BigRedX

Great sound indeed in the context of the track, but given the number of factors that go to make up what you hear from the player's fingers all the way to the listeners ears, to single out one thing as being key is naive to say the least. Also given the amount of compression and drive I can hear, I would suggest that almost any bass played with a pick would be capable of delivering a suitable sound.

It's not a kettle lead. It doesn't fit any kettle and just as well because your typical amplifier mains cable is not rated sufficiently high enough to take the current draw of a kettle.

If this is the fuse in the plug of mains lead for the amp it should be rated to protect the lead, not the amp. The amp itself should have a separate fuse.

Only in so much as the rights owners of older songs are less likely to object because anything that boost the profile of the work will be welcome. Contemporary artists may be less keen to have their music used to push products.

Running Up That Hill was featured on a TV show that was set in the 80s, so the music is contemporary to that period. It would have been more noteworthy if it had been used and become popular due to being featured in a programme set in the current day.

And the fact that "ash" alone encompasses over 40 different species of trees, which may grow in totally different environments all of which affect the way the wood is created. Also "swamp ash" isn't a distinct species but simply one of those 40+ grown in "swampy" conditions.

A QR should be at least 20mm square to be reliably scannable. Technically you can reduce it down to 10mm square, but to make it reliable you need to consider a lot of factors such as the length of the URL it points to (less characters is better), also IMO experience the printing quality on guitar picks isn't great so the bigger the code the more likely it is to work. A more important question would be if it's worth it. I certainly would be very cautious about scanning a QR code from an unknown source.

But can you state with 100% certainty that it is the wood, and not the pickups, or the construction, by which I mean how it has been put together. Have you checked that both pickups have exactly the same DC resistance and that they have been wound in exactly the same way? Have the neck screws been tightened with exactly the same amount of torque. If the body is made of multiple pieces of wood are the joins in exactly the same place. Are the two bodies and necks even EXACTLY the same size and shape? And that's before we consider things like strings, set up and confirmation bias on the part of the player.

Two is not a scientifically meaningful number. And how do you know they are identical. The problem with wood is not that it doesn't make any difference to the sound, but that the effects of a "type" of wood are not consistently replicable from one instrument to the next. Anyone can make two supposedly identical basses that sound different. The real skill would be if they could make 50 or more basses that sound EXACTLY the same.

With the sheer number of individual pieces of wood that go to make up a typical Alembic bass, I suspect the type and amount of glue used will be just as important a factor.

You need a mini USB to whatever socket is on your phone which will depend on what phone you have.

If they are all like that the bass line is nice and loud in the mix so it should be fairly easy to work it out by ear.

Either this: An Eggle-era FretKing V Custom or this: Gus G1 Both were custom made for me about 25 years ago. I've owned other guitars, but none as good as these.

I think unless you are the singer, songwriter or the producer, you are always going to have to live with the fact that your playing may not end up on the final recorded version of the song. It has generally got nothing to do with your instrumental abilities, it's just that what you played ends up not fitting with the ultimate artistic vision. Remember also that songs and their arrangements can develop considerably for what has been performed live once they come under the studio "microscope". I play in two bands. One where I am essentially just the bass player for gigs, and while I will make suggestions about what I'm going to play, most of the time I'm replicating what has already been recorded in the studio, and I'm happy the accept that, because it's a great band with great songs. For the other band I am responsible for the musical side of about half of our songs, so what I come up with is an integral part of the composition and the arrangement. However if we were to employ a producer with the express purpose of making the band more palatable to a wider audience, I would have no hesitation in having my contributions replaced by something that is more suitable for the end product.

When I was getting into music in 70s it seemed as though the bass players in the bands I liked all played Rickenbacker, Gibsons, or something with a weird shape made by John Birch. Fender basses were never on my radar. In fact I never realised that there was supposed to be something extra special about them until I joined some bass players internet forums.

IMO that's probably the best thing you can do with it.

The whole point of iLok is that you can easily move your licences between different computers. Unfortunately in practice it never seems to be as simple as it should be.

If you are going to look at like that then surely either the double bass or Paul Tutmarc's electric bass are the originals?

I've never owned a P-Bass (or at least a bass that had the correct pick-up in the correct place and a shape at least roughly similar to the accepted design). In fact until a couple of years ago I don't think I'd even tried playing one as they never appealed to me enough to pick one off the wall in a music shop over almost any other bass there. These are the four basses that I have used for most of my musical career from the first I bought in 1981 to the two that I currently use: As you can see nothing even vaguely P=bass like amongst them. The closest I have ever come to a P-Bass that I have owned is this:

IME the problem with re-amping for digital recording is the amount of latency it add to the re-amped tracks. When I was doing re-amping the traditional way, I always included a percussive element at the start of the tracks that I could use to re-align the new audio. Does the Core output a direct signal on a different channel to the effected version? That way you can record an unaffected version whilst monitoring with the sound you think you want, and re-amp with the sound you actually need when mixing.

Before you dismiss it completely, have a listen to one of the more "rocky" covers of Blue Monday. You just need to ignore the original arrangement and concentrate on working out which instruments are going to do the main hooks of the song. However what would rule it out for me is how little there is to do for the singer, and IMO vocals are the main focal point for a covers band. In that respect there are better New Order songs to consider like True Faith or Regret.

I've been lucky enough to have played all the Nottingham venues where I saw the bands that shaped my musical tastes: Ad-Lib Club/Garage The Boat Club Rock City (main stage) Other than that I don't really have a "bucket list". I'm happy to play anywhere that has a decent sized stage, good foldback and an enthusiastic audience. I think that's because I've been to a lot of the "classic" venues (including CBGBs just before it closed) as a punter and IMO it's the band and the audience that makes the gig, the venue just happens to be the location where those two things come together.

Thanks! Although many of the gigs we are doing at the moment have pro photographers usually employed by the festival or promotor. a lot of the photos I post are, like this one, simply those taken by fans with their phones. I think it helps that at the moment we are mostly playing venues with proper stages and lighting rigs, and as a band we make an effort to look interesting when we perform. It also definitely helps that our singer is a complete show-off.

Hurtsfall played on the second day of the Leodis Requiem Festival at Wharf Chambers in Leeds. It was an all-dayer with 8 bands, we were in the second half starting at at 7.30 and the first band to have a 45 minute time slot. This was the fourth time I'd played at this venue and it's a bit of a strange one. Unless the bands are actually playing there is hardly anyone is in the room, they are all either in the main bar next door or in the garden at the back, so it's always slightly worrying when we're setting up with just the PA engineer and the festival promotors in attendance. However it does mean that it's possible to do a proper sound check without giving anything away. Luckily for us just as we're due to start the room fills up with punters. I don't know if it's that I had a different perspective from the stage compared with being an audience member, but it did feel as though we had the the biggest, most attentive and vocal audience of the 5 bands I saw. Simply announcing some of songs (one of which is so new that the only way people would know it is if they have seen us play in the last 3 months) brought cheers from the crowd. Didn't sell much merch but AFAICS none of the other bands were doing at any better. I did manage to get a festival T-shirt in small for me, as pervious years they've always sold out the day before my band played.

Why would you even want to play that sitting down?