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Probably the same concerns that arose when recordings became viable , the industry made plenty of money selling reproductions of artists performances , technically not actually real. The money and authenticity now is in the performance again.

Looks the same to me, other than the paint. If the OP's was an OEM that might explain it, as OEM very often left out cosmetic touches.

What PA are you using? Our pair of Mackie SRM-450s are fairly old technology now, but easily handle our vocals and occasional acoustic guitar, and can be picked up second hand for not many notes

That board has an aesthetically pleasing look. Nicely laid out. How do you find the MXR compressor? I'm thinking about getting a dedicated one (I'm not finding the ones on multi-pedal usable).

As ever - context is everything. I saw a band on Friday night Papa Shango. Adult rock (Limp Bizkit?) pantomime on steroids is how I'd describe it. Female and male lead singers, 4 backing singers and a lead guitarist wandering around the floor. Rhythm, bass and drums occasionally joining them. Walking round the audience with squirty cream, biscuits, water pistols, it was a full on audience participation. If they're playing local go and watch it, even if the music isn't your cup of brandy. I'm all for that kind of ridiculousness. We have a tendency to take ourselves far too seriously.

There's such examples posted on this GP-5 FB group, inc mine. It's good to have both 5V USB and 9V nozzle power options on the GP-5 https://www.facebook.com/groups/2661648260701246/?ref=share

For me I thought Chi Cheng had this very laid back groove that worked between the guitars and drums. Simple and functional but with a great feel.

Both seem perfectly rational to me.

I did that on Saturday (as ususal). The landlord gave me a free pint.

And there's a thread specially for that too, isn't there?

My buddy built me a COT-50 derivative tweaked ever so slightly for bass and I made it more ergonomic. It adds the tube-like drive, and more overdrive when boosted, even up to low-gain fuzz levels. It improves the sound of almost any other pedal after it. It would provide what you need, but you need to dial teh drive with Level knob and volume knob(s) on your bass, otherwise it's overdriving constantly. Of course there are diagrams for COT-50 clones that have a dedicated drive/gain knob. That's one idea I'd try. The other is Earthquaker Devices Blumes. It seems to fit your needs quite well.

It's a Bass Centre 'Betsy' bass, but I've added block inlay stickers as I love Jazz basses with blocks...👍😎

After searching as the push button for the wires were looking familiar, I found that the HH 1500 is really similar except that their heatsinks were black painted, but maybe it's another series.

NBD - Sire U5 fretless! (ok it was actually 10 days ago, but hey.) Sorry for the long post. TL;DR - £380 short scale fretless bass is surprisingly decent if not without a couple of flaws. Been planning on getting one of these for a while, being the only really viable affordable shortie fretless on the market. Thomann is literally the only place that sells them, so knowing that Sires have a reputation for being weighty, and my shoulder being incredibly sensitive to my 7.5lb limit, I eventually ordered it expecting it may well have to go back, but thought screw it lets have a go. Also ordered a set of Gotoh GB528 Res-o-lites at the same time from https://tonetechluthiersupplies.co.uk while they had them in stock. First the good - it's a smart looking little bass, scaled down aerodyne jazz shaped body, burst flame maple top with binding, and the weight isn't too bad at all - about 7lb 10oz, brought down to 7lb 5oz after fitting the GB528's which are drop-in replacements. The jazz width satin neck is very playable, I love that the fret lines curve around the side of the neck so I can see them while playing (see photo). The PJ config pickups are definitely noiseless, bridge is decent enough and the finishing is generally very good. It sounds *fine*. Not amazing, but certainly very usable, but this is the first budget level bass I've bought in a while and I think I may have just been spoiled with better quality pickups now. If I intended to use it more I'd certainly think about swapping them out. The passive VVT controls work well, feel pretty solid with a good range of usable tones. My preferred tone is J up full with P between 75% to 100% depending on how tubby/burpy I want things. The P on is own is nice and full bodied, but has to be said the J on its own is pretty thin and unpleasant. The two negatives that do stand out to me though, are the nut which had 3 of the 4 slots cut too wide for the stock D'Addario Chromes causing them to rattle when played open, and the lack of forearm contour on the body. The former I worked around by wedging tiny blobs of silicone in the nut slots to take up space and also improved after switching the strings to EB Cobalt flats. The hard corner on the body is just a playing technique thing. The body is pretty slim (tried to show the body width and offending corner in photo), so as far as sharp awkward corners go it's certainly not the worst offender out of basses I own (looking at you Hofner Club), but it's still a pain and something they should have designed better on a modern bass. If it costs more to produce a forearm contour I'd really rather have paid the extra to have one. Anyway, it may not be perfect but at the end of the day I'm really very happy with what I got for the amount I paid for it - £380ish for the bass, plus another £100 for the Res-o-lites. It's easily worth the asking price, and it's achieved the main goal of giving me a lightweight short scale fretless I can comfortably play for hours at a time. Given the lack of any competition in the price bracket, I'm grateful that Sire is making something this good.

Sure about that? Just spend ... A Night in Langney.

I can't help, it's not familiar.

Nobody will make much money from AI music, as you can't copyright AI created content (and spotify only pay $0.003 per stream anyway) but the streaming companies will save from having to pay out to record companies and artists, when they stream AI created music. Hopefully AI music will eventually be tagged as non human, and that means I won't need to listen to it. I suppose artists can incorporate the fact that they are human in the art that accompanies their music (i.e what used to be album covers). So that, if you listen to a track on Spotify, or whatever, and if it doesn't have the word human in the album art, then it's obviously AI generated.

Controversial but I thought Sergio was the better bassist

Thatn genuinely is absolutely superb. Hysterically wrong in so many ways, but superb. No human, however stoned they were, could come up with that!