Baloney Balderdash

Stop innovation now! It's an order! Straying from hunter-gatherer culture was a mistake, and it all went horrible wrong from that point on in history! Throw out your basses and go back to banging on logs with blanched bones and whistling in the dark at once!

I fully agree with this! Bobby Vega is THE absolute master of bass pick playing. If any ignorant ever claims using a pick for playing bass is exclusively for amateurs or failed guitarists (Hello? Ever heard of utterly useless hacks such as Carol Kaye, Paul McCartney and Chris Squire?), just link them a couple of videos of Bobby Vega playing bass with a pick, and watch their jaw drop and faces turn red as they come to a realization of just how deep their ignorance run.

I can't seem to find the headless bass there, tried to put both the brand and model name/number in the search bar to no avail. The other models mentioned in this thread does show on a search of the brand, but not that headless one in the OP.

Yes, that is how I store my emergency picks too, in the exposed creek between my buttocks. Adds a nice salty, interesting and quite unique spicy, kind of rich umami, flavor to the picks too, for when holding the pick between my lips when temporarily swapping to finger plucking mid song.

I have absolutely no use for a ramp as how I pluck the strings really is more so stroking the strings with the outmost tip of my fingers/nails in a slight inwards unforceful slapping motion, rather than really plucking, pulling or striking the strings. I will never pluck the strings as deep as any ramp will go, and I don't have any issues controlling my plucking, and even if I did by the time my fingers would hit the ramp they would already be way too deep in compared to how I am supposed to pluck the strings, so it would still be of absolutely no use to me. Finally I also utilizes floating thumb technique, so a ramp would be to no need as an bulgy oversized thumb anchor either. Also in my honest opinion I think ramps look out of place and ugly.

Not quite as practical if you utilize palm muting.

So it's standard 19mm string spacing? Or is there a reason why this should remain a secret to the person who asked?

One of the most beautiful songs ever written about unrequited love : And a really silly one about being silly in love :

https://www.thomann.de/gb/pick_holders.html This, for instance: Which could be attach to for example either somewhere on the body of the bass, or on the strap.

I assume 17mm, as it seems to have a Mustang Bass bridge (which is 17mm string spacing), and the body is a Bass VI one, which would suggest a more narrow, guitar wide, neck heel/pocket, rather than a standard bass one. Mind though that I do not know this for a fact, but it does seem very plausible to me.

You can't blame them for not upholding a consistent production quality between all their products at least.

Or you could use one of the Wedgie rubber picks, that with guarantee will not break, and a lot harder to accidentally drop as well. I am quite fond of the soft 3.1mm one (they come on 3 different hardness/flexibility grades: Soft, Medium and Hard, and 2 different gauges. 3.1mm and 5mm). Probably not a viable solution though as it doesn't exactly produce a regular pick sound, but rather a tone/sound that lies somewhere between pick and finger plucking.

Yes, in the same way that guitars in white finish, according to Billy Corgan, sounds superior to guitars in any other color finish.

My parents did play a fair share of music from Danish folk artists, and been to a couple concerts together with my parents with a couple of them as a kid too, and yes, folk does have a very big place in my heart, and on guitar it is actually also what I mainly write/compose. However by far the majority of the music I compose/produce/create is in the much more experimental end of the spectrum, with quite a few electronic elements, and on bass specifically a fair share progressive/math and doom/stoner rock stuff as well, so in that aspect not so much. Though I have composed some more folky stuff on bass too. I guess my answer would be "to some degree".

But surely a shim will only raise the neck further, meaning the saddles at the bridge needing to be raised even higher to achieve proper action, also if the shim is placed at the back of the pocket, as it usually would, it would decrease string angle in relation to the fretboard, thereby decreasing the string action at the upper part of the fretboard/upper frets closest to the body, which would make any eventual fret caused buzz up there even worse. So I'd say leave the shim out all together, and as otherwise suggested tighten the truss rod to decrease neck relief. When pressing down the low B string at the first and last fret simultaneously you would not want any more than just about a business card (not credit card) thickness gap at about 8th fret. And probably in your case even less, so if above doesn't help, try this: Set your neck relief, adjusting the truss rod, so that pressing down the low B string at the first fret with a finger on your left hand, simultaneously with the little finger of your right hand pressing down the low B string at the 17th fret, and while doing so taping the thumb of your right hand against the low B string on the 12th fret, doing so there should be just exactly enough clearance/relief for you to hear a faint tap sound, nothing more.

Dancing and Blood - Low

Undergo plastic surgery and have a small skin pocket made, just big enough to contain one pick, on your forehead? Alternatively sew (or super glue, though you would have to be mindful for it to actually work as intended) a small leather patch, forming a pocket, at the bridge end of your strap, similar to the one mentioned in the post above this one.

In my experience swapping pickups can make a huge difference and is potentially capable of taking a bass from decent sounding to amazing sounding (of course though depending on the specific bass and pickups in question, as said potentially). I upgraded the pickups in one of my cheap budget basses with a set of pickups that nearly costed as much as the bass, and I don't regret it one bit, it really was it all worth. It's hard to calculate the value of tone in money, in fact it doesn't really make any sense at all, unless profit and not tone is your goal. Also isn't the point exactly making the bass something it is not currently, but has potential to be? In fact just the right pickups can even help bringing out the true character of a bass, which certainly far from is always the case with the stock pickups.

How about taping the tip of your backup pick to the upper horn of your bass with a small strip of masking tape?

Black - Okkervil River

Yet that is kind of exactly what they did.

I think John had a terrible handwriting, looks like it says "new + Men". Just how would we know that weren't in fact the intended title of the song? Makes you wonder if it even actually said "to Paul". As such I can't take this serious.

Given the choice to worry either about tone transfer or climate change, tone transfer certainly would be to prefer. Seems like you chose to chose worrying about me choosing to worry about credit card shims, over say war and hunger. And can't say I blame you, the alternative is simply too depressing. Cause we all know you can only worry about one thing, so chose wisely. That would be my advice.

Yes, seems like what it mainly does is making the string angle over the saddles too sharp, making it prone to ruin the strings, and certainly if it happens to be flatwounds (now string through does certainly deal with the bend angle of the strings being too flat over the saddles, which otherwise can lead to various issues, which is why, I guess, some people seem to think it improves sustain and tone, but a little too extremely as far as I am concerned).