sennheiser HD-380 Pro ones are not in production anymore, so which would you recommend I get instead to replace them, the Sennheiser HD-300 Pro or Beyerdynamic DT-770 Pro, or maybe something entirely different, though closed back is a must, in a similar price class? Something with as clear, detailed, flat response, and authentic reproduction of the source as possible.

Yes, but apparently you didn't, not even the reply you quote me for.

The bass player from Meshuggah does something similar, he has his 5 string tuned in drop Bb, that is the low B string tuned half step lower than regular standard 5 string bass B tuning, but then has the next string tuned F, 1 half step higher than regular E tuning. He does this so he can play an octave lower for those of their tracks that utilizes 1 half step down tuned 7 string guitars, and then for their tracks featuring 8 string guitar, instead of having an muddy inarticulate lower octave, he actually plays the same octave as the 1 half step down tuned 8 string guitars, that is F, one half step lower than regular 8 string guitar F# tuning, and 1 half step higher than regular bass E tuning.

Well, not ultra, but I do use a balanced set, composed by individually bought strings, of gauge .095 - .072 - .055 - .040, for regular4 string E standard tuning, regardless of the scale length of my bass (usually regular D'Addario XL strings, the gauge .072 string actually being a guitar string, threaded through the cut of ball end of an old bass string, to not slip through the bridge string mounting hole). I guess you could call the set I used for my just 28.6" scale length Ibanez Mikro, that I have tuned in F# standard tuning, that is 2 half steps abpve regular 4 string E standard tuning, for ultra light gauge, as those are more similar in tension to a gauge .090 set tuned in E standard tuning, namely gauge .080 - .062 - .046 - .036 (coated Elixir Nanoweb guitar strings, threaded through the cut of ball end of an old bass strings, to not slip through the bridge string mounting holes). This works really well with my rather light touch, both fretting and picking.

String designer Jon Moody : https://www.thegearpage.net/board/index.php?threads/which-strings-for-30-3-neck.2215497/ I got lectured by him in the thread linked to above about how it wasn't even safe with hex core strings (my name on The Gear Page is NoiseNinja, the meme I did in that thread referring to the signature he used to use, something about being the bass equivalent to Batman, designing strings at day, gigging at night).

Yes, as I said the bend should be bellow the cut. You can fittingly cut it so that the bend piece fits the length of the hole in the tuning peg. Also you should never try to cut any other string to size but roundwound hex core strings, but use those other types of strings whole in their full length.

You need to make an abrupt sharp 90 degree bend bellow the cutting point (like the piece you are going to poke down the hole in the tuning peg) before cutting, else this is exactly what is likely to happen. Your at fault here, not Dunlop.

Yes, and he used a butter knife to pull out the frets. He also got drunk, though other drugs might have been involved as well, and provoked a bouncer at a bar to beat him to death. Neither something I would recommend anyone to copy. The guy was an astonishing genius musician, hard to argue against that, but that does not mean that everything else he did is equally great and admirable and should serve as an example for everyone to blindly follow, or that he didn't in fact also suffer from mental illness.

You do know how a switch works right? Or how a pedal only activates if a jack is plugged into the input jack socket of it? Or how the battery of an active bass only is draining and the preamp switched on when there's a jack plugged into the bass output jack socket? Technically this is done by using a stereo jack socket for a mono jack plug, using the connection/tap that normally would connect to the ring of a stereo jack plug to basically function as a switch instead. In other words, the amp doesn't know anything, just like a switch doesn't know if it is on or off yet still does provide different electrical routing depending, It's really simple mechanical switching/electronics.

"Undone (The Sweater Song)" - Weezer

Try a tension balanced set of gauge .095 - .075 - .055 - .040 strings.

Personal opinion is that the standard Harley Benton headstock design actually looks great, and that the standard Fender doesn't, especially not the Tele headstock shape, which in my opinion is butt ugly. But whatever floats your boat, just glad it's not my bass. Yes, that sums how I feel about this up pretty good.