BigRedX

That will only be a problem if there is also no envelope controlled VCA in the bass guitar audio signal path. There isn't one shown on the block diagram in the manual but as we have already established that's 10 years out of date.

Except it was made by HOHNER, not Höfner.

But if you look at the images on line being used to sell this bass, some are most definitely book matched and, even when they are not, none are close to being as mis-matched as the example in the OP. If I had bought the bass in the OP on the basis of the photos being published on-line, I'd be sending it back expecting a full refund including my postage costs too.

My Future Impact is my Christmas present so now I have checked that it is working, it's gone back in it's box and been wrapped so I won't get to use it again until next weekend. I'm not entirely sure if it was down to user error or not being entirely sure how all the parameters interact, but my initial thoughts were that most of the parameter values I was interested in happened in the bottom third of the range and often increasing the value by one unit gave a greater change in sound than I would normally expect from a conventional synth. Also the LPF doesn't appear to fully close at its lowest value even on the 24dB setting which may be a problem if there is no envelope controllable VCA after the filter. There isn't one in the block diagram in the manual but that's 10 years out of date, so might not be relevant. I found most of the supplied pre-sets rather harsh for my tastes, but I don't expect to be using any of them as they are not really geared up for the way I expect to be using this device. The real test will come when I start using it in combination with the Helix programming my own patches and using MIDI note information to trigger the VCF and VCA envelopes processing my bass sound. Ask me again at the end of January if I haven't posted anything here before then.

It should be a private link on YouTube that you can share with anyone who asks for it.

Have you missed out on any gigs because you didn't have a show reel? That's probably the most important question to ask. If you do think you need one, then do it properly. A badly produced showreel will probably put more venues off than no showreel at all. Unless you have lots a spare time and are interested in learning all about filming and video editing, pay for a professional. IMO you need good sound - the ambient live mix picked up by the camera is not going to cut it. The band need to look like a band and not a bunch of middle aged blokes who happen to have picked some instruments and the venue where you film should be as undistracting as possible. Good luck if you decide to go for it.

The sad fact is that without the McCartney connection Höfner would have probably folded decades ago. Even so there's a limit to how many "Beatle Basses" they can sell, and they have obviously reached now.

28.7fps is a somewhat unusual frame rate. Can your phone be set to use something more conventional like 25fps or 30fps? Audio generally doesn't have a frame rate until it is linked to a video track when it should take on the frame rate of the video. Check the sampling frequency of the video and audio files before they have been imported into your video editing program. It may be imposing new frequencies on one or the other. Otherwise the only thing I can think of is that the reference clock on one of your recording devices is off. I would tend to suspect the phone over the Focusrite interface. Recording a reference point at both the beginning and end of the video is a good idea. If you could do a 1 minute long clip and let me know how far out the end points are in terms of fractions of a second? Also can you run both audio tracks together in your video editing program and check that they sound in tune with each other?

If the audio and video slip more out of sync the longer the video runs, then it will probably be a combination of both frame rate and sampling frequency, as they are completely separate attributes and not dependant on each other. File Info/Properties should show you the frame rate and audio sampling frequency for your video and audio. What platform are you on? Windows? Mac OS? Linux? What are you using to record the video and audio? How are you getting the initial sync point? There's a reason why film makes use a clapper board at the start of each take. IME video tends to default to 48kHz sampling frequency whilst many audio applications use 44.1kHz. So start off by making sure any new recordings are done with everything running at the same sampling and frame rate. For existing recordings you may have to use a conversion tool to get them the same, as many video and audio editors will set the project to the attributes of the first Imported file and then impose those attributes on anything imported subsequently.

The only violin bass I have ever seen being played at a gig was a Grant copy used by the bassist of Nottingham band "…But Is It Art?" in the early 80s. However I've seen plenty of very nice looking Höfner vintage semi-acoustic guitars at various gigs. Unfortunately while there are plenty of "Beatle Basses" on the current Höfner website, the current range of guitars all appear to be rather bland and boring compared with what was available in the 60s.

Could be the room of course, and your own rig will make almost no difference. IME "acoustic treatment" in rehearsal spaces is mostly cosmetic and makes little contribution to how the room sounds especially in the lower frequencies.

Those weird lighter bands bother me more than the mis-matched top. Although that bothers me too.

But species alone doesn't completely define wood density, it's also dependent on the climactic conditions where the tree was growing and to a certain degree what has happened to the wood after the tree was cut down. On top of that very few solid electric instruments are made out of a single piece of wood for the body or neck so therefore construction methods are also massively important. In the same way that the sound of a speaker cab is dependant on not only the technical specifications of the driver(s) housed in it but also, the size, rigidity and porting. In both cases trying to assign a sonic characteristic to a single attribute is foolish and pointless.

Not everything I have released over the past 45 years has made it onto Spotify, but here are the bands that have: SugarBox: Dick Venom & The Terrortones: In Isolation: Hurtsfall:

Most of the time the second cab only takes up additional vertical space. It also has the advantage of raising the upper cab closer to your ears where it is doing some good for being heard rather than your knees.