BigRedX

Spotify has at best two-thirds of the music I want to listen to available. If I want to hear my favourite tunes they need to be downloaded from my record/CD collection to my device.

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Unless I am also doing the production and the mixing, or the song required a specific effect on the bass, I would record without any effects, compression or EQ direct into the interface using an instrument input if it has one or via a no-frills DI box. If you want to give the producer/mix engineer an idea of the sort of bass sound you are after then record with the relevant EQ and effects on a parallel track and note down which effects have been used. EQ, compression and effects can always be added at the mixing stage. Trying to compensate for the wrong EQ and compression is not so easy, and the wrong effect will almost certainly have you re-recording the track dry.

In that case you could try bending the tip contact so that the fit is more snug when the jack plug is inserted. However IMO when sockets start to go wrong, any fix is only temporary and best solution is to replace the socket with a new one, preferably from a reputable brand.

I'm a guitarist too (and a keyboard player). What you gonna do about it?

IMO the only reason to convert to MP3 is for a low-bandwidth transfer to a device with limited memory and/or storage. As a format it ought to be on its very last legs by now.

Really? SM57 isn't the best mic in the world for a bass cab. It's got a peak at 6kHz where there is little baas guitar and drops off quite steeply after 200Hz which does include some of the bass energy you would probably want to capture. Also unless the stage area is big the fewer mics being used, the more controllable the FoH sound is.

For me the remix of "Lemon" is better.

IIRC they are made by Wittman-Spins.

The reason to go FRFR (or as close to that as current economical designs allow) is so that you are EQ'ing just for your sound and not partly to compensate for the shortcomings of your traditional bass cabs. Unless you have no PA support for the bass, then the contribution your cabs make to what the audience hears will be close to zero - after all when was the last time you saw a bass cab on stage mic'd up and knew 100% that the microphone was the only source of bass guitar in the PA? If you give the PA a post-EQ DI feed from your amp in order to have some benefit from the tone of the amp (or valve drive etc.) then much of the FoH EQ being applied will be a mixture of trying to replicate the sound of the cans on stage against fighting the amp's EQ setting to deliver a decent bass guitar sound FoH. If you DI pre-EQ or even before the amp itself then all your expensive bass rig is doing as acting as a personal monitor.

The problem with Q is that it has always been too mainstream. You have to be more niche than that these days.

No, It was about £350 including shipping, VAT and import duty. Cheap because it was an ex-demo instrument from a music show, that had been bought by a dealer and then languished unsold until they stuck it on eBay.

Exactly! Which is why IMO the size and number of the drivers on their own is fairly meaningless.

Boschma do a similar design in a range of colours.

It was a Lace Helix. Mine was an ex-NAMM pre-production model so it may not have been like that on all of them.

The only time I have come across something like this, is for The Pretty Things album "Emotions" where the record company had apparently insisted on extra strings and horns being added to the band recordings. The band had always instead that it had been done without their permission and that they hated it. The original was released in 1967, I first heard the album in the late 70s, and by the time the original recordings without the additional instruments were released in 1998, I was so used to hearing them that without those strings and horns that without them recordings just sounded wrong. Also to me the embellishments were less extensive then than implied in the band interviews about the album. For me some of the tracks sound better with the extra instruments and a few don't but on the whole I could have quite happily carried on listening to the record company version of the album.

Yes there are some basses made like that. Normally the cheaper models/brands where it is easier not to have to reposition the side dots for the fretless versions. Personally I can't get on with this method. The only bass I have with an unlined board but dots between the frets I found almost impossible to play in tune and moved it on fairly quickly, but in the end it's down to what you are used to.

I've used the time while I've not been able to rehearse and gig with my two current bands to go through my archive of recorded material to see if any of it is still worth releasing. The upshot of this is that there will be a couple of new albums by previous bands coming out later this year, some new (remote collaboration) recordings from another old band as well as 3 new singles from Hurtsfall - which we recorded just before this all started. On top of that there has been In Isolation's second album and two new videos. Here in the UK performance royalties for songwriters still work out pretty well. I make a steady (if small) income from my various record and CD releases from the past 40 years, mostly from broadcast radio play.

As a composer/songwriter, my opinion is that the version I have spent time crafting in the rehearsal room and studio is the only one I want the public to hear. Occasionally I might revisit a song a year or so later and rework it, but in those cases the result is so different to the original that they could almost be considered to be two different songs but with similar chord progressions and lyrics. While I've been unable to gig, I've been working on a few projects from previous bands, either putting together complications of un-released recordings, or remote collaborating on new versions of old songs. With the unreleased recordings I have been thinking very carefully about the validity of doing this, and also considering whether or not to include multiple versions of songs or older versions of previously released songs and in almost every case have decided against it. In every other case I have picked what I consider to be the best version of the song only for inclusion.

That would be interesting. My experience with bass rigs, is that there is as little similarity in sound between cabs with the same speaker configuration as there is those with different configurations.

IMO you could stick almost any Fluke track in this thread. I'm a sucker for any of the mixes of "Electric Guitar".

He does make guitars. This is my dream instrument: I have to say I'm not 100% sold on the basses, mostly because my OCD can't cope with the slightly angled pickups. Considering that they are his own design and made especially for Ritter bases, I can't se why they couldn't be mounted at an angle inside non-angled covers.

There's normally a very good reason why all those alternative versions and other songs weren't on the album in the first place.

I'd agree with this sentiment. I've had one reasonably old bass that I acquired second hand completely refurbished and refinished, because I loved the instrument but couldn't stand how it looked with the wear. And I agree with this sentiment too. In fact when I've investigated the music produced by all the people whose signature basses I've owned or lusted after, I didn't really like any of it. Their basses were still fantastic through!

Where one of my bands was doing our last round of recording (pre-lockdown). The results of which will be available soon...