Baloney Balderdash

I really like the overall design, and it seems like the neck is more narrow than usually found on 5 string basses too, which is a plus to me, however that seems to lead to the problem of the 2 outer strings being concerningly close to the edge of the fretboard, as far as I can tell, closer then I would be comfortable with, also I would probably tune it E to C, like the 5 upper strings of a 6 string bass.

The Beatles, as you thought about yourself, is you answer. Everyone knows them, most people have a hard time hating them, and most of their songs aren't overly complicated either.

I am thinking since people say these Tonerider P pickups sound very similar to the Fender Custom Shop '62 P, how do they compare to the EMG Geezer Butler P pickup, which is basically a clone of the original Fender P pickup from Bobby Vega's 1960 P Bass (apart from modern upgrades such as being shielded internally and having shielded solderless wiring)?

Yes, that's exactly what I am saying!

Context matters, in this context sound. And as someone pointed out it is very much like explaining color to a blind person, just in this case deaf. Painters actually know what they are talking about, it isn't just the fancy bull crap it might sound to an ignorant.

I am generally not liming myself to certain genres or styles of music, but listen to all great music that speaks to my being/soul, neither do I adhere and limit myself to genre clichés when composing. Do I have preferences? Of course I do, but that is a choice, rather than a limitation. I do find it rather pointless to play music that I don't like/can't feel myself though. Which is why I have only played in original bands too, rather than cover bands (except for the music school band that I played guitar in as a teenager, still played all original bands on the sideline though). But again that is a choice, rather than a limitation. Perhaps also worth pointing out is that I developed into considering myself more of a composer kind of musician, rather than predominantly an instrumentalist. Don't get me wrong, I love playing bass, and am good at it too, and I am a decent guitarist and singer as well, but what I truly excel at is writing/composing/producing music. So long answer short: No!

That's because all it takes to sing opera professionally is to sing in tune and really loud, you don't need to actually have a great voice that is pleasant to listen to. In fact because singing loud is weighted so highly, combined with it being a very stylistic way of singing, making it hard to sound authentic and not forced, often the voice sounds really horrible and is really straining to listen to. There are opera singers who are actually also pleasant to listen to, but they are a minority.

The sound of the angels blowing the trumpets that heralds the apocalypse?

Daze of Our Life - Electro Jar (electronic duo I was part of, and this track features a surprise calypso bass solo)

Sapphire Bullets of Pure Love - They Might Be Giants

It's pretty much an avantgarde jazz all star band, featuring nothing but genuine absolute legends from the free/avantgarde jazz scene. And with their unique aggressive take on free jazz they had quite a following among hardcore punk fans as well. https://en.wikipedia.org/wiki/Last_Exit_(free_jazz_band) Also this is among my absolute favorite YouTube concerts that I frequently revisit. Absolutely ferociously sublime, you can tell that they don't hold back on anything and that all 4 members dedicate and surrender themself 100% to the music and their performance.

For a killer preamp I would suggest something featuring a high voltage current transformer, then opening up said preamp while plugged in and then start groping the innards electronics until you hit jackpot. If it's not yourself you are planning to kill though anything heavy enough with a good aim to the head of your victim should do.

An acquired taste no doubt. I do like some aspects of it actually, but the body design is a tad overly bulgy for my taste, and the neck too wide, and in my personal opinion the color of the wood used for the neck/fretboard, I assume Maple, doesn't match the body, if I had had a say in the design I would have used Wenge as fretboard wood, even roasted maple would have looked better. That's of course a question of personal preferences, and I actually get why somebody might like it, as said an acquired taste, just not for me personally.

Well, the stock pickups on the Jackson Minion are definitely, at least in my opinion, better sounding, but in every other aspect I prefer the Ibanez Mikro, better upper frets access, reverse P pickup, smaller frets, and overall look of the Mikro as well (especially the matte black Weathered Black finish, with black hardware, version). But overall quality wise I think the Jackson Minion and Ibanez Mikro are very similar (the Mikro is made at the Cort factory in Indonesia, except the real early ones which was made somewhere in China, and for everyone who is familiar with Cort basses they know that means high quality all across the entire price spectrum, down to their cheapest budget models). The more recent production Mikro's, unlike the earlier ones, comes with contoured/rounded off neck joint, real metal pot knob, and shielded wiring. The Jackson does though feature a graphite enforced neck, but the neck on my Mirko is the most stable neck I ever had on any bass or guitar, it practically never needs adjustment, unless I change for significantly lower or higher tension strings. And my EMG Geezer Butler P equipped Mikro Bass sounds no short of amazing. In any case congratulations to OP.

They sound absolutely identical and work exactly the same way, use the exact same octave engine/algorithm and all, only difference is that the regular bigger version physically got a switch and an extra control knob, and is, well, bigger, obviously, but since the physical knobs available can be assigned to control any parameter you'd wish and as many you wish, at whatever range and rate, via the Toneprint editor, it isn't all that important, and totally irrelevant if all you need is one single permanent 1 octave up Toneprint and setting.

I am pretty sure it is. From his videos, playing, and just general appearance, he always stroke me as a huge old school fusion jazz fan.

In that case, yes, the Quint Machine, as far as I am concerned, would be your best option. @makab Edit!!!: But if you have the courage to customize your own Toneprint, via the Toneprint editor, on the TC Electronic Sub'N'Up I don't think there is any other octave pedal on the market that can get as close to a neutral/authentic sounding octave up on it's own. I could even instruct you in how to do so, if you decide for this. On the other hand the T-Rex Quint Machine does sound good, additionally give you the option of a 5th up, and its 1 octave down works better as well.

Out of those the T-Rex Quint Machine, but personally I am really satisfied with the TC Electronic Sub'N'Up Mini, the latter does kind of require of you to not be afraid of making your own custom Toneprint in the Toneprint editor (if you do though I don't think there is any other octave pedal on the market that can get as close to a neutral/authentic sounding octave up on it's own). That is for an as neutral and authentic sounding octave up sound as possible though (even if pitching up your signal a whole octave is always going to sound somewhat artificial), but if you don't mind it sounding somewhat more organ like, then the EHX Micro POG.

And the bass with a tuba!

Looks blue to me.

Very unlike my usual style of composing, a somewhat psychedelic jazzy instrumental, with first takes improvised guitar and bass recorded on top of a backing track of programmed drums/percussion, synth and bells : Composed, programmed, recorded, mixed and mastered in a matter of just a couple of hours.

Admittedly I haven't tried the real Ampeg SVT212 AV cabinet in person, but my preferred IR cab sim for my "amp-less" setup is of that cabinet. That said it will very much be a matter of personal preferences, and I would advice against just getting any random 210 cab, and ideally checking it out in person before buying, second best do a search and check out some YouTube demos, as every cab will sound different and have a rather big effect on your tone.

That's because Attack whenever we are talking compressors really means attack time, so a long attack time = a slow attack, as it sets how long it takes for the compressor to kick in. Also a maxed knob/potentiometer will always mean as far to the right as it can go.