Baloney Balderdash

If Black Sabbath had been from Thailand :

Well, the specs says quadro core processor and 8GB ram (in comparison the Line 6 Helix Stomp only got a duo core processor, also the Dwarf is much more flexible when it comes to the signal path), so I would think it would be able to run quite a few effects and parallel paths at the same time without struggling. Though of course that will depend on the specific effects used and how they were programmed. When I at some point gets to upgrading my Zoom B1Xon it will most likely be for the MOD Dwarf.

A Zoom B1Xon and a Zoom G1on currently on my board, and love them, using a 3rd party firmware hack app to get exactly the collection of the same generation of Zoom effect models (all effect models from the G1(X)on, B1(X)on, MS-50G, MS-60B, MS-70CDR available to freely chose from, and working flawlessly) on them that I wish (something Zoom really ought to have made possible themself right from the start as far as I am concerned). I love the B1Xon, that uses same previous generation Zoom effect models as the current production Multi Stomp boxes, which in my opinion is far superior to the current generation Zoom B1 Four and G1 Four (which I do actually own both of, but will likely never use again because of how horrible they are), both in terms of flexibility/customization options/tweakability and controls, but actually also in terms of sound quality. I also own a Zoom MS-70CDR and a backup Zoom G1Xon, loaded, via the firmware hack app that I mentioned, with the same custom collection of Zoom effect models as my B1Xon. If I was to upgrade it would probably end up being for the MOD Dwarf, or possibly either a HoTone Ampero II Stomp or a Boss GT-1000 Core. But I am actually really satisfied with my Zoom multi effects, except for the drive and pitch effects and the amp/cab sims, which are admittedly pretty bad, but just about every other effect (comp, filter, mod, delay, reverb) in these previous generation Zoom multi effects sounds genuinely great as far as I am concerned (and as said, as far as I am concerned, way better than the current generation Zoom multi effect units/digital effect models), just about as good as anything really.

I do actually usually have a pretty good idea of what I am actually writing when writing lyrics, but must admit I did write a fair share of nonsense for the lyrics of the songs I produced with the psychedelic electronic duo "Electro Jar" that I had together with a friend a few years back. Here are the lyrics I wrote for the 3 songs on our "Divinorum" EP: Divinorum Black and white silhouette ruins shooting up past the last winding corner of a glimpse of an eyes wide shut future hope of illusions scanning the horizon of the vast sea of time an infinite ocean in our mind breaking waves off a breathless surfer revealed as a corpse on the shore that is present before us as he struggles to breath just to drown counting one thousand waves down before we arrived to dive in free fall past the cliffs in our watery grave to survive to tell the cautionary tale of our lives spreading like drops as we hit the surface recycled infinitely through the weather system and further out beyond the Universe and concept of time and space as such. Spacefuzz 2016 Comets fill the sky satellites are drifting by a star is born another die a roaring silent cry And I'm gone... Alien and lonely moondogs howl along the Univers' a song spacing out of orbit nowhere to belong And I'm gone.... Winding wormholes withered molehills Saturn, Sirius semi circle fish gills And I'm gone... Flesh wounds dread looms Mars, Pluto, fools and dead prunes And I'm gone... Somewhere Over the Ocean (a song dictated in a dream) A broken sea of liquid electricity held in the palm of my hand a mountain view of waves inside my tiny eye of solitude, and deep down the Ocean shelf lies books of unbound wisdom, in liquid form as it comes, flowing with the water. Dive! Dive! Dive! And somewhere over the Ocean, beyond the tress, lies the dreams Somewhere over the Ocean, somewhere beneath a tree, somewhere someone is sleeping, somewhere someone is dreaming, a song dictated in a dream Somewhere over the Ocean, we sail the memory sea Sail the broken sea sail the burning sea sail the lonely sea

Genius!

Anyone up for interpreting this one I just wrote off the top of my head?_ The Ballad of Baloney Balderdash James Diddle had a mighty doh Dee do the Humpty Dumpty routine on a whim And everyone fall down, oh no I know my skittles Memory like scrambled eggs Yo, ho! And here we go again, like nothing Empty pockets, no way home Floating in my shuttle Shut the door, forgot my keys No way home I'm floating, dry Hope I'll die before I live My love is purple, so is like desert sand And prunes in May, the hurdled hum of hundred men Oh, man! I left the oven on Deserted cherry pie on random shuffle Deeds are done by no command No water left in my spirit bottle At ends suddenly out of rhythm without a rhyme and non the wiser Yo ho! I knew it! Here we go again...

Well, I wouldn't know honestly (or, well, guess I do actually looking at my own basses), but I do know we didn't even have electric basses 100 years ago, which would be a century, and even less over a 100 years ago. So unless you were joking, and it went over my head, it seems like we would both be wrong.

You mean decade, not century.

I think it originally was a quite common technique poets prescribing to the surrealism movement developed and used frequently (together with the stream of conscious (or rather, as the idea is, stream of sub-conscious) like automatic writing technique), which would date it all the way back to the mid/late 1920's. Also it is worth noting that the Fluxus art movement of the 60's/70's had a lot in common with the Dada art movement of the 10's/20's. But yes, William Burroughs is famous for using the cut up technique, and I think that was actually where at least David Bowie originally got it from.

My opinions about/view on music are/is not for sale, no... I think it depends on one's personal attitude/perspective and view on/understanding of/opinion about music, what it is and ideally should be, in general.

Sounds and looks great, but what the hell is he actually saying from about the 2:07 point of the video to about 2:13? Maybe it will be easier for a native English speaker to decipher his thick German accent there that makes it sound like absolute nonsense to me, as if he is suddenly speaking in tongues or something.

Frankly I find it strange that people find bands who have created classic songs that brought such enjoyment to so many listeners still owe their listeners anything. Now THAT I would call disrespectful!

I for one would love to hear how that would sound. Quite refreshing for a song that otherwise have been played and covered to the point of death. Actually I would respect Black Sabbath even more if they had the guts to do that kind of thing. Surely that would be a totally unexpected surprise from them in particular.

Technically it is an effect, but I understand what you mean, also while compression as isn't a tone shaping phenomena a compression pedal can still be, depending, without there being anything wrong with that, I'd even say that's a pretty common application. Also a compressor won't, and quite obviously can't possibly, in any way change the feel directly, it will change the tone, which then indirectly will change how we perceive the feel of the instrument, how the instrument responds to our playing and how we in terms respond to the instrument, so in that aspect you kind of contradict yourself. Also if the main purpose of your compressor really is applying compression in the strictest technical sense of the word, rather than primarily being used for tone shaping purposes, logic would dictate that it should be applied as the very last thing in your signal chain, working on the sum of your signal, your final actual signal/tone. Again nothing wrong with placing a compressor first in your chain, just another point of what you actually wrote not really being logically consistent.

An AI based bass that comes up with bass lines and plays it itself, all you need to do is feed it with a signal of the music you need a bass line laid down for, whether that be a microphone/mixer tap from live music or the remaining prerecorded tracks for studio work. So to sum up, a bass where all you need to do is plugging in the music that needs bass into the input socket of the bass, and then from the output socket of the bass into a bass amp or bass amp/cab sim, no hands or fingers (or effort for that matter) involved, it plays itself, entirely automated. Which frees the bass player up to exclusively concentrate on their stage presence and scene show. Time to quit bass practice and take up dance and acrobatics practice instead!

Sounds genuinely great too, judging from this demo (the 36" is referring to the entire length of the bass, obviously not the scale length):

Well, I just by far prefer how this sounds, I do however also make a lot of use of classical acoustic guitar finger style, and flamenco guitar style index and/or middle finger flicking, as well as some use of double thumb, techniques that often all gets incorporated and used interchangeably within the same piece, depending whatever the various riffs and parts calls for. And I am a quite accomplished pick player as well, which was actually my preferred method of plucking the strings when I first started out. I was just particularly interested in traditional 2 finger plucking in this case, for which, as said I by far prefer the tone/sound that the method described in the OP gives me. I do fully agree though of the importance of experimenting and finding your own approach, the one that personally fits you best specifically, your own voice, and not just when it comes to plucking techniques, but in all aspects of playing your instrument(s) of choice, and really actually playing music in general.

It goes for most budget basses really nowadays though. Somewhat random, or rather lacking, quality control, but if you are lucky to get hold on one the luckier ones out of a budget production they are actually surprisingly great instruments, or at very least can be made so with a few relatively easy and cheap upgrades. In any case congratulations.

I am asking because I've realized that my way of plucking the strings, when using the regular 2 finger plucking technique is probably not the most common way to do it. I tried to analyze what I am actually doing and it seems like I am more so stroking the strings, rather than striking or plucking them, rather lightly and quite briefly with the outmost surface of my finger pads, but doing so in a way so I am actually pushing the strings inwards towards the finger board (rather than sidewards/upwards), before the strings then, lightly stroking against the very outer most edge of my finger nails, is being released again. I have kind of just adjusted my plucking technique intuitively to what sounded best to me, rather than analyzing in details what I actually did, that is up until now, I did however notice that it gets a lot easier to make it work when my nails are cut to just exactly the right length, neither too short, nor too long, the latter causing the strings to easily get caught on the nail, and the former making it harder to achieve the right sound I desire, like the nail just ever so slightly poking out above the edge of the finger, but really only ever so slightly, so for this to work optimally I really need to constantly tend to cutting my finger nails, and really paying attention when doing so too. Though I can actually get pretty close to the same kind of tone/sound even if the stroke doesn't finish off with touching the very edge of the nail before it is released, but I do think it sounds the best when it does. It also requires a fair deal of accuracy, I assume more so than more common regular sidewards/upwards string plucking, because for it to work properly it is crucial that you only stroke the strings lightly with a relatively minor area of your fingertips and nails, and also only very briefly, rather than plucking them as such (you definitely don't want to dig in in any way), which took awhile for me to get to work consistently. I would describe the tone/sound I get from doing this as sort of a slapping or piano like sound/tone, like having some of the same unique somewhat metallic attack as you get from slapping, just less forceful, much softer and much more subtle sounding than regular slapping, really perhaps more similar to the sound of the hammer hitting the strings in a piano. Anyone else doing something similar, and if not then how do you pluck your strings, how did you develop/chose your technique, and what would the sound characteristics be of it? Or is all this really nonsense, me just imagining being special, and this actually being how most people do it?

I see a pattern here... But no need or use pointing it out, as I assume you are perfectly aware of it yourself.

Will "Le Grille" do? :

Really depends. On which compressor and which preamp in specific, as well as application/context and not least your personal preferences. Personally I'd most likely place the compressor before the preamp though.

Not really, uncommon sure, as are tenor guitars, and certainly more so too than regular tenor guitars, but far from unique. For one Eastwood makes a couple of different models tenor baritone guitar instruments, theirs are 26" scale length though. But tuned in C as well from stock, though in 5th, like a regular tenor guitar, rather than the standard 4th tuning. Try looking up "tenor guitar", "tenor baritone guitar" and "tenor bass guitar" on Google.

I am pondering getting one of these : A just 25.5" (that is standard Fender guitar scale) scale length bass from Glarry, with the model number GW101, with a narrower neck to fit the small size, that is a just 36mm (Edit!!!: I stated 34mm nut, it is actually 36mm, still more narrow than the standard narrow 38mm nut) nut width, and narrower at the bridge too than regular basses. At the ridiculous low price of just 98.23 Euro or 98.99£. And they get great reviews too. Comes in transparent red or yellow finish as well: I think they look astonishing! If I go through with this and get one it would then be for tuning it in C standard tuning, that it 4 half steps bellow regular guitar E standard tuning. So planning on kind of using it like a baritone tenor guitar. https://www.glarry.co.uk/glarry-gw101-36in-kid-s-electric-bass-guitar-p282.html They are sold out at the moment, but it says a new batch should be ready by June.