BigRedX

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.

Every band I've been in for the last 15+ years we send the singer off to do promotional and fan duties while the rest of the band clears the stage and packs up including any equipment the singer might have. I see both audience engagement and good stage manners as being equally important, so I'm happy to clear and pack a bit of extra equipment if I know that at the same time someone from the band is keeping the punters happy and maybe even getting us more gigs as a result.

Also depends on the position of the listener or measuring point, hence my original post.

It's got little to do with the porting and everything to do with the position of the cab and you within the room. You don't need to move the cab, you'll get a different sound simply by standing in a different location in the hall.

My experience of festivals is that there is either a supplied (good) backline that you are required to use as a condition of playing, or that everything is on movable platforms that can be wheeled off to a backstage area for setting up and packing down. I think the sorts of gigs people are talking about here are those in sub 500 capacity venues where there is often no backstage area and the green room is already full of all the other bands and their kit. My attitude at these gigs is, the moment we have finished playing, to get our gear off stage as quickly as possible, find a quiet corner and then pack it down. However, some musicians still don't appear to have got the message and can take up the whole 15 minutes on stage packing their guitars and pedals away whilst chatting with their fans.

Why do we still think that the size of the driver cone is the most important factor in describing a cab? Every cab will sound different, I've owned cabs with the same driver configuration but completely different sounds. Not surprising when you consider that just about everything else to do with the cab - size, construction, driver specifications other than the cone diameters - was completely different. If I was still using backline the diameter of the driver would be the least important factor in choosing a cab.

Some of the synth modules in the Helix will do this.

That looks brilliant! Good luck!