Mayones Ori Enji 5 Monolith Hot Pink Matt

The Ori Enji 5 in Monolith Hot Pink Matt

The Ori is Mayones thinking out loud about what a modern five-string should be. The body is cut in sharp, folded planes instead of soft curves, the frets fan out across a 37″–34″ multiscale, and there are three humbuckers where most basses have two. On paper it reads like a spec sheet built to impress. In the hands it makes a lot of sense.

This one wears Monolith Hot Pink Matt over the ash body, with the wenge neck and headstock left in a natural matt finish. It’s loud to look at, and the satin finish keeps it from feeling like a toy — you can see the ash grain running right through the colour.

Body, Neck & Woods

The body is ash, shaped in Mayones’ multi-angle double-offset design. The flat, angled facets catch the light differently from every side and give the Ori a look nothing else on the wall has. Ash gives the bass a fast, articulate attack and a clear top end, which suits a three-pickup instrument that’s built to be precise rather than woolly.

The neck is three pieces of wenge, reinforced with two carbon rods and bolted on with five bolts into a contoured heel, so the upper frets are easy to reach. Wenge on wenge is a dense, stiff combination: it gives a focused, slightly dry midrange with real snap, and the open-pored matt neck feels fast and never sticky. The 24 stainless steel frets stay bright and smooth and won’t wear like nickel silver. The ebony nut is 46 mm wide and the radius is a fairly round 9.5″, so the neck feels comfortable rather than flat and wide.

The multiscale is the reason the low end sounds the way it does. The low B gets a full 37″ of string, which raises its tension so it stays tight, even and piano-like instead of flabby, while the G string sits at a relaxed 34″. The fanned frets follow your hand’s natural angle, so it feels far less extreme than the numbers suggest. The Mayones Kissaki aluminium bridge has individual saddles placed along the fan with 18 mm string spacing, and Graph Tech Ratio tuners are geared per string so every turn moves the pitch the same amount — tuning is quick and precise.

Electronics, Sound & Feel

Three Velvetrone Grim VF humbuckers sit across the body, and the 6-way rotary selector picks which of them you hear: neck, middle, neck + middle, neck + bridge, middle + bridge or bridge. That’s six distinct voices — from a round, deep neck pickup to a tight, cutting bridge sound, with the middle humbucker giving a punchy, focused voice that a two-pickup bass can’t reproduce. Because they’re humbuckers, every combination stays quiet.

The active Musashi3 Ori preamp gives you a stacked Treble/Bass knob and a separate Middle control. Pull the volume knob and the bass goes passive, so you’re never stuck if a battery dies on stage. Power comes from a rechargeable internal supply with USB-C charging and a 9V backup. The same preamp drives a built-in headphone amp: plug headphones into the 1/8″ output, a phone into the 1/8″ aux in, and you have a silent practice rig in the body of the bass.

At 4.4 kg it has some heft, and the long low B and stiff wenge neck pay you back for it with a big, defined low end. This is a bass for the modern player who wants range — tight extended-range lows, a wide palette of pickup sounds and a practice rig built in. If you’ve been curious about multiscale but want a bass that’s also a fully featured working instrument, the Ori is the one we’d hand you first.