Baloney Balderdash

If I was to get a fake Rickenbacker, which I am not, cause i once actually was stupid enough to buy a vintage 70's one, the most expensive single piece of gear I ever bought, and I ended up absolutely hating it, especially how it felt in my hands, I would get the Harley Benton one, which, although not an exact copy, gets great reviews right as they are from stock.

Sounds great, and great review/demo! Does it sound exactly like Lemmmy's overdriven Marshalls? Hardly, but, judging from the demo, it still sounds like it could do a good job at being used to play Motörhead tunes with it.

Touch Me I'm Sick - Mudhoney

So you use your tuner pedal to make sure your bass is out of tune for your tone not to matter? I suppose in some odd bizarre backward way that would actually be on topic.

Nice! Modern fusion jazz, with some quite math rock like elements. I liked it!

Without being able to answer on his behalf, or really having any personal experience with the pedal I can say as much as because it is digital it can analyze, process and compress several different frequency areas individually and independently, something that, while maybe theoretically possible, is not really viable to do with analog technology. Like on a standard 1 band analog compressor if you get signal spike at one specific frequency the compressor will still basically compress the entire signal (depending a bit on the specific compressors EQ response though), something that is partially true to analog dual band compressors too, though obvious only half of signal is then compressed. In other words you get a much more complex and balanced signal from the digital Boss compressor.

If it was a fake decal you got to wonder why on Earth they would chose to use a "Made in Mexico" one. Also usually fake Fender decals doesn't come with barcode and serial number.

Divebomb Jingle - dEUS

If all I needed was filling out the traditional role as a bass player, and I didn't need to sound like anything but a "clean" (or slightly overdriven) bass, I could not only live with, but also be fully satisfied, with my bass going into my EHX Black Finger (tube driven optical compressor, though used predominantly as a tube preamp stage, with its two tubes operating at proper high 300V plate voltage) with a very subtle compression dialed in, and driven to just the edge of the breakup of its tubes, and then into an old SS Trace Elliot amp with a 1x 15" Trace Elliot cab. I could even live without the Black Finger pedal, but I'd rather not, its been my trusty companion for just about any bass or guitar playing/recording I did for the past 20 years or so, and it just makes anything send through it sound better, in this case that would be taking the already really great sounding Trace amp + cab and make it sound absolutely amazing (mind a fairly subtle difference, but non the less a difference that makes all the difference, at very least to me at least). However as it is I prefer the consistency that my "amp-less" setup provides, and need to be able to make several different sounds/tones, so I have a huge, fairly complicated pedal setup. But honestly it doesn't sound neither any better or any worse, just different, and capable of more different sounds and noises.

I can't speak for any of those two units, but I have the adjustable HPF feature related the the IR cab sim of my NUX Melvin Lee Davis Bass Preamp + DI pedal set to 40Hz (mind I also boost the Bass control of the amp simulation coming before the IR cab sim function, which got a center frequency of 40Hz, but with a low Q/high bandwidth affected around it, as well), and that then going into my ART Tube MP Project Series tube preamp and DI, with its, fixed at 40Hz, HPF engaged, and beside filtering out boomyness and allowing for the poweramp and speaker to work more efficiently, it also really tightens up my low end, making my tone clearer and more punchy.

Well, what is preventing you from learning to do so? I started out playing with pick exclusively and did so for years before I taught myself how to also use my fingers in various ways.

But if it was going any lower the bottom of the string slots in the nut would be beneath the level of the fretboard wouldn't it, at least seems so judging from the pictures you provided, which would mean the strings wouldn't somehow need to sit lower in the nut slots than the fretboard would allow for, and clearly way too low for being playable, even if possible?

Only at it's lowest setting, which isn't necessarily the correct setting, since that's the whole point of it being adjustable. But you are saying this is at it's lowest setting?

Well, that has little to do with the point of him being known to be a strongly opinionated hot head (and no, me also being a strongly opinionated hot head doesn't make Jeff Berlin any less of one), also apparently you haven't watched "Game of Thrones". Beside being an amazing musician doesn't automatically also make you a great teacher, and even less automatically great at communicating online.

In that case the slot in the neck/headstock for the nut is too deep, cause otherwise, as far as I can see on those pictures provided, the bottom of the nut slots would go beneath the level of the fretboard.

It was TB, and he ended up getting kicked, then came back several years later, and ended up getting kicked again, together with me, after several heated arguments.

You know nothing Oliver Blackman.

How do you expect the nut to sit any lower than the strings basically touching the wood of the headstock? Also it seems to me that you haven't set the witness point, that is the strings bending at an abrupt angle at the nut rather than sitting like in a soft bow that causes the strings go upward in a bow in front of the nut, rather than siting flat in the nut slots. Apply pressure from two fingers at the same time on the individual strings respectively just behind and just in front of the nut to set witness point, and see if that helps. Unrelated to this issue the way you wrapped that string around the tuning peg doesn't look sustainable from a tuning stability perspective.

I mostly use the traditional index + middle finger 2 finger plucking style, but more so stroking the strings with the outmost edge of my fingers/nails, in a slight inwards slapping motion, rather than really striking or pulling the strings, and I am working on incorporating the ring finger as well, currently the ring finger is almost exclusively used when I have to do the gallop thing, but I also make frequent use of thumb + index + middle finger classical acoustic guitar finger picking style technique, double thumbing, and index and/or middle finger flamenco guitar style finger flicking technique, depending, all techniques with their own advantages and difference in fell and tone. I also occasionally use pick, either a Dunlop Tortex .60mm or a Wedgie Soft 3.1mm rubber pick, depending.

Jeff Berlin is also strongly against the use of metronomes when practicing, but otherwise has some rather reactionary old fashioned views on the subject of learning and teaching. Of course neither takes away from his indisputably absolutely astonishing chops on a bass, but I would personally hesitate taking advice from him. That said Cort instruments in general are incredible value for the money, even the cheapest budget basses leaving their factories are genuinely great instruments.

Brand New Love - Sebadoh

I got some serious GAS for the fretless version of the Harley Benton Beatbass FL, Beatles/Violin Bass, and will no doubt buy at some point, would become my first fretless. This demo starts out straight from the box and straight DI without any further processing of the signal: The fretboard is treated Amaranth (Purple Heart), which is very close to being as hard and stiff as Ebony. Unlined, but got dots on the side of the neck marking where the frets would be.

This! Well except I've never played in a cover band, and was born in 1976.