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To the OP. What is your writing/composing for. Simply personal enjoyment or for your band or musicians to play? If I don't have something I actually need to compose for I can find the motivation to write quite low. Luckily right now I'm in a very active band and I actually have the opposite problem where I don't have enough time to work on all the song ideas I have going on. For me the biggest motivator for composition is playing with other musicians (see above). IME there's nothing that gets a song finished quicker than having other people to bounce ideas off and collaborate with. If that's not possible then here are a couple of other things to try: Revisit one of your old songs. I'm sure that there are things that could be updated or improved. Right now for me about half of my "new" song ideas come from things I originally wrote when I was in my 20s (I'm now in my 60s). In every case I've been able to make massive improvements, or even produce something so far removed from the original inspiration that it sounds like a brand new song. Even just trying an old song in a different key may open up new compositional possibilities. Alternatively try playing along with other people's songs, and then removing to original inspiration and seeing where it takes you. One of my most successful songs in the past was composed like this. Because I pushed the harmonic structure of my "new part" quite hard, once the original song had been removed it was impossible to hear where my "inspiration" had come from. HTH.

Also Woody - I think getting the EQ / preamp sorted on the IEM feed does make significant difference also to the gigging experience. Even with the ZARs I was getting a harsh treble with my B1-4 "presence" preamp settings which is great for cutting through the mix (has a treble boost at 1.6kHz and 3.6kHz). I've dialled the treble boost back to get something that cuts through a little less but is a better IEM experience. I suspect there may have been something similar going on with your ME90B? Maybe a digital desk (e.g. the A&H CQ series?) that doesn't break the bank will allow for a different IEM EQ to what I'm feeding to FoH, or I guess using an EQ pedal into the aux out from which I take the IEM feed is another option (although I definitely prefer not have one more thing to set up though, haha!). But part of me would like the FoH and IEM feeds to be as similar as possible and the compromise route if it gets you a decent FoH and a decent IEM gigging experience is not a bad one.

One thing I did note when I was selling a bass a little while ago was someone who messaged me through FB Marketplace and made a pretty lowball offer. Now I recognised the name and while he didn't declare it I know he worked for a well known retailer and I concluded that he was looking to procure to put it through the shop. No problem with this but was irked that he didn't declare his affiliation.

I was under the impression that Luminlay is a different material to the stuff they use in toys, stickers etc. Maybe it's not but then it would be strange that people would go to the expense of importing it specifically from that Japanese company. Don't know if it's the case for Luminlay but usually when one company has a product that others don't it's because they have patents for it rather than no one else understanding how it's done. Would be interested to see a comparison in brightness and longevity between these Harley Bentons and an instrument with the Luminlay brand dots. Won't hold my breath that I'll see one though lol.

yes ill try! so if i understand correctly, write a bassline with fingerstyle and play and rearrange things to suite slap style?

Was expensive when I bought it but that was years ago. The fact I've only really seen it stock on reasonably expensive instruments made me think it still is. Wonder why more instruments don't come with it stock if it's cheap now. Maybe it's not deemed to be that desirable and Harley Benton are taking a chance that maybe it will be a selling point.

Go on, get some flowers and put at Jaco's grave.

Experiencing echo on a Zoom call can often be related to your audio interface settings. Ensure your microphone and speakers are properly configured and not too close together. Using headphones can also minimize feedback, providing a clearer and more professional audio experience during calls.

Order the Spiros from Thomann, best price by far & they'll last for decades. I've used Corelli 370 TX in the past and remember liking them as a good hybrid string, bright sounding arco with a good amount of pizz sustain.

I'm still in shock that a Jaco tribute has been fretted!! If you listen really hard you can hear Jaco turning in his grave! I'm sure it plays well though, but it should at that price!

I doubt you'll easily (or cheaply) find a direct replacement. No, you can't have mine Fill, redrill, fit whatever you like.

USA musicman Sterling prehaps? Narrow and shallow necks. Lovely little things x 😊

Roll Over Beethoven...

Yes, as per post - it's very specifically a front-ported vertically oriented 2x10 cabinet that I am looking for

Were they 'identical' cabs (drivers and physical dimensions) other than the port position? That is an all together different matter. Agreed in which case the OP liked the tone of the cab potentially/partly/possibly due to the size as opposed to the porting location. You could equally get a larger cab that was rear ported and that could/might sound as good OR a front ported cab that was smaller and it might sound worse!

For sure, those used to really light gauges will find these both a higher tension and, if a bass has been set up for light, it will most likely need adjustment. My geometry is pretty flat with a low action. Lower tension strings tend to flap and rattle about, whereas for faster picking I don't want the string bounding about too much.