Baloney Balderdash

Yes they can, and yes they should. Rather listen to the record, listen to the record.

I never mentioned that I was celebrating anything, nor with Burzum, I just shared a Burzum song on the occasion of the celebration currently going on, pretty much world wide, of Jesus's death, just like I wrote.

The Jazz would have looked genuinely great with a slimmer horn, as is though, in my opinion that extended horn looks really bulgy and ugly.

Aren't that what we are celebrating at the moment?

The Behringer BDI21, as is the case with the original Tech 21 Bass Driver pedal that it is a clone of, sucks the mids right out of your tone, and there is really no way to dial the mid scoop out with where it lies (just about 800Hz, exactly what you need for definition) and how the Low and High control acts, unless you dial in so much clean via the blend knob that the pedal as a preamp basically becomes completely obsolete as other than simply a DI box. If you happen to enjoy the dull inarticulate mud and fizziness of scooped mids for some bizarre reason though it's otherwise actually a great pedal that is basically indistinguishable from the real deal (meaning the Tech 21 Bass Driver pedal).

This might help some (more specifically the video of the specific post in the thread linked to):

On the occasion of the celebration of Jesus's death:

Agree! In fact I don't know why they even bother making 5 string basses. No sane person play them anyway, right? At least if they did they would definitely want 16.5mm string spacing. Did that answer your question?

Well, the EMG Geezer Butler P pickup is modled after an original 60's era Fender P pickup, so at least some vintage 60's voiced P pickup with Alnico V pole pieces, and with an approximately matching DCR value of 11.20 kOhm, like the Geezer P, would be a good place to start. Other than that I can't really help. I too am a big EMG GZR P fan though.

A 2mm Nylon one would be even warmer sounding. Tortex and even more so Ultex is pretty bright and clicky sounding.

Update :

Different pick material sounds different too, beyond the mere thickness and flexibility, Nylon picks for example will sound much warmer than Tortex. In fact the material the pick is made of has a quite substantial effect on the tone you get out of it as said beyond mere thickness/gauge and flexibility. As for what OP speaks about, yes, I can definitely obtain a fuller more rich and complex tone using fingers than pick (I am personally not into really deep, fundamental dominated bass tones, and not what I am speaking of here either, I don't dig in deep, I sort of merely stroke the strings, rather than striking or plucking them really), but I actually think wanting to make pick sound like finger playing is kind of missing the point, I for one actually also love that aggressive snappy emphasis on the attack unique to pick playing, that you simply really can't get with your fingers. I do however find it a big challenge to dial in a base tone that works optimally for both finger and pick playing, in fact simply impossible, and I if one tries it will always end up resulting in a compromise, making neither approach really sound it's absolute best (I know cover players really don't have that luxury of being able to pick (pun actually not intended) one over the other, but in that case I've found that generally adding more compression, but with a relatively long attack time to let the full transient of the pick attack through (to emphasize the attack, rather than attenuate it), and drive helps with getting a better pick tone). My main point though being that if I use a pick it is because I want it to sound like I am using a pick, if i use my fingers it is because I want it to sound like I am using my fingers. And trying to make either sound like the other is bound to end up with a less satisfactory, far less than optimal/ideal, result. At the moment, personally, fingers win, but as said I do love that specific tone that you can only get by using a pick too. Also a warning: Don't buy rubber picks (and yes, I have tried several different gauges and hardness/flexibility grades) in an attempt to make your picking sound like finger playing, it will give you absolutely all the worst qualities of pick playing, with non of the actual advantages of pick playing, and all the absolute worst aspects of finger playing, but with non of the advantages of finger playing, and it'll really sound nothing like neither, but very much like absolute donkey donkey (not to be confused with the David Bowie album "Hunky Dory"), just completely and utter rubbish (pun fully intended), if you ask me. Edit/Update!: I've changed my opinion on rubber picks, and now my go to picks, when not using my fingers, is a Dunlop Tortex .60mm and a Wedgie Soft 3.1mm rubber pick. depending. As said it sound neither quite like a pick, or like fingers, which I guess was what put me up at first, but it does have got its own unique kind of tone going on for it, with a more mellow roundness to it, that I've come to like for some stuff

Yes, the C is a 4th above the G (and G a 5th above the octave lower C for cello tuning), just like the rest of the strings in standard tuning. And yes, any 5 string bass can be tuned E to C providing you use the correct string gauges, which the link I posted will help you chose (just plot in whichever gauges you use normally use for regular tuning and then whichever tuning you like, and try out plotting in different gauges till they approximately match the tension of those in the new tuning). But usually a gauge .030 or .032 string will work well for the high C. I mean there are limitation to what tunings that will work, in terms of the appropriate gauge of strings in said tuning fitting the nut slots of the bass, if not a new nut would have to be cut and installed, but a regular nut on a regular 5 string bass, cut for strings suited a regular B to G tuning, will accommodate the slightly thinner gauge strings suited for an E to C tuning perfectly fine without any issues whatsoever with how nut slots are supposed to be cut. Also, although I guess that would be a matter of personal taste, the high C might actually sound better on a short scale bass. If you prefer playing short scale basses you should also know that there is nothing inherently inferior about them, as I sense from the OP that you might have had gotten the impression of, or that they are only for short people with small hands for that matter, if that had been true an absolute legend and master bass player, and might I add very tall man with huge hands, like Stanley Clarke (who by the way also is an extremely accomplished double bass player) wouldn't have chosen short scale electric basses as his main instrument of choice.

Rather late to answer this one, but might be of some help for future viewers of this thread. I got a Sub'N'Up Mini on my current main board, which is using the exact same octave engine as the regular big version, but I use it for the 1 octave up effect, which tracks as good as flawlessly and with basically unnotable latency, and which with the default polyphonic Toneprint Template chosen and some dialing in the Toneprint editor can be made to sound very close to an authentic/realistic octave up, or at least as close as any basic octave up effect can be with no additional processing other than EQ can get (which will be pretty far from perfect, but as said basically as close as it gets with any existing pedals on the market, until EHX decides to make a guitar version of their Bass9 pedal for use with bass). It is also capable of a wide range of special effects using the Toneprint with it's build in modulation or loading the right custom Toneprint. However the polyphonic 1 octave down effect on it frankly sucks as a standalone effect, it sounds floppy and muddy and unlike that octave up effect it got a painfully notable latency to it. So while I would not hesitate to warmly recommend it if an as close as it gets authentic/realistic 1 octave up effect (for a faux guitar/8 string bass kind of thing), if what you need is a 1 octave down effect I would strongly advice against getting this pedal. And if what you want is that classic analog monophonic 1 octave down effect nothing really beats the real thing.

You mean 5th tuning, standard tuning is in 4th. And it would definitely be easier to manage the extended reach this tuning would result in on a short scale bass. Edit!!!: Also regarding the need to buy single individual strings for this, which often only comes in regular long scale versions, as long as we are talking roundwound strings with a hex core, like for instance regular D'Addario XL strings, as long as you before cutting make an abrupt 90 degree bend on the string bellow the cutting point, I have never had any issues whatsoever, neither unwounnding, intonation, or otherwise, with cutting regular long scale strings to size to fit a short scale bass, and I've done this a lot, if you are really anxious eventual you could dip the bend end in a thin layer of super glue as well, just to be absolutely 100% sure, and let it cure for 24 hours (yes, most super glue will cure in a matter of seconds, but actually to bond fully and reach optimal binding strength most super glue needs a curing time of 24 hours). Don't do this with any other string types though, especially not flats, as you otherwise are most likely to end up ruining the strings.

A 5 string short scale tuned E to C sounds like a great idea for your use. It is not common to tune this way, usually it would be low B to high G, but a few professional bass players do actually do this. Usually referred to as tenor bass tuning, 4 string tenor bass tuning would be A to C, which of course is also an option if you don't need the low E (Stanley Clarke utilized this a lot, and Victor Wooten use it sometimes too, both having a dedicated bass tuned this way that they bring to all their live show, but also use on recordings). My main 4 string is tuned G to A#, 3 half steps above regular 4 string bass E standard tuning, or you could tune F# to A, as in 2 half steps above regular 4 string bass E standard tuning, the latter actually being a traditional tuning often used for upright bass solo pieces in classical music. Another option is getting a 4 string short scale bass with better upper fret access, maybe even one with 24 frets, yes, the Fender Mustang is really bad in this regard, and the reason why I will never get one, and eventual tune it in 5th like a cello, again a few professional bass players do actually do this, to get more range out of it. Just be sure to string it accordingly, with string gauges fitting the tuning for proper tension, this might help with that: https://wahiduddin.net/calc/calc_guitar_tension_from_size.htm

Anyone knows how close the new Trace Elliot Transit B preamp that is supposed to recreate the original classic Trace tone actually gets to the real thing? I should maybe add that while I am a big fan of the classic Trace Elliot tone/sound, I've never been a fan of the Pre Shape, or should I say mid suck, button.

Anyone knows how close the new Trace Elliot Transit B preamp that is supposed to recreate the original classic Trace tone actually gets to the real thing?

Congratulations. I miss my 1x 15" Trace Elliot GP7SM 130 W combo, that easily could compete with a loud rock band I played in at the time. Best I've ever sounded (I liked it back when I played though the Ampeg B-15S that I was stupid enough to sell at some point as well, much to my later regret, but a quite different beast, and honestly I personally still prefer the Trace tone). I think I might need to pick up a used Trace Elliot head soon.

Crazy - Gnarls Barkley

Broken - Sentridoh/Lou Barlow

Well, this was Westbury Standard guitar, but same basic body and headtsock shape as the bass in the OP. Fairly rare to find on sale though.