WinterMute

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...

If Rush can do it, and they used to, I see no issue with the triggering of parts from sequencer and click or organically from a drum pad or pedal, if you’ve built parts into a song you can’t physically play, and by that I mean extra guitar parts, loops or synth parts in bands with no keys player or BV’s sung by tracking up a single voice, then it makes sense to include that as part of your live show. If you’re lip syncing you have no business asking people to pay to see you. I’m going to except Kiss at this point, cos they’re old dinosaurs who’re retiring shortly, I’m going to see them for the chuckle and the kitch, don’t care if Stanley’s voice has gone, it’s a miracle his face still works with the amount of work that’s been done on it....

Best by far is my Musicman 20th Anniversary SR5, every bit as good as I’d hoped. Honourable mention to the GED2112 pre, which is a great bit of kit. I changed my back line from a Barefaced Big Twin T to a Phil Jones Super Flighcase, it’s not the same thing at all, but i’m Not playing live and I needed a good studio amp. Not really a disappointment, just a bit different.

It’s a conference mic, tuned for voices, not ideal. You’ll need 48v from your mixer, but this is a better bet: https://www.thomann.de/gb/behringer_c1_grossmembran_studiomikrofon.htm

I've got the 1000s, excellent studio headphone for the money, well built and don't sound at all bad. I don't mix or master on headphones, I do check mixes on them however, but the idea of "mastering" headphones for £50 is odd.

Unless you have an isolated shock mount, don't put anything on the frame... Use a decent cardioid condenser mic either pointing horizontally at the lid about 6-8 inches inside the case at about 18 inches height from the strings with the lid at the standard 45 degree angle, or pointing downwards towards the middle of the string bed further inside the case if you have spill issues, move the mic closer to the hammers to get more bite into the sound, and further away to get body. Get the mic as far from the string frame as you can if you employ the vertical method, essentially right up against the lid. You'll get some spill from the band, but that's unavoidable. Do not use an omni mic. If you are behind the PA, you should't suffer feedback, but watch for the LF. You might have some success with an SM57, but it's going to give you a much more localised sound, so if thats all you have, use 2 spaced across the string bed.