WinterMute

Nowhere near as many as SOME people.... Starting in 1980, current basses in Bold No-name sunburst P bass copy - bunged a DiMarzio pup into it and didn't know any better... Sold to get: Aria Pro 2 natural P Bass copy - lovely thing too, got wrecked when I lent it to a production of OI! for England... Sold privately. Shaftesbury Rickenbacker 4001 copy sunburst - a pretty decent bass, sold on to finance the fretless. Westone Thunder 1A fretless in Black (weren't they all?) My first fretless, not a bad start. Sold privately. EKO acoustic fretless - awful thing P/ex for the Wal. Kramer XB5 The Duke - Steinberger looking thing, bought for a specific project, served it's time, sold on. Charvel PJ pointy headstock black thing... No, me neither. P/ex for the Wal. JD Roady Supernatural in that trans red finish - lovely bass, didn't like it. Sold privately. Wal Pro1 natural with fretted and fretless neck - Usually in fretless mode, a thing of beauty, sold when I went to 5 strings, paid £300 for it... sold for £500, thought I'd done well. Muppet. Warwick Thumb NT 5 string - 1987, One of the first 5ers, with the integrated Schaller bridge and EMG pups, my main bass for 20 odd years, sold when I thought I'd given up bass. Fender Geddy Lee Jazz - MIJ I think, lovely bass, not enough strings, sold on BC. Squire Jazz fretless, the pretend Jaco one - Put Wizzard 64s in and it was a beaut, still not enough strings. Sold on BC. OLP Tony Levin SR5 5 string - dropped Bartolini pups and pre into it and it was just about the best bang for the buck bass I've ever own, brilliant. Sold on BC. Frankenstein SR5 Fretless - OLP body, MM neck, Bartolini Pups and pre. A genuinely great mongrel, my main stage fretless. MusicMan Bongo 5 string Stealth black - great bass, a 50th birthday pressie, traded on BC for the Thumb below. MusicMan SR5 20th Anniversary - The best SR5. ACG Krell 5 sting fretless - Built to my spec by the talented and infinitely patient Mr Cringean. A work of art. Warwick Thumb NT 5 string - replaces the 87 I shouldn't have sold, MEC pups and 18v MEC pre, an absolute beast. More than I expected, less than I'd hoped.

After many years of great service, I'm retiring my Universal Audio Apollo A16 interface, It's been the central sound of my studio and really hasn't put a foot wrong, it handles all the inputs obvs, but more importantly drives the Phoenix Audio N16 summing mixer that keeps things tasty in a largely digital world. I am replacing it with (drum roll)... The latest version of the same damn thing. Welcome the X16, same configuration, upgraded AD/DA, upgraded DSP, different colour. It also allows me to run Sonarworks room correction in the hardware, a proper fire and forget solution. I'll have some downtime over christmas and it's a good opportunity to tidy some cabling up too.

Fair brought a tear to the eye...

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.

👍

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.