Part of what makes electric bass, and rock as a whole, so enticing, is that when she gets her effects pedals as well she can make it warmer or harsher, more or less distorted, with an almost endless array of effects. Her own pedalboard is pretty simple when she's playing a show, but it's too easy to mess around with the exact parts she wants here and there.

For now, it's just relatively dull plucking, the harsher hits of her slapped notes. Ryo notices Sheik tapping that beat, too, and finding fellow musicians here so readily has her lip turn up, for just a moment, in a subtle smile.

Eventually, without much of a direction to go in, she just tapers off, letting her bass hang from the strap around her shoulders. "I don't know what all everyone else here plays, but I can probably make it work. What about you?" If Jethro Tull's Ian Anderson can get famous for his flute parts then she can do anything.