Dan Dare

Sometimes. A number of music creation software packages will give you notation from a recording, which can be handy on occasions where parts can be hard to discern on listening.

Very true, although it isn't only the pitch of the notes from the keys that can muddy the mix. As you point out, some bass tones cut through a dense mix better than others. The thing I find most important with keys is to persuade the keys player that he/she does not have to employ all the resources at his/her disposal all the time. The fact that the instrument is capable of playing ten notes simultaneously is not good reason to use it in that manner. This can be an issue with Inexperienced keys players in particular, who are accustomed to playing complete pieces - melody, chordal accompaniment, etc - which stand alone without the need for any other instrument. They have to unlearn that method of playing (which is perfectly valid if one is a solo player, of course) and think more in terms of single note lines, partial chords and so on. That can be quite alien for some because it goes against much of what they are accustomed to doing.

No need to find it. Something I've done for many years is to write my own. Not a full score or even anything approaching one, of course. I make basic charts and add notation of awkward, tricky or key phrases so I have an aide memoire/reminder to hand. I find it very helpful.

This might be a novel, even bizarre suggestion, but perhaps people could do both - listen to the recording and use the dots to ensure they get the subtler elements of something - the things that may not be obvious when listening to a recording - right. If I had a pound for every time I've hard people complain about "dismissiveness" and "elitism" when someone suggests reading music/parts may be helpful...

There's a balance to be struck when playing covers. The harmonic structure, melody and key phrases/licks must be there. Outside of that, there is room to be "creative", but beware of going OTT. It's a judgment call. The important thing is to know the original, so you aren't changing things because you cannot play it as written.

I used to use Storm Rehearsal Studios on the Holloway Road (Google will find them). About 5 miles north of Charing Cross, so not completely central. Reasonably priced, not bad gear and parking on site, which saves a lot of grief.

Exactly. If strings are seriously out of line with pole pieces, it may cause an issue, but not otherwise. So you can adjust spacing for playing comfort.

Or you could mount the new driver to the rear face of the new baffle, which will allow more room for excursion. As the old hole is large enough for an 18, there should be room for the 15 as long as you locate the hole in the new baffle correctly. If there isn't, it shouldn't be too difficult to remove some material (shouldn't need to be a lot) from the hole in the old one.

Takes me back. I had a Bassman 135 with the 2x15 cab many years ago. I replaced the crappy stock drivers with Peavey Black Widows and it was a pretty great sounding rig. I'd agree with suggestions to look at Ashdown if you want that old school sound. I'd also look, if you fancy trying alternatives and don't mind spending a bit, at Aguilar Tone Hammers. Have fun.

Strange question. Two very different players. What's the point of comparing or attempting to rank them (or any musician/artist)? The eye of the beholder and all that.

Well of course it will. Nobody, least of all me, said it wouldn't. The margin may not be as wide as some assert, mind. As I said, I appreciate that you wish to bark your wares, but you are arguing at crossed purposes with me. Weight, fit/finish, quality of covering, hardware and grille may enhance pride of ownership, but they have no benefit as far as performance is concerned. Once again, you appear to believe that I am ignorant and have no experience of quality gear. You are mistaken.

Not really. You need to develop a callus. The traditional advice used to be to soak the fingertips in urine - your own, natch, although nothing to stop you from using an alternative supply - to help harden the skin. A piece of micropore plaster over the fingertip when you play may help ease things a little.

Don't forget these

I have the Mexican P Bass Special , which is exactly what you describe. Nice instrument, although it doesn't do the Precision thang quite as well as a full fat P bass.

Whoosh

Don't forget the tweeter box for the true FFR experience.

Read what I said again. I did not say there is "little difference in drivers". I was referring to cabinets. Of course, I appreciate that paying more for a driver generally equates to better performance, but the cabinet is key. A modest driver in a well matched cab will give a better account of itself than an expensive one in a poorly designed cab'. The Basschat 1x12, which uses a reasonably priced Beyma driver in a simple/cheap to build but well designed box, is a case in point. Look at cabs from the major manufacturers at any price point and you will see they are pretty close in size, design and performance. Many use the same or similar Eminence drivers. Eminence publish detailed performance figures and even suggest suitable cabinet sizes, so anyone with WinSD or similar can devise a suitable cab for their products I "don't know this (yet)"? I actually use PJB cabs, which are not exactly bargain basement. I bought them because I tried them against the alternatives and preferred them. Just my preference. Others will have different opinions. Perhaps, as you are a designer/manufacturer, it is in your interest to promote the notion that the differences are greater than they are and that paying more for your wares is worthwhile.

An amp malfunction is likely to damage any cab, same make or not. A cab is just a drive unit (or units) in a box, plus a few bits of wire and input connectors. A lot of bass cab manufacturers use the same or similar drive units (often from Eminence). The goals of the designers may differ, but not to any major extent. Nearly all are some type of reflex design. Of course, manufacturers big up how unique their take on bass cabs is, but the truth is there's little difference. Mix and match to your heart's content and find the combination that suits you. As long as impedance and power handling match, you'll be good.

I don't know how you do that. If I eat a big meal before I play, I have difficulty keeping awake/alert. A bit like the lions in wildlife documentaries. They kill and eat something and then go to sleep under a tree for two days.

Bought one of these on a whim last autumn. Sounds good, fortunately, although it lives up to its name in the weight department. Extra wide strap definitely needed.

Beat me to it. I also find nothing else sustains life.

If I had a pound for every time I've heard that one - "there's a difference between being decent on your instrument and having the gift of creativity.". Sorry, but that's hogwash. As it happens, I have written music, too (I'm a PRS member and receive regular, albeit small, royalty payments). So I guess I have "the gift of creativity", in addition to being "decent on my instrument". Not that I'd be so pretentious as to call it that. Btw, it ain't a "gift". Like any other skill or ability, it improves with effort, practice, acquired knowledge and experience. It's not either/or. Plenty of musicians can and do create arrangements, parts, etc every day. They wouldn't claim to be "writers", but they do create music from scratch. They don't simply play pre-written lines. That was the situation in the band I was in with the guy who wrote the good songs. He brought lyrics and a melody to us and we created parts and arrangements. Sometimes, he had a strong idea of style, hooks/key phrases and so on, sometimes not. We even discussed and suggested changes. Some were agreed on and adopted and some weren't. It was a cooperative process, as is usually the case.

People like what they know. You can't blame them for that. If confronted with an entire set of "original material", many will not be thrilled. You have to be crafty and get them on your side by playing some decent covers and sprinkle your own stuff through the set (not introducing anything as original/yours - no sense in putting them on guard). It's very satisfying when people say things like "I like that song. Who was it by?" when it was one of yours. A guy I used to play with had a knack of writing songs you thought you'd heard before. Sometimes, people wouldn't believe it when we told them it was one of his, which was doubly satisfying.

Jack's Instrument Services in Manchester are very good. I've had two made by them and was very happy with them.

The favourite band of those who are partial to a spoonerism.