BigRedX

According to the Vintage Hofner web site both are 34" scale.

What is the mixer? If it has a USB-A socket then it should work as a host device. If it doesn't act as a USB host device you will have the same problem with your eBay footswitch.

TBH that comment wouldn't be out of place for some of the bands we share the bill with. I can remember seeing one guitarist set up the largest pedal board flight case I have ever seen - it must have been at least 3 rows of pedals. And then brought out a second one almost as big. His pedals occupied the whole of the front of the stage. There was just enough room behind him for the drummer and his kit, and the bass player crammed into a corner.

Surely the whole point of a device like that is that it is its own pedal board?

Have a look at see if any of the the suggestions in this thread will do what you want.

I find the blinkers have always made me more focused. In the end it depends what the OP wants out of being in a band, and whether playing any music and being in a band is preferable to continuing as they are not being in a band but creating their own music. It also depends on whether earning money from playing in a band is an important consideration. As an example: I have a creative/artistic day job - working in graphic design for print. But because it is my primary source of income I will take on pretty much anything no matter how dull it might be from a creative PoV and AFAIAC the customer/client is the boss. I'm currently working on a massive book project that has been going on for over 2 years now and will probably continue at least until the end of this one, if not longer. I don't find the subject matter particularly interesting, a lot of the design work is a bit of a slog, and the client/author can be a pain and often very demanding, but right now it is almost 50% of my monthly income, so I knuckle down and get on with it and relish the more interesting jobs I am able to fit in around it. However I couldn't be like that about the music I play - I have to 100% invested in it, to want to be in a band. Luckily I'm in 2 right now that satisfy those requirements. Maybe if I was earning enough money out of playing, writing and recording music I could afford to be a bit more flexible about what I play/write/record, but until that happens I'll carry on just doing music I really like. So, without more input from the OP we're all just guessing.

No be picky about the sort of music you want to play. There's nothing worse than having something you should love being ruined because you can't stand the songs you are playing.

10CC One of those bands who, IMO, were much greater than the sum of their parts.

This is what I have discovered. The problem is that MIDI over USB isn't really MIDI at all, but simply a data stream that transmits MIDI-type messages. It doesn't appear to be designed to be networkable beyond the host device and the controlled device.

Don't buy a USB to MIDI cable. Nearly all of them are terrible for the sorts of things that you want to do (I post from experience). You will need a proper MIDI interface and one that does not automatically filter out the more esoteric MIDI messages such as MTC and SysEx.

Of course it's not the same. They are entirely different instruments with entirely functions. Sometimes you want a the sound of a brilliant grand piano captured in a perfect acoustic environment, and sometimes you want the sound of a cheap Casio, and all the options in-between. To think that they are the same simply because the sounds are activated by pressing keys is foolish.

My choice of bass (or guitar) goes like this: 1. Looks. If I don't like how it looks it won't even get picked up. I don't care how great it might possibly play or sound, I don't want IMO boring or ugly instruments. It's not the 70s any more where there are only a handful of decent playing and sounding designs and everything else is awful. These days you have to look pretty hard to find a new bass that plays or sounds bad, so pick something you like the look of. 2. Playability. Entirely subjective. Spend some time playing without plugging the bass in. Concentrate on how it feels to play. If you gig standing up don't forget to try it on a strap first. I made this mistake with a Squier VMF Jazz. It was fine sitting down in the shop. On the strap I found reaching the G-string machine head difficult. 3. Sound. For me not really an issue. I can get the sounds I want out of any bass once it has gone through the Line 6 Helix that I use by adjusting the EQ and/or my playing technique. I've yet to encounter a bass that met the first two criteria that couldn't be made to sound right in the band mix.

To the OP: What sort of music do you want to play and what sort of a band do you want to be in in terms of commitment? If you want to go covers get along to some jam or open mic nights and start networking. If you want to do originals go to local gigs and get a feel for the sort of band you'd like to be in and get to know who is doing music in that style in your area. One of the bands I play with at the moment, I joined simply because I was a fan and was following them on Facebook, so knew when they were looking for a replacement bass player. Of course you could always put an ad up on Join My Band. Be specific about the sort of music you want to play and the sort of commitment you are prepared to put in and what you want out of any band you would like to join and that should filter out most of the time-wasters. And these days age is less important than ever for most genres. I formed what has been my most prolific and probably best-known band a few months before my 50th birthday. I'm now in my early 60s and at the moment I'm playing in one well-established (two albums out working on our third) and one up and coming band both in the post-punk/goth genre. When I'm not gigging (I have gigs with one or the other band at least every other week) I'm writing and recording new material. Over the last 15 years I've never been busier musically.

For me image, and especially something that fits with the overall band image is massively important. One of the reasons why I have never played a P-Bass is because I think they look so boring, I have never even been vaguely tempted to pick one off the wall in a music shop. I don't really have any bass heroes but when I was getting into music and playing in bands most of my favourite bands had bass players with Gibsons or Rickenbackers (certainly the ones where I noticed what the bass player was playing did). As for sound, by the time my bass has passed through the compressor, drive, chorus and delay (if required) and been EQ'd to fit into the band mix it really doesn't matter what it is. Over the years I have used a number of widely different basses, but I have always been able to get the right sound for whatever band I was in at the time out of any of them. Having said all that, in one of my bands I play an Eastwood Hooky 6-string bass. This has been chosen simply because it is the only Bass VI with a suitably wide neck to accommodate my playing style. Luckily because of the Peter Hook association, it also fits the post-punk/goth image of the band, although if I manage to get the funds together it will be replaced with something a bit more interesting looking, but with the same neck dimensions.

I've abandoned wireless for the moment. For both bands we are back to playing smaller stages when we headline, and when we are on the bigger stages we're generally crammed in at the front after the headliners have set everything up, and since most of the time I'm pretty much stood on top of the Helix and the pedal that controls the backing, I really can't see the point of not using a lead. When I'm set up stage left I run the lead from the Helix around the left side of the stage and then behind me so it is completely out of the way of my (and the rest of the band's feet). Having said that I will be playing Sheffield O2 Arena next month, so I might have a look at trying the wireless system in rehearsal first.

There was a video of some author playing one in the unexpected bassists thread.

Do you mean the Bass MuRF? Have you followed the setup procedure in the manual?

What is your amp for? Home practice or are you intending to play some gigs? If it's for gigs what is the line-up of the band?

The Vintage Hofner site is the place to look. Examples of both of these basses appear on this page towards the end.

Thanks! We've also done an animated lyric video to go with it:

Yes they are ridiculously expensive, but my bass version was second hand and a fraction of the price a new one costs. If it wan't for the fact I don't have enough use for a bass with only 4 strings I'd probably still have it. The only thing I didn't like about mine was the bridge which was obviously designed and built by an engineer rather than a musician. The guitar version has a standard Tune-o-matic bridge and doesn't suffer from this problem.

It's made from expensive tone aluminium instead. Actually there are two wooden inserts in the back of the "neck" which look like they were salvaged from a wooden pallet and then painted silver to match the rest of the instrument. As for sound. I've been told it sounds like a P-Bass. It does have the right pickup in the right place which apparently is the main prerequisite for the P-Bass sound. However as I have never actually played a P-Bass myself I couldn't really comment.

Born To Rock F4B. In name, material and overall appearance... ... and it's essentially a P-Bass.

I spent over 2 years from when I first started using by Squier Bass VI seriously until I received my Eastwood Hooky from the first batch they made trying every Bass VI style instrument I could get my hands on, and none of them came even remotely close to the playability of the Hooky for what I wanted to do with the instrument. There's a whole thread documenting my search here. What I found, was that most Bass VIs are essentially guitars with 30" necks and occasionally (but by no mean always) pickups positioned in suitable places for getting bass-type sounds out of them. The Squier had a very uncomfortably narrow neck - the guitars I use have wider necks by comparison - and while most alternatives were better none were a massive improvement. I used a Burns Barracuda for a while which was easier to play but I still found myself plucking the wrong strings especially when I was swaping between sections that involved up and down plucking of multiple strings to all down strokes on a single string and back again. Until Eastwood announced the Hooky, I was seriously considering getting something custom-made using classical guitar string spacing (which was still just a guess), but now I know that the significantly wider string spacing of the Hooky is just right for what I want, and if I was still to go custom, I'd be getting them the copy the dimensions of the Hooky neck.

That looks very similar to the ones I bought directly from Van Damme (I'm sure it was the same Cat5 cable). They were fine for about 6 months use, and then become less and less able to coil neatly before finally failing. Are yours still properly coilable?