BigRedX

That's why you also need to be a singer or songwriter or producer.

Have you used him yourself? If so could you post a link to a track of yours that he has mastered?

Thanks!

Looking for recommendations for someone to master our next single for CD and download. Genre is post-punk/goth/synth pop. Looking for someone sympathetic to the style of music.

IIRC on the Hagstrom/Futurama two of the switches were on/off for each pickup and other two introduced different levels of treble cut. With those Dimarzio(?) pickups it could be anything.

Haven't we already done this somewhere else on the forums? IME what you choose to play is as important as any change in sound. And sometimes you don't need to "fill out" the sound. Live bands tend to sound better with less going on. If necessary work on your harmony vocals.

I don't think that neck was originally on that body - look how much space there is in the neck pocket. The body and and bridge/tail-piece have a distinct Hagstrom/Futurama vibe, and would have had a similar inverted jack socket.

Surely this is a problem with every bass manufacturer that isn't Fender, Gibson or Rickenbacker. Do something that is too similar to the above and everyone says why do we need yet another copy of... and anything too radical and most musicians hate them.

Vintage Init?

Generally the proximity effect is more important than direct coupling when it comes to the sound of a cab and castors don't come anywhere close to lifting the cab far enough off the ground to break that.

I don't know about the 4-string version, but my 5-string MiK Warwick Star Bass II had similar neck specs to my favourite 5-string basses.

Craig Adams was playing a 5-string Schecter when he was part of Spear of Destiny.

Eastwood do a 4-string version of their Hooky Pro Bass with 24 frets. Don't know about the string spacing but you could always ask them.

It's probably already been taken...

Next Hurtsfall gig is at The Arches in Coventry on Friday 7th March:

I'm sure for the band it probably sounded great on stage or in the IEMs. There is also the possibility that if they are mid-way through their tour and they agree with you, imagine how terrible the sound engineer can make them sound if he really tried. And if it's just one or two punters you can be easy to ignore and brush off. It's going to need a concentrated response by lots of fans to make a difference.

Why? If you really feel strongly about it you should be naming and shaming the idiot behind the mixing desk at these gigs. I don't go to very big gigs, mostly because the bands I like never get to be that popular, so I haven't really come across this phenomenon. Also the sorts of bands I go and see these days (post-punk/goth/electronic) tend to have a sound where the bass needs to be distinct. However should I have the misfortune to attend such an event I would have no hesitation in taking a photo of the sound engineer and posting it across the social media for the band/promotor/PA hire company and letting them know exactly what I thought of their "skills". IMO the sound at these gigs tends to be like it is because insufficient people complain.

Thanks. IME there are a number of things that go together to make good live band photos: A good photographer - which should go without saying. An interesting and appropriately lit stage space. Ideally the rest of the venue should be relatively dark compared with the area occupied by the performers Interesting looking band/artists. IMO there is no point getting up on stage to perform if you are not also going to give the audience something entertaining to watch. Otherwise you may as well stick to the recording studio. For me, live performance is as much about the visuals as it is about the music. When all those things come together the results are usually rewarding. Of course I only post the photos I think look good. There are probably an equal number of terrible phone shots of the band looking uninteresting also posted on Social Media. I just choose not to share those.

Better photos from Friday's gig:

Goes some way to explain why I think a lot of the bass cab models make my sound worse. There's a fairly hefty dip in the mid-range just where I like to boost the EQ without a cab model being present.

In 40 years of using programmable multi-effects and synths I think I've only ever used a few factory presets which still needed adjusting to work in the context of what I wanted to do and I have never paid for any. Line6 recently shared Peter Hooks "Salford Rules" Helix Preset, and while it wasn't bad, I think I preferred the version of his sound that I had programmed myself. The Helix and HX series of devices are simple to program. Simply start with a blank Preset or if your device doesn't come with any pick one that you'll never use and wipe it. I spent half a day going through all the Presets that came with my Helix when I bought it and decided that none of them were remotely what I wanted to sound like. Then start adding modules as if you were populating a pedal board with pedals. Work on each one separately until it's producing a sound you like and then tweak them to produce the combined sound you want. You'll stillness a technical rehearsal or two with your band to fine tune everything, but other than that it's easy.

Played the venue part several years ago supporting Balaam and the Angel who had a rather Spinal Tap moment when after setting up their drum riser and drums the road crew realised that it was now too close to the venue's ceiling for there to be enough room for the cymbals!

Have you tried all the chorus models on the HX Stomp? I don't know which models are included in this version, but the Full Helix has 4 different chorus models plus 4 flangers which will all do a chorus effect at the right settings, some other modulation models such as the Poly Detune which will do chorus-type sounds and finally a couple of the delay models include chorus options in their parameters. Are you sure that none of those are a suitable substitute for the B3 chorus sounds?

Instrumental tracks for the forthcoming Hurtsfall album. Just one more song to go and I'll have recorded all my Bass VI parts.

You can't say that, because every piece of wood if different and to try and make sweeping generalisations about a particular species is at best nonsense. Remember also that descriptors like "pine" "poplar" "mahogany" etc. are very broad. There are over 40 species of tree that can produce wood called ash. Swamp ash is simply one of those species grown in swampy contains which goes to show that the climate/environment in which a particular species is gown might be more important than the species itself. Also there's nothing wrong with plywood. Even Jens Ritter uses it to make bases.