WinterMute

This is the only single cut bass design I like, works even better as a headless, congrats, lovely basses.

Yup, that's the one, mine was originally for a 17" MacBook Pro, now houses an M2 MacBook Air and an iPad Pro. Just been to Florida for 2 weeks with it, all the chargers/cables/US adaptors etc, plus a bunch of useful stuff, goes in the overhead locker.

When I was last gigging, all my cables/batteries/strings/spares etc. went into a nylon zipped bag that went into the back of the 4u rack that housed the pre/power amp. Everything else went into a Brenthaven laptop backpack, had it for nearly 25 years, still going strong. I used to use a leather suitcase back when I thought I might be cool, then a custom flight case that housed everything in drawers.

GarageBand if you have a Mac, or Reaper as Dad says. GarageBand is a free app on any Mac instal, it's a bit cartoonish, but it's basically Logic X without the pro stuff, it works very well.

Have him put it on the other side of the kit then, LF below around 100hz is largely omni-directional, although not entirely, if it's to service the kick, anywhere in the kit's proximity will work, you'll be less aware of it and the guitarist will just turn up a bit...

I've found that treating the QC capture process as an extension of recording technique generally works very well, approaching any particular rig as though I was tracking it for an OD gives excellent results, provided there are no time domain effects in play at all.

I had a Big Twin when I was still gigging, it was the best cab I've ever used bar none, and at 55 was a one handed lift into the estate. The wheels and top handle made it very easy to run around studios and venues too. I went FR/modelling with it very early on, Line6 Bass Pod Pro XT rack and a big QSC power-amp, and the Big Twin just amplified whatever I sent to it, and amplified it to seismic levels without a twitch. If I was to return to playing live, it would be with a Barefaced cab, and probably a Big Twin, can't recommend them highly enough.

Sounds like the bastard child of Frank Zappa and King Crimson, but slightly less musical... I like a man unafraid of a complicated lyric.

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.