WinterMute

Re-homed, please lock.

Very much like the Beatles, I don't care for her music particularly, but I recognise the talent in her voice and songwriting, she's a rare thing. She doesn't speak for me is all. At least she can write more than one type of song eh? Looking at you Sheeran.

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I have a surplus hard case for a bass, it'll take a MusicMan SR5 and so should be fine for most 34" scale basses. It came with my Thumb NT5, but is too big for the small body, and I've just scored a very cheap Warwick flight case for it. In good nick, all the catches work but there's no keys. Collection only please, I'm near Heathrow, London.

Just-a-nuts have adjustable saddles, found on Thumbs and others I believe. As noted the above is a design feature.

They're not really a pair, the fretless is a hybrid with an OLP body, an MM neck and Bartolini electronics.

I now have a couple of basses I'd have considered "dream" basses, an ACG Krell 34" fretless and an early German-built Warwick Thumb NT5. I played an 87 Thumb NT5 for decades, sold it after a period of inactivity and now have a replacement, it's the bass that suits me best of any bass I've played. The Krell is a full custom-built spec and is a phenomenal bass as well as a minor work of art. I'd love a Wal Mk2 5 string fretless, but I'm just not going to pay the asking price, and the ACG is just as good.

You sure about that? I have a Warwick Thumb 5 which is 16mm, and SR5's which are 17mm, the OLP felt more like the SR5 it's based on. Never measured it mind, maybe that's why I liked it so much, I like 16mm basses.

If you can find one, the OLP Tony Levin signature MM5 is a great bass for the money, usually well under £400. Better quality than the standard OLP stuff, better than the SUB offerings too. Rare though.

I know it can feel like a personal slight, but plenty of bassist and drummers have had to deal with having their parts programmed for recordings, keyboards are regularly recorded and quantised etc. Vocalists are getting auto-tuned and Melodyned all over the shop, it's just how it works. I don't see much difference in being a side player in a songwriter fronted band, to being a session player only on the record, horses for courses. If you enjoy the live work, carry on with it, indeed ask them if they want you to learn the new baseline for the live show.

As noted, the M series mac processors are streets ahead of any of the previous Mac offerings. I'd be looking at a Mac Mini with M1 chip there's tons on eBay, I assume you already have a monitor etc. Logic will run in 8Gb of the new integrated RAM, but you'll always be better off with 16 or 32Gb for bigger audio projects. If he wants a laptop, the M1 MacBook is a good choice. You can pick up an older Mac Pro, but the 2011 models are now legacy and won;t run the latest operating system so won;t run the latest Logic. They do run Logic very well indeed however.

You answered your own question there, the drive characteristics of amps sound markedly different to overdrive pedals or pre amps into typically clean power amp stages, it's about the tone. I'll use whatever I need to get the sound I want for the track I'm working on, if that needs a clean DI, I have the RND Shelford channel... Modelling has got to the point where you can reliably replace a signature sound amp with it's model, and no EQ on earth will give you the sound of an SVT2 into an 8x10. Horses for courses as they say.

As noted elsewhere the QSC K12.2 is a fine pair for any of the decent modellers provided you are modelling the whole bass rig, amps and cabs, it's got a 2K amp in a bomb-proof enclosure that's a 1 hand lift, it can be used as a monitor or an upright backline unit, it sounds great and even has a "bass amp" profile in the preamp menu, although I use mine in PA mode and do all the work in the Quad Cortex. It's easily loud enough to compete with a hard-hitting rock drummer and slightly psychotic guitarist, and the 12" driver copes very well with the B on my 5 string basses. It doesn't quite have the rage and authority of a Barefaced Big Twin T with a 1500w QSC power amp, but it's genuinely not that far away. The line out XLR is great for connecting to PA's, no need for mics or DI boxes unless your engineer likes a clean bass sound at the desk to mix with the modelled sound. They come up fairly regularly on EvilBay and occasionally on here.

There are some great IR's to use with the IR Loader, I use the celestion 12" IR a lot, although the Darkglass 2x12 model is great. There are some excellent IR collections out there if you go looking, some really nice 8x10 Its that are very effective. I agree that the amp/cab list for bass needs some love though.

Inevitable with any capture or sampling tech, sample a snare drum and you're stuck with the mics, positioning and dynamics of the individual strike you sample, that's why multi-sampling and verity switching/zonal pads were developed. I'm treating the Neural Capture feature as very much a convenience and not an excuse to get rid of bits of kit I'll probably need later on, I can very quickly grab an amp state for a particular session and incorporate it into the rest of the QC units, plus IR's. Makes the QC a very powerful tool.

"time-based" referring to effects the use a delayed signal like chorus or flange don;t work, it fares very well with EQ and frequency based systems and overdrives, especially valve, but not so well with fuzz, although it does work. I've captured pre-amps and amps, done some amp/cab combos and they sound good, there is some variation available in terms of gain and EQ, but it v=certainly won't give you the option for a bright switch setting or the like. It's better than an approximation, as it definitely conveys the character of the unit being captured to useable effect, but as you noted in an earlier post, if you want radically differing tones from a unit, it's best to take separate captures. The QC has so much processing, that you can use multiple captures across multiple channels without issues.

This is on most services, from 2022.... Newtons Wake - Non Est Deus Ex Machina Distrokid link to all services: https://distrokid.com/hyperfollow/newtonswake/non-est-deus-ex-machina

I used a Barefaced Big Twin for many years and it was glorious but way too big once I'd stopped gigging, I used it with a Line6 Bass Pod XT. I now have a Quad Cortex and a QSC K12.2 which works brilliantly for everything from songwriting sessions, jams, recording and can happily keep up with a hard-hitting rock drummer and guitar backline. It's a PA speaker so you can tailor your sound in the FX and the box just makes it louder. Built like a tank too.

Sorry, didn't mean to acronym you to death...

I had a pair of the Pre/EQ's in a rack with a Focusrite RED3 compressor for many years, it was my remote location rig. I like the shelford channel a lot though, the EQ isn't quite as versatile, but it sounds great and the compressor is brilliant, plus the DI input is the RND DI box, which is just the best recording DI I've ever used. If I was going out remote recording again, I'd grab another Shelford. The 9098 desk was a monster, my buddy Simean Skolfield was working for AMEK while that was being developed, it's still the best sounding console short of the RND 5088. I use the 9098 as a buss compressor for the output of the Phoenix Audio summing mixer, sounds bloody great, I tried the RND Master Buss Processor, but I didn't like it as much. You can't go far wrong with a bit of Rupert kit.

I struggled for a while after having 6 months of extensive house remodelling, where the studio was just a store room, after that I didn't even go in there for the rest of the year. Then my guitarist turned up a load of old ideas we'd written for the last album, and i found I could get into the studio every day to play and work on things. You just need a catalyst sometimes, I think. Or some willpower... Don't play video games.

This was my gig rig for some time, very compact, very loud and sounded great. Yes, you have to buy into the whole modelling thing, but that's fine. I've now stopped playing live and have changed over to the Quad Cortex in the studio, although I do run the DI channel through an RND Shelford and an AMEK 9098 comp/lim...

You'd end up with a total load of around 5.3 Ohms, which is probably within the operating limits of your amp (4 ohms is the usual lowest load for most amps) but you'd have to check the tech specs of the amp to see it resistance range. https://audiouniversityonline.com/series-vs-parallel-speaker-impedance-with-multiple-speakers/ You'd be using the amp more efficiently as it's less resistance than the 8 Ohm cab, which means your rig will run a little louder, and you will have to keep an eye on the overall output into both the 100w and 200w speaker as the TH500 is 500w output running into a lower resistance.