Step one: melody and bass side into it’s own input in your interface. Create 2 new tracks in your DAW assigned to the respective inputs.
Step two: noise gate plugin to kill the bleed, 65% seems to do the trick. I hate going direct in, so my Bass and melody side each get their own Boss GT100. Noise suppressor is a critical part of the chain...

Step 3 Hit record and play!

I hope that helps a bit, guys!

Yeah i have that too going into reaper. I have yet to find a DI tone with it that I can stand, let alone like. I tend to either mic an amp or rub through my boss katana as a preamp, but that thing is strictly mono

IMO, one of the key things for getting a good DI tone is using impulse responses and a good quality amp sim. Furthermore, I think the cab sim/impulse response is even more important in terms of getting "that sound."

Here's an example of DI vs. cab sim tone in a Two Notes Le Clean pedal review. Skip to 4:07 to see what I'm talking about:



This can also be achieved with the abundance of software for guitar/bass recording that exists out there. Since Reaper natively uses VSTs, you should have no problem finding free VST amp sims that are worth your time. The vast majority of freeware is always in VST format.

Some free guitar and bass IRs
http://www.grgr.de/IR/

Jayesskerr-

Do you run a separate gate on each of your bass and melody tracks with different values?

Sometimes, the values are usually very similar, although I personally don't mind the slight crosstalk between the melody and bass side (Seems to happen most on the lowest strings of Melody/bass side Low 'E' and 'B' for me respectively) I sort of look at it like recording a drumset, and dealing with that hihat bleed onto the snare. One can TRY to totally remove it, or one can simply work WITH is as it's an inherent part of the instrument... Since I'm playing the stuff together anyways, the crosstalk is not noticeable. I like to process both sides separately, though yes.

My main Stick, the Wenge Grad has pasv4's in it, and I find that they are hot hot hot pickups, and sound very different on their respective "sides" I literally run a separate processor for each side of the Stick, the two are midi'd. I am NOT fond of using plugins/amp emulators and IR's and stuff unless I have to, although I have them at my disposal...

Context is everything too. Is it going to be Stick all by itself, or is it in an ensemble setting, or a singer songwriter type thing? I have run into all kinds of challenges recording the instrument, and the biggest one for me is almost always getting it to play nice with other instruments (It's so easy to over-utilize the immense range of the instrument, and thusly step all over the range of other instruments in the arrangement. - keyboardists often suffer from/with this)

I tried out a lot of gear with my Stick. I ended up settling on two Boss GT-100's. They work for me, and provide me with everything I need in any situation whether it's amp/PA/direct to interface, headphones. That's just me though, everybody is different...

I agree that it can be difficult to have other instruments play nice with Stick. But why not use all 6-ish (I think?) octaves of range?

And regarding what you mentioned about using amp sims: I'm heading down that road currently. Personally, I like it, and it's allowing me to downsize my rig considerably for space considerations in our condo.

Last year I found a great product called Destructor by Blue Cat, and I ended up getting quite a few other Blue Cat products as well. Destructor appears to be an "amp modeler" on the surface, but in reality, it's highly dynamic, customizable wave shaper/compressor that emulates guitars and cabinets with perceptual modeling, rather than impulse responses. Consequently, it sounds awesome (imo) with Stick.

Once my new PA speaker arrives I'll post up some SoundCloud files to show what kind of tones I can get with it.