Baloney Balderdash

YOU are umami, my friend! On a more serious note though, this distortion pedal, judging from your demo as least, is not my taste. To be perfectly honest to me the distortion sounded like an undefined thin fizzy layer of absolute chaos going on underneath a clean tone. Not what I would call a massive drive tone. But then again I don't think we share the same idea of what makes a great bass tone, so might not entirely be the pedal's fault alone. As is I'll stick to my cheap Mosky Black Rat in Turbo mode, mixed with parallel clean (or very lightly overdriven) signal at about equal measures via my Boss LS-2.

I might add that I used to play the brighter and more melodic "lead" bass in a hardcore and noise rock influenced math rock band, named "Menfolk", which featured 2 bass players in the lineup, the other bass player predominantly serving a somewhat more traditional supportive role, and beside that also consisting of a guitarist/vocalist (it's a mystery, bordering to pure magic, how he could "sing"/scream the lyrics while at the same time executing the rhythmically rather complex guitar parts, despite the vocals rarely exactly following those), and an absolute monster drummer, who was kind of the unofficial band leader (and our recording technician and producer). What I wanted to say with that is just that odd time signatures/meters, and even changing meters within the same song, become kind of second nature to me, and a lot of the stuff I write on bass, well actually a lot of the stuff i compose in general, to this day is in odd meters. However I still have issues with identifying exactly what the different time signatures/meters are, but, as said, playing them is kind of second nature and not at all odd to me, so I naturally incorporate them in my compositions, and have no issues replicating or playing over them either when thrown at me in a jam/band context.

This is a really great video for this:

So it was how he used the pedals and not the fact that he used pedals that did it...

Here you go:

Don't you think the issue was that lead all along and not the fact that he had 8 pedals, and don't you think he knew perfectly well?

Danish vocals/bass/drums all girls trio, which unfortunately broke up :

Miracle - Nelson Can

The first I suppose...

Cody Wright was/is deeply inspired and influenced by Bobby Vega's pick playing. Not sure who this Booby Vega you mention is though, some common bass playing family member of Dolly Parton and Suzanne Vega?

Alternatively: For amp and cab emulation/simulation + DI = NUX Melvin Lee Davis Bass Preamp + DI Boss LS-2 for mixing a Zoom B1on and a Zoom G1on in parallel with each other or one of them with clean signal and bypass on/off switching.

HoTone MP-80 Ampero One - 219£ (digital multi effect with IR loader and up to 9 effects simultaneously) Electro Harmonix Nano Overlord Overdrive - 79£ (extremely versatile OD/Dist, with clean blend)

It's not a novelty bass at all judging from the demos/reviews I have watched and read. What makes you think that?

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.