The connection between social status position and musical taste is less obvious than strict interpretations of Bourdieu’s homology thesis would expect, calling for a better understanding of the phenomenon of omnivorousness. For that purpose, it is crucial to analytically distinguish between the what and the how of consumption. While omnivore taste patterns suggest it is hard to interpret the plethora of musical taste patterns, a focus on underlying dispositions reveals an underlying consistency and demonstrates that distinction is still at work, albeit at a more intricate, nuanced level.