So I have had bass as my main instrument of choice for several year, even if the instrument I originally first started out learning how to play on, and that I have continued to play guitar on the sideline all along, with periods of time now and then where guitar have taken back my main focus over bass play. Just had one of those, concentrating mostly on playing my lowly, but very much beloved, and actual great guitar, an Epiphone SG Special. However now I am back on my main bass, and equally lowly, but even more beloved, and actually also a great instrument, an Ibanez GSRM20 Mikro Bass, a 4 string, just 28,6" scale bass, that I named "Dud Bottomfeeder". I don't really feel there are any trade offs by the short scale only advantages, like being so smooth and fun to play on, even if I played a regular 34" scale Aria Pro II Laser Electric Classic as my main bass for over 10 years, before my love for short scale almost exclusively took over my playing time from the 34" scale. The Ibanez Mikro Bass's just 28,6" scale length is especially perfect though for how I currently have it tuned, strung up with .095 - .075 - .055 - .040 strings, and tuned 2 half steps above regular 4 string bass, E standard, tuning, as in F#1 - B1 - E2 - A2. This tuning is used for the songs I am working on at the moment for a work in progress progressive psychedelic stoner rock solo project of mine, named "all I nil", which essential founding instrumentation is going to consist of just bass, which will really be the primary instrument of this project, programmed as well as physically recorded drums and percussion, and then vocals, but with certain parts additionally featuring some much more sparingly added ambient effects and secondary instrumentation, which exclusively is going to serve a more flavor oriented function. The signal of the bass for this project will be run through an always on polyphonic octave up effect mixed with the clean bass signal, giving an effect similar to that of an 8 string "octave" bass, with pairs of respectively bass and octave strings, with an always on quite subtle high definition hall reverb effect in combination with some quite subtle real spring reverb from my Peavey amp added to that signal, as well as heavy and raunchy fuzz-esque distortion is going to be utilized quite generously, consisting of a vintage Rat clone going into a Joyo California Sound (clone of the now discontinued Tech 21 California, which were designed to be an analog Mesa Boogie type amp emulation preamp pedal), which basically means a classic high gain Rat type distortion boosting a somewhat Messa Boogie -esque medium gain overdrive with additional EQ capabilities, which then is mixed with a parallel bass+octave up signal, utilizing my parallel effect loops mixer/switch pedal, the Boss LS-2, sometimes very mildly overdriven, sometimes more prominently overdriven, respectively by the 2 Joyo Orange Juice pedals, providing a somewhat Orange amp -esque overdrive, hooked up to one of the parallel effect loops of the LS-2, to add more articulation and definition to the quite thick and ballsy raw distortion effect, additionally a fair deal of parallel processed analog phaser/flanger effect will see it's use, again utilizing the LS-2 to run the emulated 8 string "octave" bass signal through respectively both the phaser and flanger, hooked up to each it's separate parallel effects loop, mixing those 2 effected signals, also via the LS-2, digitally emulated Boss CE-1 chorus and analog tremolo, sometimes combined, having the tremolo effect send into the chorus effect, is also a part of the main effect arsenal for the bass in this project, and finally I might possibly end up incorporating some delay effects as well. Here it is, with it's various visual mods, some of which were applied a bit impulsively and haphazardly, giving it some scars, mahogany body with an exceptionally stable maple neck, featuring a 22 medium fret rosewood fretboard, and with a pretty recently freshly installed Di'Marzio Model P pickup, which I absolutely love the tone of, wired directly to the output jack socket, but with the J pickup from the previously installed P/J EMG Geezer Butler set still sitting there, to fill out the bridge pickup cavity, though lowered considerably and not connected anymore, together with my current main bass rig (yes, I use a Peavey guitar combo amp, with the build in 12" speaker unit disconnected, and instead hooked up to a bass cab, and believe it or not, but it actually sounds amazing), which you can read more about, as well as which settings I use, in the signal chain description, under this picture: My entire current main bass rig signal chain explained (had to exchange my pedal setup explanation for a picture to keep the post under the 1000 characters allowed , you can read the entire full explanation though, if you are curious, in my 2nd post, just beneath this one) : 4 string Ibanez GSRM20 Mikro Bass (strung with gauge .095 to .040 strings, and tuned in F# standard, 2 half steps above regular 4 string, E standard, tuning, as in F#1 to A2, and having a Di'Marzio Model P pickup wired directly to the output jack socket) ->-> ->-> EHX Black Finger (always on tube driven optical compressor, used as much as a fairly moderate compressor effect as as a tube preamp stage) -> Peavey Solo Special 112 (160W solid state combo amp, with it's passive EQ controls set as follows, [Low] at about 1 o'clock , [Mid] at about 01:30 o'clock [6.5], and finally [High] at noon  ("flat"), it's active [Presence] control cutting the highest frequency content about 1dB, and the build in spring reverb very subtly added, with the amp's [Reverb] control set at about 09:30 o'clock [2.5] (working in combination with the very subtle high definition hall reverb effect from the Zoom Multi Stomp unit), the build in 12" guitar speaker unit disconnected, and the amp instead hooked up to a bass cab) -> SWR Triad I (400W bass cab equipped with respectively, a 15" speaker unit, receiving the full frequency range of the signal from the amp's speaker output, a 10" unit, only receiving the frequency content of the signal between 100Hz and up to 5kHz, and finally a high frequency tweeter unit, that only receives any frequency content above 5kHz, the output level of the latter being adjustable via a tweakable attenuator build into the cab, currently set at about slightly bellow 50%) .