Dood

Those brands who did attend and stick it out deserve a huge pat on the back and thanks for all the effort they've put in as I know those pitches were not cheap! So, from me, it's a huge thank you!

Hello all ACC attendees over the weekend! I was there too. I'll stick something up on Sm later, but to be honest I didn't take too many pictures. It was however brilliant to see some familiar and friendly faces there, even if the attendance at the G&B show was rather low. It was more of a social for me versus goin to try basses out, but I did talk to brands about arranging video reviews. We popped in to the drum show yesterday and it was a huge difference. Lively, lots of noise and bustle. I enjoyed the performances in the hall and that so many brands were attending. It's a shame the G&B side of things didn't turn out as well. PRS left on Saturday afternoon I understand? If you were there and I didn't say hi / didn't recognise you / we've not met in person before outside of BC, then it's a shame as it would have been a cool opportunity to make acquaintances given that it was actually hard to fill the whole day with just bass gear!

The question has been answered already but I have fallen foul of the same before even on high quality cameras. Now I do a sanity check to ensure that all of the source recording kit is set to match each other. In my case, 25fps, 24bit, 48Khz. Nearly all of my audio editing happens in my DAW that I use to record the multichannel audio. This could include automating the muting of the Lav mic when bass is playing. I drop the separate audio files (Lav Mics, Bass, DI, Room whatever) in to my video editing software along with the multi camera angles (and the onboard camera sound to help with syncing) then once locked I edit my footage in the video app. Some final audio tweaking happens in the same app before exporting my footage. I shoot in 4K and export to 2K unless I am requested otherwise.

Yes! Exactly! - I tend not to limit my bass signal at this point in my signal chain, so the clean blend allows the transients to come through, but rather I use my compression to lift the quieter content (from a multi-band point of view) up in level. It really does work well with overdrive too! I've always been a fan of riding that edge of drive to make an instrument sound a bit more gritty without going in to full distortion. Parallel compression helps me to do that, but I can still make it bite if I dig in. My other favourite setting is a band-pass style distortion which I would describe as a more "bow on double bass strings" type sound, a very smooth distortion that is also possible using really high compression settings but blending that direct signal in to both the compression and the drive. In this case, I may turn the treble down on the clean signal too, because some settings tend to sound like two separate instruments rather than one cohesive sound. Then there's the option of some cheeky bus compression at the end of the chain set to "glue" mode ha ha!

Here's a magazine column about ramps: https://www.notreble.com/buzz/2013/04/03/bass-ramps-the-how-and-why/ Which I reference simply because they included a picture of my Shuker bass at the top

https://producelikeapro.com https://www.youtube.com/c/Producelikeapro

I'm a multi-band (Parallel) compressor kinda guy. I like to hear a bit of compression as an effect, but maintain the fullness and clarity of my original bass signal.

Thank you so much for sharing my review! Even now, I still think the Spectracomp is great. There's no other triple band compressor I can think of on the market this small, that is this simple and easy to use, yet so complex if one wants.

One of my students has one of these, I love the sound of it. Wouldn't mind one myself!

Yes. It is also slightly obsessional. I like to have two basses, workhorses, that I can switch between without having any worries about tonal or set up differences. A "back up" instrument, if you will. For different types of gigs, I have different basses , but it's usually the same instrument if I can get away with it. It's #2 will hopefully be replaced in the near future with a matching custom build. Just got to sell a kidney first! Dood

My work here is done! * I was going to embed an gif, but I seem to have failed miserably!

All of my reviews go through each pickup and a variety of tone control options as standard, so, yes, definitely making sure the basses get heard properly! 👍

I guess I better review the new Cort basses in detail, right?

The Stingray should get an honorary mention to make up the "big three", even if it was '76.

Put a set of Gotoh Resolite GB640 tuning keys on any bass and I would be very surprised if you couldn't notice a difference. They are the most accurate, silky smooth tuning keys I've ever had the pleasure of using. The GB350's are ace as well. Rock solid and highly recommended.

I agree that when the choice of components in a system compliment each other, the whole is greater than the sum of it's parts. Some combinations just sound great, but still, some speakers just deserve going in the bin ha ha!

I read the first couple of pages and gave up. Even on a standard tuned four string bass, we're still not hearing the fundamental frequency with any sort of energy. It's interesting that most of the comments have seemingly not recognised that a note produced by a bass guitar isn't just one centre frequency alone. The rich harmonics, over tones produced by the vibrating string and electronics is a full range signal easily reaching up in to the treble ranges of our hearing. Even with a 24dB/Oct HPF at 200hz, you can still absolutely discern the sound of a bass guitar

Yup, every time I've had a crap sound, it has been caused by speaker cabinets, not amps. Sure, some amps sound less girthy or not as loud, but it's always the cabinet that has ended up making the bass sound incoherent, muddy or just plain horrible. * Ok, so there was an amp or two that was pretty bad in the past.

D'Addario also do a 170, which I would much prefer to drop on a 34" scale to get some tension back - or, as I had to do before anyone in the UK was making a 170, (well over ten years ago now) Newtone Strings custom made me a 145 with a custom core to get the tension up. Thank you for the tags, I am not sure why I didn't get a notification. Drop tuning this low on a standard scale length on a bass that isn't really up to it, can be problematic at best and a PITA at worse. I watched one of my students do all manner of upgrades to his Ibanez bass and was still rewarded with being left wanting. My Shuker basses on the other hand help to focus on the frequencies that matter should I need to drop low. (My 7 sting is an F#'er and is currently dressed with a 190 gauge string that will give me enough to go down to E0.) It's like having a bass with a great sounding B string. Some, no matter what you try, just won't "do" a good B. I have a £200 5 string here that has a wicked sounding B string! The statement "why would you do this, you can't hear it" I feel is based around experiences failing to get the tuning to work or a misunderstanding of how it works in reality. Yes, everyone chimes in and says that the fundamental frequency of that F# is 23.12hz - and 90% of bass speaker cabinets on the market cant deal with that fundamental and plenty of amplifiers are HPF'd long before this anyway. BUT!!! - It isn't the fundamental you're needing to focus your attention on, it's the harmonics of the note, 46hz, 92hz, 184hz etc. Anyone who has heard isolated (mixed) stems on a recording will know that generally speaking, the lows that deep have been carved away anyway. It still sounds deep and brutal though. Your ear fills in the rest. ...and you definitely don't wanna be driving those kinda frequencies hard on stage with your own personal sub either. FOH engineers will not love you!

Julian Krause is a superb resource for interface reviews including Motu.

I've been trying to get the QC to sound like a chain I created in the Cory Wong plug in last night, so I would love to see the individual "plug-in unique" effects dropped in to QC too.

Due to lockdown and covid and all the other nonsense that the last few years have brought me, my journey with QC has been a slow burner. It's not getting out to nearly as many gigs as I'd hoped. However, we've bonded and I'm really enjoying the unit. For the most part I have it on a cool laptop /iPad stand and it makes for a brilliant desktop processor. The form factor works for me given the touch screen and rotary foot switches. I know that I can put it straight down on the floor again and away I go. I am still a massive Helix fan and all of the units available are superb. The LT was my "best fit" at the time and it did many gigs with me. QC, for my needs, physically is a better match for me, though I do miss some of the effects, amp sims and functionality of LT. Sometimes I'm a bit frustrated that QC doesn't do something I have become accustomed to. But then QC can do a whole bunch of stuff that Helix couldn't too, so, its about finding what is your best fit - much like players choosing the DAW they like best, or strings, or IEMs! Now, since Gregor is holding an Attitude bass in the thumbnail, I'm off to go listen to that

DooDoo Da Doo Doo Doo