Dood

In all honesty, given that the bass side isn't so catered for as the guitar side of the QC, and I am only using it live for bass, currently in a band that doesn't need monsterous effects, maybe it is overkill here too. However, I need to spend some time dialling in some fat bass-pedal type sounds, in which case it will be very useful! QC has a basic tone generator on board too, so it's possible to also create a very rough Taurus pedals 'thing'. (There's a fun default patch based on the chords of Shine On You Crazy Diamond intro on QC)

I'm using QC alone in a set up that, like my previous Helix and other gear has replaced silly amounts of rack gear. The signal path now is relatively simple outside QC. I'm in the luxurious posiion that the sounds I have created on QC are "FOH ready" and my backline and IEMs, when I use them receives exactly the same signal. (There's some tweaking that goes on around my IEMs but that doesn't change the output of QC). The path inside QC is based on a template that I edit per needs as there are some aspects that I don't change much, so if I switch from one patch to another, levels are relatively the same. Top rows are for "preamp sounds" and the bottom rows I like to use for modulations and time based effects (except when the preset has to be wildly different like, building a 3-4 band multiband compressor - which leaves little space for much else ha ha! I guess at the moment I'm not doing much experimental stuff, but its nice to know I can if I want to. Using QC is a breeze, no issues there and for me, the form factor is important. I love Helix LT, but QC fits in the same bag as my amp, which is bonkers! Touch screen and rotary controls is a big yes for me too as I like the tactile approach and hate scrolling through lengthy menus. I've not much to add in terms of manipulating CC's and other parameters, I've had QC for a while, but I still haven't got that far yet ha ha!!

I’ve just added all my reviews from Guitar Interactive issues 5 (when I started there) through to 40 to my playlist. Yay! Loads of very young Dan ha ha! I will update the lists and links above when I get time. For now, get cracking with checking out some really cool gear!! {EDIT} 312 videos in the playlist now, so I have a bit of admin to do!!!

Thank you! I think because it's a Deluxe C series model they have added some extra touches, a bit like the Fender Player Plus jazz has noiseless pickups, active preamp and a satin neck with rolled edges, yet i think the next model up doesn't? Either way, it makes it a solid purchase at the price point.

Just published, Cort Space 5 coming soon too..

New version of the play through track:

Here's my full written review of the new for 2024 Cort C5 Deluxe 5 string bass! Let me know what you think! https://www.bassgearmag.com/bassic-review-cort-artisan-c5-deluxe-bass-guitar/

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.

I used them on my Fender Power Jazz Bass Specials, but I'm back to standard now and haven't touched the nut at all! Maybe I was just lucky as I ahven't tried them on another bass - that said, one of my other basses I had a second nut made and it clips in when I want to change from F#BEADGC to BEADGCF !

I’m slightly embarrassed to say that I have been meaning to put my thoughts on a Monza in to words on these very pages, alas I have been weathering some persistent health obstacles.

Although it wasn't a bass I'd owned the longest, it was definitely one I regret letting go. I'd love to know where it ended up, the last time I heard about it was when I tried to buy it back and it ended up in a studio in Suffolk somewhere... I just don't know which one!

Oh wow! That's a peach! There's just something about it that screams YEAH to me! I guess also being a TV Script '69 is all the more John Deacon too, which I have a soft spot for!

(I have noted that you're in Eb standard to begin with and drop the 4th string down to Db) You'd also get Drop C out of this set too if your bass creates a good tight string feel to begin with.

THESEEEEEEEEE!!!!!!!!!! Absolutely BRILLIANT! https://www.daddario.com/products/guitar/bass-guitar/xl-nickel-bass/exl160bt-nickel-wound-balanced-tension-medium-50-120-long-scale/ 120-90-67-50 That 120 is perfect and, I found on my basses I didnt need to adjust my nut to fit the heavier gauge. (Which may just be lucky)

Thank you, that's really thoughtful this bass fam' Love

Hey @PatrickJ I have completed and submitted my full review of the Cort Space, yes! I have been delayed (pretty much all year so far) with on-going poor health and I've been struggling somewhat. Expect the review to go live soonish. Honestly, and, maybe this can be a hint towards my review in general, I didn't notice any volume taper issues with the example sent to me. What amp / set up were you plugged in to? Could it have been an input impedance issue? Overall, I am pretty pelased with the bass Cort sent me to review (along with another I have covered) and, if it were the green version, I'd have been thinking about selling a body part to hang on to it a bit longer!

I’m looking to find out who is *currently* doing pro instrument refinishes in the Norfolk area. I wouldn’t be adverse to sending an instrument away for refinish but preferably a bit nearer to me for now.

I'd echo this. I think it seems like I rag on cheap IEMs on BC, but, there are many reasons why I'd not suggest buying cheap universals and generics anyway. There's also the rest of the chain to take in to consideration too, like that of the cheap radio, what is being sent to your IEMs? is the mix just tsraight out of the PA or do you have the luxury of being able to high pass / compress / EQ and, even go stereo? I maintain that the reason most people feel isolated and find IEMS dificult is becuase it costs money, time and a bit of understanding to do it properly. I have endured some truly painful in-ear mixes over the years, especially as like you @GoodShowSir, I suffer from Tinnitus and have an ENT on speed dial lol. I'd highly recommend to any musician getting your ears checked out regularly anyway, as you can plot hearing damage history and find ways to help protect those very delicate lug-oles!

It's one of those cool phrases that has turned in to the musical equivalent of a meme, like 'the lick'. Musicians all nod knowingly with a smile when they hear someone shoe-horning it in to their solos. I know I have squeezed in my favourite nods to my favourite musicians more than once!

I've got a Speed Editor for Resolve and I've just picked up a cheeky deal on a secondhand StreamDeck. (I've been using a demo of the iPad version and it has massively sped up my workflow). I'm loving the tools I have at my disposal right now! - Not to mention many of the plugin deals I have picked up here or in FB groups, it's absolutely bonkers to think what we can do 'in the box' now versus when I first started as a'recording artist'. Blows my mind and I love it!

I've used the 'archive' method so I can run both 10.8 and 11 on the same machine, just to be on the safe side. I've just upgraded the 'main copy' to 11 and everything seems to be working as it should do. I'll have more time to play with the new functions over the next day or so. On description alone, I can't see anything that won't be a benefit to my job in some way. I SO used to hate LP9 and now between this and Davinci Resolve, I feel incredobly fortunate to have these tools at my disposal every day! I suppose my review videos are just gonna have to get even better now! ha ha!!!

I’d love to know if they have managed to make the device noise quieter. The noise floor on the outputs was distractingly high on the H1n. Usually down to self noise produced by cheap electret mics or op amps. What do you think? Quiet?

The natural body with the tort looks super, super nice! (Can't help loving the Deacon-esque vibes!) The four basses I was sent to video review were all very, very good for the money. Genuinely impressed (and definitely not paid to say nice things). So, yeah, I do want a natural precision... ha ha!!

In the scenarios that I had used it in up to the point of recordingt the video, I was pleased that it didn't seem to hit it's maximum microphone SPL. There were times, in very loud environments certain settings on that particular did eventually clip and tehrefore I'd suggest going for the H4 models - the non-32 bit version for example having a theoretical maximum microphone SPL of 140dB. Always set the levels manually, I am not a fan of autogain doing it's thing by itself as sometimes doesn't capture loud transients and.. well, that hurts through sensitive IEMs As @EBS_freak points out, there are many different reasons ambient monitoring may be needed. Even on a 'silent stage' just hearing your band mate calling the next song off mic, or hearing the audience is a useful. I like using the external device when a band doesn't mic up a whole kit (because the venue doesnt need it); the ambient monitor is a nice way to blend acoustic drums back in to an 'ampless stage' earphone mix. I can think of other scenarios, but you get the idea. I'm moving to either the Sensaphonics system or something similar with the mics on the IEMs themselves, as I love that I can leave everything on, walk away from the stage and use the pack and IEMs as active hearing protection when the DJ starts banging out the "classics" at 1 billion decibels ha ha!