Baloney Balderdash

It does... The previous generation of effects that the B3 used, which the current production multi stomp boxes, like the MS-70CDR also uses, are way more tweakable than the newer generation effects of the B3n and B1 Four, also in my opinion they actually also sound a lot better than the newer generation of effect models (and I am not alone with that opinion either), and the B3 got a couple more synth models than the newer B3n as well. If you wanted to duplicate the synth sounds of that video, given it was made on a B3 and not a B3n, you should have gotten the MS-70CDR (newest firmware update got all the synth effects from the MS-60B, but allows for a maximum of 6 effects per patch, vs. the just 4 effects of the MS-60B. Also you could just download the 3rd party Firmware hack, the "Zoom Effect Manager" and load whichever collection of the same generation of Zoom effect models, including the amp emulations, to it), or a used B3, B1on or B1Xon. That said you might still be able to do something somewhat similar with the B3n. Though if I was you I would get a used B1Xon or G1Xon and then load whatever effects you want on it via the 3rd party firmware hack app "Zoom Effect Manager", as both the units share the exact same hardware and operating system, also they would allow easier switching between patches than the MS-70CDR, and both features an actually genuinely great build in expression pedal that can be assigned to control any given one parameter of any given effect of each patch, also they are actually a bit smaller than the B3/B3n, despite the build in expression pedal. In my opinion the B1Xon/G1Xon is the best digital multi effect Zoom ever made (especially if making use of the 3rd party firmware hack app).

Because then people would discover that Fender Japan is better than Fender USA and never buy a US produced Fender anymore.

As I just edited into my initial reply: Judging from the demos I've heard and own experience with the former two, their American Sound, Orange Juice and Ultimate Drive ironically sounds better for bass and has less low end loss than this dedicated bass overdrive. Which, in the demos I've watched/heard at least, sounded somewhat weak, thin and fizzy. Edit!: Just found out Joyo came out with some new bass specific pedals fairly recently, which appears to be all original, I was speaking on the old "Moonbase" one here.

No idea where to get them, but I can inform that the bass preamp (Dr. J. Sparrow) is a clone of the Tech 21 BDDI Bass Driver V. 1, and that the bass overdrive (Moonbase) is based on a tube screamer, but tweaked for working better with bass (not 100% certain about it being a tube screamer variant though, just what I heard). Also judging from the demos I've heard and own experience with the former two, their American Sound, Orange Juice and Ultimate Drive ironically sounds better for bass and has less low end loss than this dedicated bass overdrive. Which, in the demos I've watched/heard at least, sounded somewhat weak, thin and fizzy. Edit!!!: Just did a search, and appears Joyo came out with some new bass specific pedals, which appears to be all original, fairly recenly, which I assume are the ones you are speaking of, not the old ones, mentioned above? And that new bass preamp Joyo R-26 MONOMYTH looks pretty amazing, with graphic EQ, blendable and foot switchable drive, optional cab sim, and all. I'd say give it a couple of months and shops in Europe most likely will have them in stock. It was the same thing when their Oxford Sound, Tech 21 Oxford clone, had just come out. The Voice control on the MONOMYTH bass preamp kind of makes me wonder if this could be Joyo's own very unique take on the Tech 21 VT Bass, since the Voice control on their Tech 21 clones is the equivalent to the Character control on the original pedals.

Just discovered these, Herrick Pickups 4 coil P pickup, that is one dedicated coil per string/for each of the 4 pole pieces respectively, and utilizing a combination of Alnico 5 and Neodymium Magnets (each pole piece being a short Alnico 5 rod (top end/closest to the strings) stacked on top of a short Neodymium rod magnet), Googling after Neodymium P pickups. Also they are supposed to be shielded internally as well as utilizing shielded wiring, which ought to make them really quiet. I think they look really interesting, and am tempted to get a pair and try them out. Anyone tried them? https://www.herrickpickups.com/our-products/4-coil-split-p-humbucker/

This! : To bring back the mids of your tone, that this pedal is otherwise infamous to effectively scoop out (just like the original Tech 21 pedal that this is a quite accurate clone of, and no, simply turning down the Bass and Treble and then turning up the Volume instead does not help with where the scoop is happening and the frequency points and curve of those two tone controls).

That you think it looks, yes, did you actually click that link I referred to? Just like your post which all this started came across as condescending and patronizing to me. But it is clear to me that your logic is a one way viable, and that there is no communication actually getting through to you.

Isn't it ironic...

And what about people buying pickups to swap out stock ones, they only use those general terms too?

Does this look angry too, to you : And this post of yours, which it was a reply to, is not condescending and patronizing? : Or would that only be the case if it had looked like this? :

No I am not angry. Does large red fonts mean you are angry now? If you had known me from posting here I use large red fonds to underline the important part of my posts. The large red fonds was my point with that quote, but to get the full context and be able to see where it came from I included the entire reply. You really do have some strange very specific ideas. Yes, that is the general terms for those type of pickups, there are specific terms too for the specific models. One does not rule out the other, but depends on context. Just like a rodent can also be a mouse.

They might, though not the guitarists I know or read comments from if they are actually specific and not just referring to single coil pickups or humbuckers in general terms, which bass players will do sometimes as well, and in any case it wouldn't be the actual official names for those specific types/models of pickups. And again all this was really just to tell you:

Except Strat pickups are actually named Strat pickups, to differentiate them from other single coil guitar pickups, like for instance Tele pickups, which are also named Tele pickups, and not just single coil pickups. And those LP style guitar humbucker pickups are not just called humbuckers they are technically called PAF style humbucker pickups, again to differentiate them from other types of guitar humbucker pickups. Also in that vain for bass we have Soap Bar pickups.

Also P, J and Stingray pickups are not just called that, those are literally the official names of those respective pickup design/types. It's like refusing to call a butter knife a butter knife just because it also works for applying cream cheese and Nutella.

So one should refrain calling pickups what they are really called, so that a P pickup should not be called a P pickup and a J pickup should not be called a J pickup, and a Sting Ray pickup not a Sting Ray pickup? It's what the actual pickup type/model is actually called, named after what those was originally was used for. Also it's not just about how the pickups look they will sound it too, a specific pickup design lends it self to certain tones, and a bass with a P pickup will sound somewhat like a P Bass, and a bass with a Sting Ray pickup will sound somewhat like a Sting Ray Bass. That's why he called it a StingBird or ThunderRay, not simply because the pickup poles are exposed. With those pickups its tone will have some at that typical Sting Ray Bass character/quality. Design does influence greatly on tone, and that doesn't just go for pickups either.

Though with that approach the fretboard will be accordingly wider, unlike a real short scale bass. Also one should adjust their plucking technique to the lesser tension of the strings on the short scale, and not expect to be able to play exactly the same way as with a long scale bass, a different instrument after all. Also thicker gauge strings on short scale basses to compensate for the lower tension isn't really the answer, as they will end up really stiff because of the shorter vibrating length, especially as you go up the neck, which will affect tone and sustain negatively, instead, as said, one should adjust their plucking technique accordingly. I've found that thinner gauge strings on short scales, but adjusting your plucking technique, gives the best results.

Dude, those are literally Sting Ray pickups, not Thunderbird pickups with exposed poles.

Another vote on the Danelectro Longhorn Bass. Don't let the cheap building materials fool you (and the neck is still Hard Maple with a Rosewood (Pau Ferro on more recent ones) fretboard), this is a seriously great sounding bass that is extremely comfortable to play. And honestly personally I think it looks pretty amazing too.

Black, or if you are feeling more adventurous Mint, or even proper Green!

Yes, how about we just close Bass Chat and in its place just leaving an image saying "Use Google!".

I use my Zoom B1Xon, loaded with all reverb effects from that generation of Zoom digital effect models via a 3rd party firmware hack, for reverb effects, and a NUX Tape Core Deluxe (Roland RE-201 Space Echo tape delay emulation) for delays. And yes, I have a subtle always on reverb from that Zoom multi effect added to my basic "clean" signal, consisting of a very subtle plate reverb, with a 10ms pre-delay, stacked into a subtle spring reverb. Regarding whether Marcus Miller knowing what is best for everyone just because he is a master at playing bass, that is simply nonsense, first of all being great at playing bass doesn't automatically make you an expert in audio manipulation/using effects, secondly different applications, what kind of gear you otherwise use, and contexts, what kind of music you play, requires different approaches, plus there is such thing a personal preferences. Just because delay might work best for Marcus Miller doesn't mean it will be the best option for everyone in every possible application and context.

2 8 Ohm cabinets connected in parallel (which is usually how the speaker outputs on amps are connected) equals 4 Ohm, so you should be good. 2 8 Ohm cabinets in series though equals 16 Ohm, but it is with almost 100% certainty that the speaker outputs of your amp will be connected in parallel.

Fair enough, but I was referring to your notion that P Basses are one trick ponies, though it does seem, on a more thorough readthrough of your reply, as a contradiction to some of the other statements you make. I guess we can't all make equally as much sense all the time, I know I don't, just confused me. Please do carry on...

So you are saying Steve Harris, J.J Burnel and James Jamerson sounds the same to you?