WinterMute

For sure, but that's how impedance works in the different states.

Depends if you go series or parallel of course, in series it's 16 ohms, in parallel 4 ohms.

Fingers for me, haven't used a pick for decades, I find the control and articulation I get offsets the extra attack from a pick, and I get plenty of attack from the way I play in any case.

Mine was MIJ I think, it's long gone as I went back to 5 string. Lovely bass though.

They use different IR's if I remember rightly, the Stomp shares the models with the whole Helix range and has more in common with them architecturally and sound-wise, the Go is a it like the old Pod XTs. The Go will be easier to use live, but a decent MIDI pedal and you're sorted. I replaced a Pod XT Pro rack with my Stomp, it's a much better sounding unit.

Overall, probably the Jazz in that context, but the Ray will cut in a mix much better.

My Geddy Lee Jazz needed occasional tweaking seasonally, but none of the MM SR5's or the Bongo ever seem to move. My wenge/bubinga Thumb got set up once a decade...

That fellow had the air of someone who has had to do that exact thing with that exact woman many, many times...

I picked up a bass for the first time in 1980, I'd done a bit of singing in school bands but my mate Steve Wilson (no, on that Steve Wilson) said he could teach me to play bass and we could start a band, then he played me Permanent Waves, and I wanted to be Geddy Lee... His playing changed the way I thought about music and bass, so that was a big influence on my life generally. Playing in bands led to engineering and producing, which led to lecturing about engineering and producing which led to designing and building studios for people to engineer and produce, and that's where I am today, whilst I imagine I'd have got there without Rush, the way I play and the attitude to music as a driving force for a professional life definitely comes from that hour is Steve's house listening to Spirit of Radio and Freewill... There are others too, Zeppelin's grandeur, Pink Floyd's lyrical and thematic pretensions, Tony Levin's invention, Leonard Cohen's humour, but Rush has been an enduring presence in my life and for the better.

"Certainly"? Thass fighting' talk around these here parts... I always thought they looked like they'd been left on a radiator. Fugly is as fugly does I guess, isn't it great they we don't all like the same thing, and that that thing isn't a standard Precision.

yes, looking forward to playing with it, unusually for me I'm having 2 pickups, neck is ceramic and bridge is alnico, both pushed right back like my old Thumb or some of the Wals, should be a bit of a tone monster.

I can't find a fretless 20th Anni anywhere, they only made 30 I believe. I'm having Alan at ACG make me a fretless with the mahogany core and swamp ash body in the hope it'll have some of the same characteristics as the 20th Anni TBH it'll be an awesome bass even if it doesn't, his stuff is so good.

I've got one of those too, 20th Anniversary, best SR5 ever made IMO.

I bought a Warwick Thumb 5 string in 1987 after playing a fretless one in Wapping Bass Centre that was a custom order for Jack Bruce, I bought a fretted one fully intending to get a fretless as well as soon as I had the funds, I never did and didn't play fretless for a long time. I don't regret the Thumb, it was a fantastic bass for 20 years before I moved it on, but I should have bought the fretless as well, dammit.

I've got it's evil twin, the matt stealth 5 string, never seen a white Bongo before, that's a proper looker.

The Effects return cuts out the pre-amp and injects your signal directly into the power amp with the master volume in circuit, which is fine if you want to use the Helix as the entire tone shaping system, not the Ampeg pre-amp. If you want to use the Ampeg sound, run into the input on the front, engage the 15db pad and set the output level of the Helix to about 70%, then use the gain controls to set the tone in the Ampeg. If the clip light comes on with little gain in the Ampeg, back the Helix off to say 50% and make the gain up in the Ampeg preamp, EQ your sound to suit, and turn up the master volume till you can't hear the drummer.

All the right notes, just not necessarily in the right order...

Good luck, a worthy effort to save a good bass.

It depends on the singer or instrument, as every note played or sung by a human on a real instrument has intonation and vibrato and pitch bend etc. Melodyn tracks all this information so that it can retain as much of the personality of the note as possible. Centring all notes to 0 will give a pitch perfect rendition, but that may not be what you need, so correcting EVERY note in a performance shouldn't be the goal (IMO) and you should only be altering those notes that are obviously out of tune, sharp or flat. I'll run Melodyn over every vocal performance I do, but may only end up "correcting" a handful of notes for the main vocal, BV's tend to get a bit more attention, particularly high harmonies, but you'll find perfectly tracked and tuned BVs end up sounding small, as its the inconstancies of tone and pitch that add weight to multi-tracked vocal. It's a tool like everything else in recording, use it to create the result you want to hear, my rule of thumb is that if I can hear the correction in the mix, I'm overusing it.

It really helps to understand that every bass amp is a pre-amp and power amp combination, and that running pedals into the pre on a "bass" or "guitar" amp is running a pre-amp into a pre-amp on many occasions, gain staging being what it is, that often makes it difficult to get the balance of tones right, and many prefer the straight to amp approach. Live of late I go pre-amp (latterly a Stomp, but also a GED2112 or a Bass Pod Pro XT) into a power amp (Crown 1500 is brilliant or a QSC) and an FRFR cab (I had the utterly brilliant Barefaced Big Twin for a while), now I go Stomp into a QSC K12.2 with the QSC pre-amp shaping turned off. If you're modelling an amp/effects/cab why put the sound through another amp/cab coloured set up? It's more of a learning curve with systems like the Stomp/Helix/Kemper etc. but it gives you great control over your tone or tones.

Um..... No.

I expect that there was liberal use of the DFA faders and boxes on that session.

Only due to our close association with you drummers... 🤣

Been through a few, high end Warwicks, Wals, quit once and sold them all, then bought a Geddy Jazz and a Squire fretless to noodle on then went back and got a bunch of 5 strings again... I need a 5 string fretted and fretless, that's all, I have acquired the perfect fretted 5 in the 20th anni SR5, and I'm having Alan at ACG build me what I hope to be the perfect fretless, after that I'll review the Bongo and the Frankenstein fretless see if I'll keep them, the Bongo was a 50th present so I doubt I'll ever move it on, but I currently only have wall space for 3 basses in the studio, that may well be the deciding factor...! I think they are things of great attachment and beauty, if you can keep them all, you should. Remember the perfect number of basses is: The number of basses you own +1

I've not the time I used to have to do those tests, or the tech team, Protools works in all respects and I can afford it's fees, so I'm good for now, Luna's analogue console emulation system is very appealing, but no Eucon for now, so I'll stay with Protools, Reaper is a viable alternative for many people however, it's a class act for an independently developed app.