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WinISD will calculate rectangular ports. I've done it the old fashioned way in the past - make a port that looks right (about ¼ to ⅓ driver diameter) and make a cardboard tube(s) and adjust the length until you get a sound you are happy with.

The Spellbinder we have in stock weighs 3.4kg so light as a feather

I think you are right here, it's very sad that AI is creating electronic music that most people think sounds 'real'. The genie is out the bottle now, and people who are desperate for clicks on social media will be in a race to the bottom to use it. There is a whole generation of people who live on social media and will do anything to get those clicks. Witness people blowing up Ferraris or doing other stupid 'stunts' to get attention. Perhaps the "Dog and Duck" will be the centre of the fightback for real music, but I somehow doubt it. On the plus side, both my daughters love live music and want to go to gigs, they then buy the music for the band or singer, they love the live element of it all. Whilst they may be in a minority, most of their friends seem to be the same, and they will continue to keep going to gigs so long as the price is right (apologies for the pun). They have introduced me to new music, though I have to say that Kneecap is not my idea of a good time, but I can't imagine I'm their target audience

Unfortunately, I think you might be right. At least that's what it feels like to me as someone who has spent 30 years making electronic music. There is software that suggests chords progressions, song structure and drum patterns, Reason has just been bought by an AI company. Or can fully go with something like Suno. On quitting digital music, Daft Punk said 'the last thing they'd want to be now (with AI music) is Robots'. One of them went on to hand write an orchestra score for a ballet. A bit like being a digital visual artist but now AI can do it it'll kills off the need for humans doing that stuff and the market/rarity/value of digital art decreases, but AI won't replace hand painted oil portraits. Along with Daft Punk, one of my favourite electronic producers is Jamie xx, I think he does innovative stuff that's still accessible and more than most he has a signature sound, but a comment on one of his latest releases was 'sounds like AI'. If people think his stuff sounds like AI there's no hope for someone like me to not! I'm thinking there will be push-back in listening trends, AI will be great at personalising music (e.g. linked to mood/time of day, where you are in a marathon and heartbeat etc) but people will want to see real people perform live music with instruments.

These are rumoured a few months ago, and I was tempted to wait, but not sure what I make of these. Its like they had great success with the GP-5 and now they are adding more and more until they get it to the size of the GP-100

Just a different view, perhaps. I had this discussion with our drummer. I said to him - you are from a different culture than me, and me from you. The singer has his own culture, it's us in this rehearsal room who then brings these different cultures togther and we play our music as one. I will learn vibes from your culture and you from me. AI can never do that.

They were all phenomenally talented. Back in the late 70s I was the bass player at a trad jazz jam, at a pub in Portsmouth on a Sunday lunchtime. Afterwards a big band met (it was just a rehearsal band, playing the usual big band arrangements), I played bass in that (along with my late father on tenor). The lead trumpet player was brother Terry. He was, also, an amazing musician - and his day job was as a street cleaner in Portsmouth.

I was playing around with the idea of getting a 5 string version made of my Alembic Series 1 with one of my graphite necks and then I wondered whether it might be easier to get a Jaydee MK 5 string made with one of my composite necks. It looks like the Alembic tribute might be easier after all.

+1 with @Kev Chris is one of the best. I took delivery of my first Alpha in Feb last year and a few months later commished another one! Can't add much more than what Kev has put, but you'll discuss and be informed every step of the way! I've asked for some "different" stuff on this new build, and he went out and got samples and showed me how it looked, it's that attention to detail and service you will get. Enjoy, the waiting is the hard part!

Unfortunately this is the answer and only you can really decide yourself. I've been regularly using a single 8" cab with a 130W amp at rehearsal and it's been fine, a 2x8 should be better. I've gigged small venues with a 1x10 too, so it can be done. To an extent it depends upon the drummer, some are more controlled than others and the difference in volume can easily be 10db playing the same songs. It also depends upon your 'sound'. I tend to roll off the bass below 80Hz and use HPF at 50Hz to keepthe bass clean. I try to leave space for the kick drum in the lower frequencies. This alll makes it easy for the speakers. I love the space ship @Dan Dare Dan Dare should always have a ship

I've been using the NUX for almost 2 years now with no problems. That includes some large stages and a couple of outdoor gigs.

Over the past 30 years, I've had two guitars and two basses custom built for me. The fact that I still own three of them after a massive clear out of musical equipment and instruments some years ago should tell you everything. The bass that I did let go was a wonderful musical instrument, but it was built specifically to suit the music of a band I was playing in at the time. Since the band folded 15 years ago it had come out of its case a handful of times and, although I've used it twice on recordings, I couldn't justify holding on to an instrument that mostly got played for fun at home about once a year. My advice to anyone contemplating a custom build: 1. Pick a luthier who is already building something very close to the instrument you want. That's what they do best. 2. If the wood is going to be visible pick something that you like the look of. Otherwise it really doesn't matter and leave the selection up to your chosen luthier. On three of my builds I picked ebony because I like the look of black fretboards. No other reason. For one bass I went to the luthier with a photo of an instrument whose colour scheme I really liked (orange and grey) and woods were chosen to achieve this through a combination of natural wood colour and staining. What those actual woods were didn't not interest me beyond achieving the correct look. For any tonal characteristics they may have given the bass I trusted the luthier to make the right choice. 3. If you are going for high C rather than low B make sure that the pickup(s) and electronics are suited to this. IME most bass pickups and pre-amps tend to make high C sound like a bad jazz guitar and not very pleasant to listen to. Go and play lots of basses strung with a high C string and see what works in your opinion for getting the sound you want. Good luck with the build.

Sold a Trace head to Nik. Collection was delayed but understandably. Coms were great and money paid in advance until collection could be arranged. Had a nice half hour chatting Rickenbackers - a good guy to do business with!

If anything was plugged in and powered up it is providing a signal, that might be just a bit of hiss (noise) but if that device is faulty then it could provide the fault for the desk to amplify into the speakers. You'd have to switch everything off or better still disconnect it to be sure it was the CQ causing the problem. The Zoom appears to be lit up which is one reason why I suspected it, I also know from my duo partners rather random approach to fx that the Zoom can be driven into instability if you come up with fx chains and settings Zoom never dreamed of. I used to do a lot of repair work when younger and earning my living as a part time sound engineer/speaker builder. Hence my hatred of intermittent faults, they never happen when the tech has the device. I do suspect B-stock as a result. Someone returns something to the shop and it lays around until one of the shop assistants decides to have a look. They run it for 24 hours (ideally) and nothing goes wrong and it becomes B-stock. You run it for a year and the fault doesn't happen, and then it does. It could be the desk but until you try it without anything connected you can't be certain. By all means talk to a tech, if they repair a lot of CQ's there may be a known fault but I'd be running it just conected to the speakers for a couple of days before I took it in. The spare desk is a great idea, I have a spare M18 in case mine starts playing up and I've transferred my settings to it so it is ready if I ever need it. I'll get my money back if I ever upgrade When it comes to repairs I'm strictly analogue though

Fantastic playing, Joe! Even on one pickup, a Series 2/S2 will cut through anything and everything.

It's news like this that has made me glad that I have decided to stick mostly with the plug-ins that are part of the standard installation for my DAW. I have made a couple of exceptions, which make life easier for me when recording but none are essential to my workflow should they stop working tomorrow.