Baloney Balderdash

In my experience high mass bridges in general smooth/round out/off the tone and in a way makes the bass sound more polite and uniform, I'd even claim lacking character and sounding kind of bland, in comparison to a traditional bend steel plate vintage style bridge.

Though how would I go about making myself a Geddy Poo?

"The only one who could ever reach me Was the son of a pizza man The only boy who could ever teach me Was the son of a pizza man Yes, he was, he was, ooh, yes, he was"

I have no personal experience with it, but these guys get nothing but no less than absolutely amazing tones out of it: However as far as i understood from what I read about it it is quite sensitive to input impedance and doesn't cope well with being placed after buffered pedals (or, I assume, active basses), as is actually pretty commonly the case with fuzz pedals.

Thomann sells the 5 string Ibanez GSRM25 Mikro Bass (mind at the moment it says 5-7 weeks before they got them back in stock): https://www.thomann.de/gb/ibanez_gsrm25_bk.htm

Because the amount that the strings are shifted by the nut doesn't add up for how much the strings are shifted overall. My best bet is that the neck is slightly shifted in the pocket as well, likely less than you can determine by simply looking at it, but enough to add up to that string shift towards the low E string together with the shifted nut slots. It's actually a fairly common phenomena, and easily fixed by loosening the neck bolts, giving the neck a nudge, then tightening the bolts again. You would however still have to get a new nut cut as well to fix the issue entirely.

For the better though as far as I am concerned. Both in terms of the colors being more subtle/mellow pastel color like, the yellow one looks awesome in this video, probably even my favorite out of these finishes, which wasn't the case when judging from the pictures, and also in terms of the bridge pickup not being quite as far back in reality. I agree though that it is unfortunate and seems really strange and unprofessional.

DiMarzio Model P

String spacing is fine, but it is shifted towards the low E strings. Definitely not okay.

I don't know if I'd call that easy, sounds rather circumstantial to me, and kind of expensive as well (unless one got the tools needed and know how to do so themself, which I am pretty certain most people don't), and like one might as well buy a different bass that fits their preferences better.

Damn! That's no short of fantastically amazing!

And this is exponentially true to how awful you play.

Well, I invented a pickup that only amplifies the pauses in between songs. Just wait till I get it on the market, I am confident it is going to be a huge success. Can't believe no one else ever thought about that.

Looks great. Though I do wonder if they have decided where exactly to place that bridge pickup, or if that is supposed to be a random surprise feature, different on all units. And that tiny piece of pickguard to me kind of looks a bit random and misplaced. Also this, in my opinion, looks even greater, and also seems to have a slightly more narrow neck, which for me is a plus too: In any case the really poor upper frets access and the far neck position mudbucker pickup makes it an absolute no go for me.

I don't know where you are getting all this from, not anything I wrote at least. I just want someone with ears who knows how to adjust properly accordingly to what they actually hear and what they otherwise have been told is your tonal goals, with at least a minimum of knowledge and understanding about/of different genres of music/types of musical expressions, is that really too much to ask from someone who is supposed to be responsible for the sound of the bands playing? One would think that actually being a pretty essential and vital "detail" of a live performance. As said I have always been fortunate, also when playing at open air festivals, so is actually totally possible, just not my general impression from what I've read that this is as common as one (or well, obviously not you) would perhaps otherwise expect.

Probably Scott Devine of Scott’s Bass Lessons.

The perfect way to amplify finger noises for that coveted authentic acoustically played electric bass sound, and as a bonus it mutes your low E and high G string in a lovely unmusical way. A must have tool for the experimental bass player. A new clever way to prepare your bass for new musical frontiers, to dare go where no man has gone before!

I don't see how that could possibly be the logical conclusion of my point, perhaps in fact rather the contrary. Though to answer you question, I have personally always mostly been unfortunately whenever PA support was needed at gigs with happening to have a competent sound guy behind the mixing console, and in terms of recording it has always either been a case of one of my bandmates who happened to also be a competent sound engineer (and yes, some of this was on a real record label, with the same guy engineering/producing for other artists on the same label as well. And yes, he would usually mic up the bass cabs, and with several different mics too), or in later years myself. What I wrote in my initial reply though is based on reading countless, hundreds, if you need numbers, reports throughout the years from different musicians on various musician forums being unhappy with the treatment they have received from sound engineers at gigs as well as in studio recording situations (and most of these musicians also pointing this out as being a general recurrent experience with different sound guys), and, compared to above described personal experience, what I wrote seems to be what all those reports really come down to: incompetent people who call themself sound engineers who are not working with the musicians, but rather insisting on cramping their one size fit all solutions down over musician's heads (be it out of lazy selfish convenience or genuine incompetence), or said in another way, insisting on getting their one "magic" square block down through just about any shape of hole they meet, and following this analogy, and I guess this is where the genuine imcompetence comes in, perhaps not even recognizing the hole actually being a different shape.

My advice would be for you to get a tube/valve preamp pedal instead. Would give you much more options and flexibility, both in terms of amps and preamps to chose from, and obviously combinations of these, but actually also in terms of tone shaping (dialing in exactly the EQ and amount of tube saturation e.t.c you want). Though of course the choice is entirely up to you.

EHX Freeze and TC Electronic Ditto X4 Lopper, and you should be perfectly covered. The Ditto X4 looper is likely completely overkill for this specific application, but you might as well get something proper that is likely to cover every possible future looper needs you might run into.

I did actually eventually figure out, but thought I'd let my initial reply stand for laughs and giggles, and at first I was actually genuinely confused and puzzled.

The EHX Crayon is based on the Xotic BB Circuit, just like the Caline Orange Burst, also the EHX Hot Wax adds extended EQ controls to the Hot Tubes, and a clean blend control (which neither the standalone Crayon or Hot Tubes otherwise got), mind though that those are master controls for both the Crayon and Hot Tubes, which by the way can be switched on/off independently with a dedicated footswitch for each of the two drives respectively (and of course they each respectively got independent gain and volume control as well). Another really great overdrive for bass is the EHX Nano Operation Overlord, which is an extremely versatile drive pedal, and features the option for blending in dry/clean signal as well.

Ideally a sound engineer's main concern should not be control/safety but representing the music in the best possible way, and as close as possible to how the artist in question envisions it. Though I do realize that a lot of sound engineers sadly aren't really qualified for their job. A one size fits all standard solution, which is exactly what many people who call themself sound "engineers" operate with, just won't cut it when we are talking music or art in general, or really in all that many other situations in life for that matter, I guess maybe with the exception of working at an assembly line where such utterly incompetent attitude might actually in fact even be desired. With today's technology a properly constructed AI might in fact quite likely be able to do a much better job at serving the individual band's sound than one of those hacks.