BigRedX

I’d buy a big (4TB) hard drive for my computer plus an external CD/DVD drive if it did’t already have one. Total cost <£150.

Unfortunately the Kramer necks are too short. I did think about it when I had both.

One of the great things I like about my iTunes music library, is that if I just want to listen to "some music" I can just hit random play and not have to spend ages thinking about what I want to hear. The library is my ultimate "radio station" there are no crap tracks - any album fillers, uninspired B-side remixes, or bands I'm simply not interested in from compilation albums can be dismissed with a click, and a second click ensures they will never be inflicted on me again.

According to the web site Reaper comes with sampler and drum synthesiser plug-in instruments, but I couldn't find any information on either of them in the PDF manual.

IME vinyl weight once you get over 120g has zero impact on the sound of the pressing. I still have a few albums from the 70s and 80s on vinyl that have never had a digital re-release and a modern 120g pressing makes them feel like flexi-discs in comparison. These days I only buy vinyl if I really want the music and it isn't available in any other format. I then go through the rigmarole of transferring it to my iTunes server in 24bit uncompressed format, editing out any pressing faults in the process. From their it can be copied onto any of my mobile devices as required. IME modern vinyl pressings are far, far better than the typical records of the late 70s and 80s. They have to be or no-one would buy them. Most of what I bought back then were DIY/Indie releases and it wasn't uncommon to find releases that had problems throughout the whole pressing run. I can remember going through my local record shop's entire stock of one particular album in an attempt to find a copy that had been pressed on-centre. There weren't any. Even when John Peel played a track off his copy you could hear that it wasn't right. BTW the last time I had anything produced on vinyl the advice from the cutting/pressing plant was that for the highest quality reproduction you needed to keep the running time under 10 minutes a side and cut/play at 45rpm. Reducing the speed to 33rpm and/or increasing the running time of the side would reduce the quality of the record.

And as someone who has had an album released on both CD and vinyl, the CD version is noticeably closer to what we were hearing in the studio during mixing, and what we want our audience to hear.

And as I also said before the biggest advantage of the high-mass bridge is the better engineering of the saddles to prevent lateral movement.

I'm talking glass-mastered CDs, with production quantities of 500+. CD runs of under 500 are mostly CDRs which IMO don't count because they don't have the longevity required to be considered a reliable delivery medium.

Having had music that has been released on both CD and vinyl in recent years, I can say that the production costs for the two are not as far apart as the retail prices would have you believe...

As I said in a previous post and in previous threads, once you attache the bridge to the body, mechanically they become a single item. So although the high-mass bridge will add more weight than a typical BBOT bridge, in overall terms, unless you bass is a hollow-body, the increase is negligible.

And as you can see underneath all those fancy woods, it's essentially a P-Bass so the BBOT bridge is the perfect solution.

You can't own a .eu domain name unless you have an EU business address which now no longer includes the UK.

As I've said in previous threads when this question has been brought up, once the bridge has been attached to the body, in mechanical terms they become a single item, so the added mass of the baseplate on a "high-mass" bridge is negligible when taken as a percentage of the overall weight of the body and all the other things attached to it. What does make a difference is that most high mass bridges are better engineered than the original BBOT, especially in terms of preventing lateral movement of the individual saddles, but that is it. If it was me I'd pick a bridge for its looks and ease of intonation adjustment.

There was a thread about this on TalkBass and apparently the bass was previously owned by someone who played left-handed and removing the "upper" cutaway was their solution to better high register access.

What DAW are you using? It may well come with it's own drum plug-ins.

The EMO DI boxes I have, are fitted with 3 sets of inputs, Instrument, Line and Speaker. Both Instrument and Speaker are loop through.

I won't be able to get accurate dates until I have access to the computer I do my ebaying on next week but IIRC I bought mine from Ishibashi U-Box some time around 2008 and sold it on back to Japan around 2014.

Low B will be considerably lower tension than the G it is replacing, so you may need to slacken off the truss rod. Loose feeling B is down to the gauge of the string and construction of the bass. IME neck through is always better for low B compared with bolt-on construction, and going slightly heavier on the B always helps (don't worry you have to go extremely heavy on the gauge before it's a higher tension than typical G). You will need to experiment with string types before find the right ones for you and your bass. Warwick Black Label suit me very well but my bass is quite a bit different to your Warwick.

TBH, in the early 2000s they weren't that uncommon, The UK importers had a load and just about every shop in Denmark Street had one on display. However all the ones I saw in the UK had noticeable casting marks on the body, something I'd not seen on any during my previous trip to Japan. I wasn't impressed with the finish of the ones I'd seen in the UK and ended up buying mine from Ishibashi. I believe @Bassassin bought one of the UK imported models. As I said when I moved it on, it went back to Japan. It could be the same bass, but my photos were taken about 15 years ago, so even if it is, they will hardly be representative of the current condition of the instrument. There is a really rare 80s version that I have only ever seen in a Tokai catalogue.

Be wary. Two of those photos are ones I took of the bass I used to own, which when I sold it when back to Japan.

Black label tapered B is easier to get hold of than the Red Label version.

Other than needing to maybe widen the nut slots what problems did you envisage?

Using a pick changes the attack of the notes relative to their decay. There is no way you can replicate that with EQ.

I went pretty much straight from playing a 30" scale 4-string Burns Sonic to a 36" Scale 5-sting Overwater Original, and while I knew the Overwater was longer scale I didn't appreciate how much longer it was until I bought my first set of replacement strings and the standard long-scale didn't fit. As someone who plays lots of different stringed instruments, scale length and string numbers doesn't really bother me until they start getting really extreme.

I think if you the member of a band whose album you were recording was likely to sell as well as "Let It Be" did, your attitude might not be the same. I know mine wouldn't.