WinterMute

Furman power distro/cleaner because you can't have enough clean power, everything on the audio circuit is powered through this. UAD2 A16 interface for the summing mixer output and more inputs than I need. Pheonix N16 Mk2 summing mixer for some class A analogue goodness on mix down. RND Shelford channel for my main mono input for mic and line. Patchbay because they are insanely useful. Amek 9098 Compressor limiter, Input compressor and buss compressor on mix down. The Amphion unit on the top is the amp/crossover for the FlexBass 25 sub behind the desk.

I'd like Universal Audio to integrate EUCON into their excellent Luna DAW... I'd switch from Protools in a heartbeat, but it's pointless as my S3 will only talk to it over HUI, which isn't as useful.

I really admire Mark King's playing, but I never got on with Level 42. I don't get the Chillie Peppers at all, not even when they've got socks on their c*cks... I ought to like Muse, but I don't, Chris Wolstenholme is a monster player though.

I don't remember if the Westone had neck-dive problems, it was the bolt on, not the through neck, so I wonder its that made a difference. The Wal sounded great, but I didn't like its dimensions as much. I p/ex'd it against a Thumb 5 string in 1988, kept that for 25 years.

The Bergatino 2x12 is pretty good.

I had a Thunder 1a Fretless in black, my first fretless bass, very underrated basses at the time, i think they get the recognition these days. I P/ex'd it against a Wal Pro 1 fretless, which was a better built bass but didn't play as well.

Distortion/drive will definitely help, as will a slower attack time on your compressor as others have suggested, although I also find that an LA2A style opto set to limit rather than compress makes the bass sit right up front. This is an old vid from a while back, tracking in Monkey Puzzle, RotoSound Swing bass rounds, LA2A Limiter and a bit of filth from the Ampeg STV model in the old Line6 Pod XT Pro. Add the aggressive striking of the stings to get the clank and it cuts well. Sorry about the ropey playing. IMG_1284 (1).mov

Play harder, hit the strings rather than plucking them, Geddy Lee and The Ox didn't need no stinkin' plectrums... Seriously, I've played aggressive finger style for decades, no lack of attack but you do build up some calluses and you get blisters if you don't play for a while.

I used a Crown XLS1500 bridged into mono with a Series 1 Big Twin for a long time, and monstrous it was too, I varied the pre-amp a bit, the Line6 Pod XT Pro rack gave way to a Geddy Lee 2112 then back to modelling with an XT Stomp. Once I stopped gigging, I moved it on as I really don't have space in the studio, and now I have a QSC K12.2 and a Quad Cortex, largely for rehearsal prior to recording. The XLS/Big Twin combination was easily the best stage rig I've ever owned, particularly while using the Pod XT, if I ever went back to gigging I'd grab a BT3 and a Crown XLS in a heartbeat.

Thanks for clearing that up, I've always wondered where they go and why they never seem to be in the same place...

I find my fretlesses completely mysterious, in that it's a complete mystery where the notes are...

Bit of Geddy solo, Moving to Bohemia.

I absolutely use amp and cab models, have done for years, Line 6 Bass Pod XT Pro, Line 6 Stomp, Helix and now the Quad Cortex, but I always capture a DI track to, a good DI input can save a bass recording in a difficult mix. I tend to run the DI through UA's Eden World traveller model for a bit of cab and room, but I've also been experimenting with "re-amping" back through the QC at mix down too.

> Shelford Channel DI > UAD2 Line input > TB2 to computer Bass > Shelford Channel Link > Quad Cortex > UAD2 Line input > TB2 to computer Tracking 2 mono channels, 1 clean DI with EQ and a touch of compression from the Shelford, 1 fully modelled rig w Amps, cabs, FX etc. I've listened to the USB output from the Quad Cortex, and I prefer the analogue output, plus I don't have to worry about phase accuracy with the Shelford channel output.

I have the twin Hercules AGS stand, works for anything with a headstock. Not much use with a Steinberger however...

The model styles are fairly consistent, a Krell is the same shape given the scale length and variations in things like fingerboard radius, but the electronics vary depending on the original choice, I think OP wants to have a play with the filter based pre-amp and the multi-coil pickups.

I'm in Iver near Windsor, with a fretless ACG Krell 5 string, but it's got narrow string spacing so I didn't go with the MC series pick-ups, as they can't be anything but 18mm spacing. I have RFB's and the DFM 4K. it's this one: https://acguitars.co.uk/project/0431krellfretless5-34/

Saw them in Birmingham at the weekend, Levin looks like he's having a ball... Shame the PA didn't have the LF to bring out his work properly, sounded great for the more delicate stuff, but lacked weight. Excellent gig though.

I was singing in a school mates band and the bassist left, Steve said "you can play bass, it's only one note at a time" so I did. He taught me to play a major scale and a minor scale and I learnt a bunch of songs and just got on with it. I'm sure I could be a much better player if I took advantage of all the resources now, but the need has never arisen and I've spent the last 45 years playing on sessions and in studio based bands, mostly doing other stuff at the same time, mainly engineering and producing.

Both, onstage monitor is an FRFR cab with a parallel feed sent to the PA from a Helix floor unit.

In the serious playing years I'd have 2, a fretted and a fretless, and occasionally a 3rd in a different tuning before I started playing 5 string. For many years I had just 1 fretted 5 string, so that came out with a spare set of strings in the bag, which I never needed. If I gig these days it'd be back to a fretted and a fretless, both 5 strings, I reckon I could get through a gig on either one if anything went bang. I also used to carry a pre-programmed Bass Pod XT in case the backline gave up the ghost, I'd at least be able to get some sound into the PA... It's more useful to have spare cables, batteries, strings, gaffe tape and an extra strap, as these are things I've been asked for on more occasions than I've had equipment failure.

I've done many sessions with click tracks of all kinds, metronomes, loops, once the original song as a guide, and they all have advantages and disadvantages. I've come to believe that clicks of any kind limit the drummers to an extent, they constrain the performance, even if slightly. Even the best session players play better if allowed to keep their own time, to my ears. I started using groove extraction in Protools a while back, it allows me to lock the timeline of the session to the timekeeping of the drummer, allows them to set the tempo and dynamics and lets me keep programmed parts and loops in time perfectly. Obviously it only works in the studio and if you have a drummer capable of keeping good time, which isn't always the case...! Can't be done for live work, but a bit of time in rehearsal can set up a very similar "dynamic" click that can be used as the basis for a much more natural feel to programme-based tracks.

Add to that the velocity switch layering most decent drum systems have these days, BFD and Slate Drums being the two I habitually use if I have to programme drums, and you do get a much more realistic response. Interestingly this tech has been embedded in some of the triggering plug-ins too, the Slate version being particularly good at emulating the tone of an original drum recording. I still tend to layer triggered sounds with the originals rather than replace, but it all helps.

I'd really like my band to 1. exist and 2. be obscenely famous and rich and not at all dysfunctional...

It was ever thus before the age of affordable audio tech, the process of just making an album was prohibitively expensive, which was where the labels came in, and still do occasionally these days. It's a perfectly reasonable prospect to put some time into learning how to record and mix properly and putting together a system capable of returning good product, and it's usually cheaper than paying for an established studio. I think there's still an expectation that the "big studio" experience is the only way to achieve pro results, and that's simply not true now. If Stu Hamm wants to leverage his fan-base to pay for better facilities, he absolutely should, if I tried it I reckon I could get £37.50... I'm lucky enough to be able to record and mix, but I'm aware thats not the case for everyone, so the limited help that a label can bring is often the only route available. Labels have always been necessary evil, but some of the practices in the industry are pernicious and that drives artists to try different things.