WinterMute

Almost everything in a mix benefits from compression and limiting of varying levels IMO, modern mixes have a very limited dynamic range and, unless you're recording binaural jazz or classical, been able to rely on an instrument staying where you put it is very useful. Live is no different, if you don't have a compressor on your rig, you can almost guarantee that the FoH engineer will strap one on. I find being in control of tone shaping before it reaches the PA or DAW yields better results, but I am a recording engineer and I do understand compression and limiting, it's a complex subject that causes arguments sometimes. Of late I've been using a lot more limiting to allow dynamic variation but also allow some control for the peaks when I get particularly aggressive. YMMV.

Installed it earlier, but haven't had a chance to give its more than a cursory glance, some of the new features look very useful.

That DPA mic lives and dies by the capsule suspension, some very odd harmonics in the strings after the bridge. I have to say they nailed it for live performance, not so much in the studio.

The first rule of progressive rock.... Oh, b*gg*r.

It's unlikely for me I'm afraid, I was the technical director for London College of Music for 7 years, my office overlooked the main performance/rehearsal space and I was subject to a daily barrage of bad jazz from people learning how to play it (or not as the case may be). Very occasionally someone who could play would turn up, Branford Marsalis memorably, and I could sort of see the appeal but I'm afraid too much of it either goes over my head or is just meandering wibble... A good big band makes a decent noise up close.

Steely Dan, 1st year at Uni, bloke over the corridor in halls played a lot of Steely Dan, I hated it, preferring to drown it out with a solid diet of Rush, Zep, Pink Floyd, Motorhead and the like. Now a proper devotee, love their work. Still love the other stuff too, my tastes have broadened. Ewen, you were right there mate. Still can't stand Jazz mind.

Yeah, see above, I've been using some 3rd party IR's in a lot of patches.

Without doubt the ACG Krell fretless, what a fine bass it is. Honourable mention to the Quad Cortex, in any other year a hands down winner.

Generally, I'll play any bass that comes into the studio that I haven't seen before, provided the owner is happy for me to play it, I've played most makes and models in the mainstream market and quite a few custom builds, I decided to get Alan at ACG to build my last fretless after playing a Krell brought in for a session and absolutely loving it. Same with the EBMM SR5's, played a number in session, loved them, bought some. Really like the look of the 35th Anni SR5s, might go find one in a shop to give it a noodle, unlikely to see one in a session.

In the case of every manufacturer surely? Does this need saying? Everything is worth exactly what you're prepared to pay for it, if your new house/car/bass/puppy/shoes bring you joy, it's worth the outlay.

I've got 30 years in Aikido, I know some wicked thumb locks...

Yes, but you have to buy into the design and brand of that kind of high end instrument, hence my point about the limits of materials and workmanship. Once the luthier is competent enough to build a functional and good sounding bass, where does the money go? Materials, finish, design, after that it's all brand IMO. As I said, you pays your money, you takes your choice.

I bought a Thumb 5 string in 1987, one of the first, got it for £975 from the Bass Centre as I had a mate who "knew people" there. That was the most I'd spent on an instrument for a good few years... My Bongo came in second hand as a 50th birthday pressie but was just north of a grand, then I paid £1400 for my 20th Anni SR5, and I thought that would probably be the most expensive bass I bought. However, my ACG Krell custom was a commissioned build to my spec and came in around £3800 I think, and is worth every single penny I paid for it, not just in terms of the workmanship and materials, but the attention to detail to get me what I wanted. I can't imagine going back to a factory spec, off the shelf model. I can see why people would pay big money for boutique instruments now, but I think there must be a limit somewhere where quality and materials stops and brand takes over, some of those Alembics look fabulous, but at £20K+ seem overpriced given how good the ACG is. You pays your money etc.

One matt, one shiny... Bongo 5er in Stealth Black.

Meh, Jaco did it better wearing a silly hat...😀

I've never really thought about it, it just goes where it needs to to give me purchase for the quite aggressive string striking style I've developed over the years. However, all my long term basses have developed a mark/indentation in the body where the B string meets the front corner of the bridge pup, and the bridge pups always show a bit of wear, so I'm guessing that's where it goes when it's not muting the B. Now I'm going to be conscious of what I'm doing with it aren't I?

I've always had fretted and fretless basses, one of each usually 5 strings, and i've only changed them as I've been able to afford a better quality instruments or a particular model that I've wanted to own. Currently have 4 basses with the 2 older basses not being used very much for a few reasons, the Bongo was a 50th birthday pressie from my best mate, the "SR5" fretless is a mongrel of spares and other parts that isn't worth very much to move on, and more importantly, I no longer need to fund other purchases and I have the cash to spend if I need to. I may move the Bongo and the Frankenstein on to raise funds for another ACG at some point, but I'm in no hurry. As I've said elsewhere, it's not having what you want, it's wanting what you have.

Best to, no amp like running without a reactive load on the output. The DI will only be the Pre-amp, but again that won't matter much for a solid state head. I found the capture input level is critical, it's very easy to distort the capture by having the input up too high.

Best way to get your stage shapes right too, try for the classic "foot on the monitor" Iron Maiden stance, the Cliff Williams "like a rock" stance and a decent variation on the "bass by the knees" Ramones/Clash look. It's very important to look good whilst learning. Never miss bass-players neck day. 😆

It's a genuinely beautiful piece of work, can't fault the quality of the build, materials and finish. It's also, ergonomically, a joy to play, the body sculpture fits very well and the attention to detail Alan brings in the design phase means I got everything I wanted. I went with his suggestion as to the filter pre-amp too, it works brilliantly well. I'm still constantly surprised it cost less than £4k.

Another vote for ACG, Alan's a proper gent and his work is absolutely first class. I've spent 25 years thinking about getting Wal to build me something, but the cost and the waiting list always put me off, last year Alan built this beauty, and I really can't imagine getting anything done of that standard and utility by anyone else now.

Stealthy Bongo, Frankenstein Fretless SR5, 20th Anni SR5, ACG Krell Fretless. Run out of wall-space.