Dood

I've grabbed the free Waves offer:- https://www.waves.com/plugins/magma-stressbox but I ahven't had the activation email yet. I grabbed Waves IDX last year for free, that is a pretty stunning plug-in, it's up there with Korneff's El Juan, another plugin I managed to snag free and use on pretty much everything. Hmm, I think I got Clarity VX free too... I use Clarity or Izotope's RX Essentials on all of my videos for super clean lav recording.

I actually clean forgot i grabbed it! I haven't even ran the plugin yet lol!

Free plugin from UAD (if you haven't already grabbed their freebie promotions previously) https://www.uaudio.com/products/pick-one-free-plug-in I have the 1176, LA2a, PolySynth, Pultec Passive, Verve Analog Machines and Century Channel Strip all for free over the last year or so! Nice!

It wouldn't be the first time I'd been called analytical, and maybe that's not always a helpful skill - though I evaluate people quite quickly on their ability to have a balanced and nuanced discussion and oft wonder why they are quick to dismiss without substance to back it up.

"Opinions are like *r53holes...." etc etc

I scrolled over a post by Neural Amp Modeller's creator Steve 'Ack' Atkinson earlier and he'd had some links to how Neural Modelling has been able to capture compression and tremelo effects previously. He congratulated the NDSP team for being able to package the technology - it's exciting times if but mind boggling! I used to think that stem splitting would be near impossible but it's getting better with every new update. Exciting times indeed! I've loaded the OS update and, when I have some time free from recording and editing a top secret video for a new product release, I'll be putting QC through its paces!

Or should I say OOH-Ooooh-Ooooh! 🐵🍌🐵🍌🐒

Ooooooooh!

Not necessarily talking about old strings, but I have certainly warmed to a bass because of the effect the strings had on the overall tone. Case in point, one of my students has a very nice bass and as we were chatting away, I complimented him on how great it sounded that day. Rich, resonant and full of harmonic overtones. It turns out, he'd taken the strings off the bass that I had sold him a little while ago (my preferred string) and put those on this bass!!

Taking torrification out of the equation for a moment, yes—there are a number of factors at play. The quality of the timber has already been mentioned. A piece of maple for a neck on a £100 guitar won’t even be in the same ballpark as that used by a top-tier brand like Shuker. Not all truss rods are created equal, and some have been found to be prone to failure in cheaper instruments. Poorly cut channels and ill-fitting rods can mean the truss rod is already operating outside its effective range. How is the neck wood cut? Is it quarter-sawn, for example? Is the neck laminated, and if so, what laminates are being used? This includes the fretboard. I’d describe this as a cross-grain laminate, since the fretboard grain runs perpendicular to the neck laminates, offering additional resistance to twisting and lateral movement. Is the fretboard a thin veneer, like on my cranky old P Bass (a “ball-bat” neck I’ve adjusted once, and it’s rock solid), or a thick cap? What timber has been used? How much of the neck length, up to the end of the fretboard is attached to the body? On a standard P Bass, it’s from around the 16th fret onwards. Some neck-through basses join the body at the 24th fret. On a 35" scale-plus instrument, that’s a longer length of neck for forces to act upon. We know from school physics it’s easier to bend a longer piece of material than a shorter one. I’ll leave the exact term for that to the physicists—Beam Theory, maybe? I also read about a guitar tech who highlighted issues caused by fret installation itself, which could effectively add uneven backbow to an otherwise relaxed board. I’m sure there are plenty more reasons why necks move around, but these are the ones that came to mind while having a cuppa!

THIS may have been the application.

IIRC, and this would need checking, the module was set to a mono block rather than dual with an active crossover. I believe the active cabinet still used a passive crossover as per the BBII. (Hence you'd be able to take the module out completely. (With caveats). Thus, the presets installed were for 'colour' settings as well as the expected HPF type protection possibly. I don't recall reading about any other DSP such as compression or Limiting. I used to have a copy of the editor app somewhere, but not of the preset files.

Same.

Hypex made the modules and yes, they are still very much in business, so possibly an email to them might help too.

Before my life as a professional musician I used to work in IT. I also really liked advertising that I'd much rather have been doing music than being there, so I had a BassChat business card in my ID card holder. Imagine my embarrasment on the occasion we're all stood in a lift and my "i-have-no-social-filter-and-dont-know-when-to-shut-up" colleague spotted said business card, the letter B obscured by my lanyard..