WinterMute

Saw Angel Witch in Brum somewhere, wasn't the Odeon, probably 1980, briefly dated Raven's Gallagher brothers sister Elaine at college and ended up playing in a band with Jackie Bodimead late of Girlschool for a while in the early 90's.... Tenuous connection city, Arizona.

As mentioned before in this tread: Geddy Lee: Moving Pictures/Permanent Waves era Jaco with Joni Mitchell, particularly Hejira but also his live work on Shadows and Light. Also: Karnivool Roquefort, love that aggression.

Ain't that the truth. Find a take you like most of, edit the rest to fit, move on.

Engineers tend to listen for different things, producers are more aligned with musicians and performance, the best engineers will pick up timing inconsistencies etc. as a matter of course, but are really listening for tone, clipping, any technical issues that might affect the recording. If you've got someone doing both jobs stuff gets missed and needs fixing later usually. All these things are academic if the clock wins however.

This is why good engineer/producers will always be useful. Although, as other have noted, sometimes "good enough" isn't. However I'm a firm believer in not sacrificing the good on the alter of the perfect.

Do what everybody else does, fix it in post... I've recorded some serious bassists over the years, and not a single one has ever said, "I want the whole performance, warts and all" and many have said "you can tidy that up in the edit, right?" Unless you're Dave Grohl deliberately tracking to 2" tape for stinky poos n giggles, all recordings will be edited. Get it as close as you can paying more attention to tone, groove and character, then fix the fluffs later. I remember spending hours punching in bass lines, sometimes phrase by phrase, on a 2" 24 track, how is protools different? Having said that, nailing a one-taker is still a thing of wonder.

Could be almost anything connected to your system, could be coming top the earth to. Get your system set up so you can see it happening and then start turning stuff off unit by unit (might want to mute your speakers.) start with instruments/amps then go through till you've just got the MBP and the interface turned on, that should tell you where it's coming from. It doesn't look regular so it could be a dry joint in a cable.

I had to get rid of the barefaced Big twin for lack of space, my studio is a converted single garage circa 1920 I think... small anyway. I do try to keep the clutter down and the loft above holds all the cases etc. Works for me.

SNAP! Well, almost... I have the stomp and the 12.2 (on a Gramma pad, natch) and I parallel the DI through a Shelford channel into an Eden UAD model with one side of the Stomp DI'd and one driving the wedge, gives me 2 distinct tone feeds and plenty of output for the studio and for live. I don't bother taking the Shelford out live, just the Stomp straight into the QSC, I used to have a Pod Pro into a Barefaced Big Twin, which was suitably awesome, but the little edge and the Stomp work wonders really.

The 6 string looks great, I think it looks more balanced than the 5 or the 4 (don't much like the 4 string tbh) but my hands are too small for a 6 string neck, the 5 string Bongo, being a tad wider than the SR5 is abut my limit.

I've had a stealth 5 string bongo for s few years now, it's a great bass for the kind of music I play, yes the 18v pre-amp is hot, but as long as the system you're running it with has enough headroom on the input, you're golden. I use mine with a Helix Stomp and a Shelford Channel in the studio and it provides a real contrast in tone to the SR5 and the fretless. It's got a real presence in the low end that cuts live. The G is a little close to the edge of the fretboard on first playing, but you get used to it, can't say I've noticed any problems with comfort, standing or sitting.

Used to have the whole 9 yards, Quad 303's, 405 mk2, pre's etc. KEF 105.4 refs, B&W 802's, Garrard deck... Aquired a second family with small boys and a living room that simply won't suit that kind of rig, so I've gone with ATC SCM11's and the C1 sub powered by a Cambridge Audio CXA80 amp for the digital and USB inputs etc. plus a Bluesound Vault 2i for the library. All the CD's are now in the loft, and I can run the lot from the phone. Easy to throw things from the studio Mac onto the Vault over the network, so checking mixes etc. is really easy now. The ATC's are cracking speakers, the sub integration is seamless. I'll probably change the amp out for something a bit more characterful at some point, but the CXA80 is a workhorse and doesn't let the side down. The Vault rips everything to lossless and will handle the usual streaming service up to Tidal's HD master stuff if I could be arsed.

If you can find one the OLP Tony Levin 5 string MM is a cracking bass, paid £250 for one a few years ago, dropped a Bart in and away it went.

Bought a QSC K12.2 from Jamie, delivered it personally, great comms, first rate bloke. Thanks mate.

Whilst the Pebbles are great the Rocks are even better, I've been spec'ing Unity Audio monitors for years, they are very good. Also very good are the Amphion One12 https://amphion.fi/create/products-pro-audio/studio-monitors/one12-nearfield-studio-monitor/ I have the One18's and they are the best nearfields I've heard in 20 years. You'll need a decent amp too, which Amphion can sell or you can match someones elses. Not cheap but magnificent.

Really like the Kemper, never used the Fractal though, don’t play guitar, spent a long time with the Bass Pod XT Pro rack, still have the bean... My guitarist buddy has the Helix, I might grab the rack version at some point, but I’m not doing a whole lot of playing currently, lots of mixing and restoration.

Phoenix kit is the biz, ex API engineers, I have their N16 summing mixer in my home studio rack. its hiding behind the S3 here. More to the point, Fractal and Kemper?

Good man, live production racks are the biz...

Rack kit you say? Yeah, I like a bit of rack kit...