WinterMute
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Everything posted by WinterMute
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"time-based" referring to effects the use a delayed signal like chorus or flange don;t work, it fares very well with EQ and frequency based systems and overdrives, especially valve, but not so well with fuzz, although it does work. I've captured pre-amps and amps, done some amp/cab combos and they sound good, there is some variation available in terms of gain and EQ, but it v=certainly won't give you the option for a bright switch setting or the like. It's better than an approximation, as it definitely conveys the character of the unit being captured to useable effect, but as you noted in an earlier post, if you want radically differing tones from a unit, it's best to take separate captures. The QC has so much processing, that you can use multiple captures across multiple channels without issues.
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This is on most services, from 2022.... Newtons Wake - Non Est Deus Ex Machina Distrokid link to all services: https://distrokid.com/hyperfollow/newtonswake/non-est-deus-ex-machina -
Active FRFR Speaker Recommendations for Bass?
WinterMute replied to PatrickJ's topic in Amps and Cabs
I used a Barefaced Big Twin for many years and it was glorious but way too big once I'd stopped gigging, I used it with a Line6 Bass Pod XT. I now have a Quad Cortex and a QSC K12.2 which works brilliantly for everything from songwriting sessions, jams, recording and can happily keep up with a hard-hitting rock drummer and guitar backline. It's a PA speaker so you can tailor your sound in the FX and the box just makes it louder. Built like a tank too. -
Sorry, didn't mean to acronym you to death...
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I had a pair of the Pre/EQ's in a rack with a Focusrite RED3 compressor for many years, it was my remote location rig. I like the shelford channel a lot though, the EQ isn't quite as versatile, but it sounds great and the compressor is brilliant, plus the DI input is the RND DI box, which is just the best recording DI I've ever used. If I was going out remote recording again, I'd grab another Shelford. The 9098 desk was a monster, my buddy Simean Skolfield was working for AMEK while that was being developed, it's still the best sounding console short of the RND 5088. I use the 9098 as a buss compressor for the output of the Phoenix Audio summing mixer, sounds bloody great, I tried the RND Master Buss Processor, but I didn't like it as much. You can't go far wrong with a bit of Rupert kit.
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I struggled for a while after having 6 months of extensive house remodelling, where the studio was just a store room, after that I didn't even go in there for the rest of the year. Then my guitarist turned up a load of old ideas we'd written for the last album, and i found I could get into the studio every day to play and work on things. You just need a catalyst sometimes, I think. Or some willpower... Don't play video games.
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This was my gig rig for some time, very compact, very loud and sounded great. Yes, you have to buy into the whole modelling thing, but that's fine. I've now stopped playing live and have changed over to the Quad Cortex in the studio, although I do run the DI channel through an RND Shelford and an AMEK 9098 comp/lim...
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You'd end up with a total load of around 5.3 Ohms, which is probably within the operating limits of your amp (4 ohms is the usual lowest load for most amps) but you'd have to check the tech specs of the amp to see it resistance range. https://audiouniversityonline.com/series-vs-parallel-speaker-impedance-with-multiple-speakers/ You'd be using the amp more efficiently as it's less resistance than the 8 Ohm cab, which means your rig will run a little louder, and you will have to keep an eye on the overall output into both the 100w and 200w speaker as the TH500 is 500w output running into a lower resistance.
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Can confirm, lovely bass, savage sound thanks to the 18v preamp, light and very sassy. -
Gold was an option, still is as far as I know, my 87 had gold hardware, I kind of like that this one does too.
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I had an 87 5 string thumb, it's posted elsewhere on this thread, I sold it in the early 2010's when I foolishly thought I'd not be playing bass anymore... I'v finally got round to replacing it with this beauty courtesy of our very own Cosmo Valdemar. A 1996 Thumb 5 NT with MEC rather than EMG electrics. Reminded me of why I played it's older cousin for over 20 years, what a fine instrument it is.
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Ben and I traded basses today, a cracking Warwick Thumb 5 my way and a Bongo 5 + cash to him, excellent fellow to deal with.
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You could always rent it out as an aircraft carrier.... What a beast.
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Feedback added to the correct thread.
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Warwick Thumb 5 NT 1996 PRICE DROP - *SOLD*
WinterMute replied to Cosmo Valdemar's topic in Basses For Sale
What are you looking for in trades, anything specific? Edit: As you were, just saw your comments on 5 strings, and I only have 5 string basses...! -
Rolling Stone's 'Top 100 Drummists'.
WinterMute replied to NancyJohnson's topic in General Discussion
"Pete Thomas is the rock and roll drummer of his generation by some considerable distance," Costello tweeted last year, "and that you never read that in polls tells you everything you need to know about 'polls' and nothing about drummers." "Meanwhile, despite his recent retirement from touring, Peart remains perhaps the most revered – and air-drummed-to – live sticksman in all of rock, famous as the architect of literally showstopping set-piece solos." Strangest way to say Neil Peart died... No Gavin Harrison? Garbage. -
When I used the Bass Pod rack I had the same controller you mention, got it second hand and the cable was faulty, I just got a length of Cat6 armoured cable, the kind you bury in gardens, made up a lead long enough and used that for about 5 years, I didn't play anywhere near as often as you, but it went in and out of studios and vans for a good while. I had a rack drawer mounted backwards in my rack, all the cables coiled straight into that. Network cables were never meant to be road worthy, it;s one of the things that bother me about Dante for live work.
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I think that's an important factor, these all in one systems are complex and multi-layered, getting used to one is hard work, let alone 2 or 3. One of the reasons I like the QC is that I have a Helix readily available for recording if I need one, and my guitarist uses a couple of patches on the QC that he likes foe certain sounds. Best of both worlds. I think if you find a system you like the sound of, put the time into learning it well and then get on with the music.
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Networked HD Jukebox for me, I have the Bluesound Vault 2, rips CDs and plays Hi res master files loaded over the network, you can set up the usual playlists if you can be arsed, I've simply split the playlists into one for me and one for the good lady wife, also a "non-shouty" playlist for late night listening. It generally sits on random play all day and just serves a steady stream of favourite music, the app allows all the usual editing and control functions and I can add network speakers to other parts of the house if I want to, not that I have as yet. The library gets shunted into Music on my laptop and converted to 320kbps AAC for the iPhone, which then does the duty in the car via CarPlay. Very occasionally I'll bung Absolute 80s on for a laugh, and I do listen to a bit of LBC in the daytime, again through the Vault, it'll do all the main streaming services, but I don't subscribe to any,
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No, you can't really use the QC without the touch screen, which is actually pretty good for such things, but I do know some peoples skin conductance doesn't play well with touch screens. The QC is built like a tank, but I do see your point about the pedal, and the PSU connector to an extent, I think they've an expectation that it'll be incorporated into a larger system for live work. The full Helix is a great board no doubt, I did consider the rack version and controller for a while, but I don't play live often enough for the form factor to work in my little studio, the QC fits very well and I'm very happy with the noise it makes.
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It was very odd actually, seemed to work ok to start with, but then slowed right down, long lags after any click, no way to operate in real time... I only have a few things on the usb, Nord Piano, small drum pad programmer, iLok, the usual. All my audio is either AUD thunderbolt or analogue. The mac was a 2013 Mac Pro, which never had an issue with DSP. Seemed to work fine on my mates Helix/laptop combo. TBF I'd have changed to the QC whether the Stomp programmer worked or not. The QC desktop editor isn't all that a yet but it's very much easier to programme with the touch screen and the rotary soft pots.
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I swapped out my old Line6 Bass Pod Pro for a Stomp HX, and that worked for a while, I changed to a Quad Cortex last year and it's a much better unit in terms of sound and usability, however the Helix is also a cracking unit for bass and guitar my guitarist has been using his for a few years and swears by it. The Stomp sounds great , but it's a bit of a b*gg*r to programme with that small screen, and the desktop editor is slooooooow. The Kemper is a very capable unit, but it doesn't have the flexibility of the QC or the Helix, and I found that the various patches would sound increasingly processed the further away from the original profile you went in terms of EQ and processing. I'd suggest you try to pick up a second had Helix if the QC is really out of reach, but I'd also suggest selling a kidney to get a QC.
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Is there a popular bass player, that you just don’t get?
WinterMute replied to Rayman's topic in General Discussion
I can appreciate the work of any bassist in the context of impressive work in a band or ensemble, it's a difficult job being rhythmic and melodic and we have to pay attention to drummers... That said, most of the solo exhibitionist work I see leaves me completely cold, doesn't matter who really, Jaco solo is not a patch on his work with Weather Report or Joni Mitchell, and I do love some Jaco, Joe Darts solos are dull dull dull, but he sits in the pocket with the whole band and grooves like a b*st*rd. If you solo Entwistle's tracks they are a cacophony, but in the context of the Who in full cry, it's a thing of wonder. McCartney's Beatles tone was absolute dogs*t solo, but works brilliantly in the band's overall sound. Context is everything, as always. Except for Geddy Lee, that guy just sucks donkey balls. 😜 -
Quad Cortex into a QSC K12.2, Boss Bass Chorus on an FX loop. Also my rehearsal rig. Also my recording rig with a Shelford Channel as a DI.
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Mine are insured on the house contents, the 2 I use for rehearsals or gigs are insured away from the home, the others just in the studio at home, the policy covers everything under £1500, with the other stuff as named items. Just make sure you name anything expensive you intend to use away from home, and note that it's very unlikely to be covered if left unattended in a car etc. It does get a bit expensive if you have a studio full of pricy kit, but it's all on new for old, and I really couldn't afford to replace it all if it was nicked or the house caught fire.
