WinterMute

Fingers crossed for a boring recovery from this point then. Do the physio, even when you think you can't, it's not fun but it's absolutely essential.

Blimey, SM666 cheaper than the SM665 sets... Looks like I'll have some spare 30s kicking around if anyone needs them.

There's just no point in trying to claim any single player is "the best", too many variations, best at what? Jazz? Soloing? Spitting blood while wearing ridiculous boots? I think uniqueness of voice is the most important element, and that is just behind serving the needs of the song, which McCartney always seemed to do very well, as did Entwistle, as does Geddy Lee, depends entirely on context. No-one gallops like Steve Harris, no-one hit 16s like Pastorious (maybe that odd bloke in Vulfpeck), no-one one is as versatile and creative as Tony Levin, no-one is a dependable as Carol Kaye and no-one, but no-one held it down like Cliff Williams... Who's best? No way of telling. I don't like the Beatles, I have no time for McCartney's solo work, but he's a phenomenal songwriter and bassist. This isn't Pokemon, there can be more than one.

Another nod to Sonarworks Reference for hearing curve adjustments, works a treat, but makes the room a difficult listen for anyone else...! Try investing in a good Spectrum analyser as a visual representation, I use the Nugen Audio Visualiser https://nugenaudio.com/visualizer You can look at the reference tracks and compare the output curves.

Tried a few 6ers, always find the neck profile too wide for my small hands or, if the profile is ok, the string spacing is too tight. I love the idea of more strings, if I were a braver man I'd buy a Stick, but time and opportunity are no-ones friends these days. Kraftwerk and The Human League et al didn't need strings...

BBE sonic maximiser is an aural exciter, not a compressor, it uses EQ and phase cancellation to enhance higher harmonics and clean up mud. I'd not expect one to have much effect on bass unless you're going for some ultra clean fretless Micheal Manring type sound.

Global EQ, very useful. IR loader block, very useful. The different performance modes don't help me much as mine is a studio tool first and foremost, but I can see how they'd be great for live work. The modified capture process is working very well I think. A good update so far.

I'm 58, most "modern music" of any era is crap, time dissolves the rubbish and leaves us with the good stuff. The main problem today is the ease of music production, I say "problem" because it really isn't as the world needs more music, but anyone with a laptop can throw a tune together in any number of apps that sounds like anything else out there. More power to them, but as we all know, there's a deal more to great music than a few loops and a mixing algorithm. Talent will out eventually, but the signal to noise ratio has been going the wrong way for a couple of decades now, and it takes time and effort to sift through the rubbish to find the great music that is still being made.

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.