BigRedX

Anyone taking money to work on your bass should be insured against this kind of thing happening. If they are not I don't think I'd been letting them anywhere near it.

Seriously for a moment. And disregarding the fact that eventually any instrument will pick up a good "collections" of dings and scrapes during its life time. You're big problem is that you didn't notice when the damage was done, and therefore have no way of knowing who is responsible. In this case put it down to experience. However... IMO there is no way that it would be acceptable for a tech to inflict any damage on your instrument. If this happened to one of my instruments and it was 100% attributable to the tech while they worked on it, I would demand that the damage be made good in a way it would be impossible to tell it had ever happened. If this meant that the bass need a complete respray - then so be it. Maybe they will be a bit more careful in the future when working on something that is not theirs.

Pay a human being to design you exactly what you want. There's even some graphic designers here on Basschat that will probably be able to create what you need.

A couple of better photos from Friday's O2 Academy gig:

Ableton's core market is people making loop-based beat-driven electronic music. Automatic tempo detection will depend on there being a good rhythmic source to follow. Do you have this in your instrumentation? I'd spend all of the 30 day trial trying to make the tempo detection fail before deciding whether it is suitable for you. If it goes wrong at a gig it's generally worse than the live instruments going out of sync with a backing track.

Most likely a custom drum map. Which DAW are you using? On that has it's roots in MIDI sequencing rather than audio recording should have tools to automatically re-map the MIDI notes of your files to the ones that you want. Also there's nothing inherently special about MIDI Channel 10 for drums. This is a legacy hangover from the first Roland drum machines with MIDI which defaulted to MIDI Channel 10, and that default became baked into the GM spec. In fact, if you are using MIDI hardware it would be better to have drums on MIDI Channel 1 as they get processed first. If you're working in the box MIDI channel number shouldn't matter. When I first switched to using a DAW all my drums were assigned in a way that made sense for how I programmed my drums and the drum playback device was set to MIDI Channel 1 on MIDI output 1 of my interface. These days because I work entirely within Logic, the MIDI channel is irrelevant and I use the Logic drum assignments because they are already labelled in the grid editor and changing they would be far too much hassle.

Hurtsfall played the O2 Academy in Leicester as part of the first night of HRH Goth 2. Both myself and our synth player were still less than 100% fit having had to cancel the gig we had on Tuesday. However this was potentially too important to miss and I suspect that only death (our own) would have stopped us playing this one. There was some weird hum/buzz problem that affected two of the bands before us and also our backing and no combination of leads and DI boxes would make it go away. In the end it was EQ'd out at the FoH desk, as there was limited time between bands to set up and to troubleshoot problems. Strangely it only appeared to affect FoH and not the monitors. Setting up the Bass VI and backing controls: And here we are playing our opening song "Lucid": Nice big stage, and by the time we were on stage there was a decent sized and vocal audience. I felt a bit sorry for the band that opened the evening who played to less than 50 people and a smattering of polite applause. I could see people dancing and singing along to our better known songs which is always gratifying. And lots of nice comments about our performance afterwards as well as plenty of people asking about when we'll have an album out - we're working on it right now! And it's always good to see your band's name on the Festival T-Shirt: There were several professional photographers in attendance so I hope to be able to post some better photos soon.

Here you go: We're in the post-punk/goth genre where using programmed drums is just as common as having a human drummer.

Ours has replaced our drummer. Less stuff to take to gigs, and now we are able to lots of interesting things with synchronisation that wouldn't be possible with a human drummer unless we were also using a click track.

I have a M80. As a case it is fantastic. It's protected my bass when a heavy 2x10 fell on it. It is possible to squeeze it into tight spaces in the car where a hard case would never fit. However as a gig bag it fails miserably. For me the whole point of a gig bag is that I can put my bass in it and then walk 30 minutes to the rehearsal room or local gig. However, unless you are very tall the bottom of the case slaps against the back of your legs while you are walking with it. Bearable for about 5 minutes after which it is both painful and annoying.

More importantly: Why? What does the app offer that can't been done viewing Basschat in your phone's browser?

IME it depends what sorts guitar parts you want to play. I have an Eastwood Hooky 6-string which has a wider neck than other Bass VIs and whilst this is exactly what I want for most of what I play, when I am strumming two-note chords the strings are just a bit too far apart for it to feel and sound right compared with a guitar.

Just over a year ago I was in the market for a keyboard controller for my DAW. I'd done my research on-line, but thought it would be nice to get some hand-on experience of a few before I made my final decision. We have a fairly large PMT here in Nottingham so the next time I was in town I went in. This is the first time I'd been there since COVID, and the store was looking very sorry with loads a spaces on the walls that used to be full of guitars. The keyboard/high-tech area was cordoned off with a note informing me to ask if I wanted to try anything. I was told that someone would be along shortly to help me. I passed the time waiting by looking at the much reduced selection of guitars and basses and after about 10 minutes and when no help was forth-coming I left. I bought my controller on-line from Amazon.

LaBella Hard Rocking Steels (or whatever they have changed the name to). However IMO Warwick Black labels are just as good and about half the price. You could always order a custom set from Newtone. They can do taper windings on any string over a 50 gauge.

HiFi is entirely subjective. There's plenty of examples being mentioned here that wouldn't consider even vaguely HiFi. Also you'd be surprised just how much dirt and EQ is on the typical bass guitar sound, even when it appears to be clean and flat in the context of the mix. Finding the isolated track can be a bit of a revelation. I the OP wants useful recommendations they should post examples of recording that they consider have a HiFi bass sound.

Interesting what is supposed to be the classic Wal sound. Kev's Wal is hardly a typical model and Mick Karn did most of his best known work using a Travis Bean.

Well then pay for someone who can solder to make you up the appropriate cable(s).

Making your own. This is what I have done whenever I have needed MIDI leads where the cables exit the plug at right angles. I was able to buy a supply of both metal and plastic bodied DIN plugs where it was possible to orientate the pin arrangement in 90° increments, so that when assembled the exit for the cable was either to the right, left up or down depending on what was required for the installation. If I left enough excess unsheathed cable inside the plug this could be changed if I needed to reuse the lead in a different location.

I'm happy with our singer not helping with packing up, because he will be involved in the equally important task of selling merch to audience members who have enjoyed our set, and taking to people who are interested in booking us for more gigs.

I've only had the misfortune to have done a gig like this once. It was my penultimate outing with the dad-rock covers band and one of the many deciding factors in me handing my notice in sooner rather than later.

Not any more, and not for quite some time. By the early 90s all the venues I was playing, including pubs, that put on originals bands were putting in PA systems and lighting rigs. At the time I was in a brand new band so we were starting back at the bottom. We got our first gigs by asking bands playing at these venues if we could support them and built in up from there. Before that in the 80s we would hire a PA for each gig as it was required and that cost would be factored in to what we would ask for our payment. And in the days when we hired in a PA it would come with a sound engineer who would do all the setting up.

But I was talking about originals bands. I wouldn't be looking at playing any of those venues in the first place.

It might be a good idea since the most usual place for a feedback link - in a user's signature - is no longer as effective as is should be, due to the fact that lots of people have all signatures hidden, and they are not visible at all to anyone browsing Basschat on their phone.

I'd probably get a second Eastwood Hooky 6 to use as a spare for gigs. What I'd really like is a Gus Bass VI built using the their G3 Baritone shape, but last time I enquired (pre COVID) I was looking at in excess of £6k for the spec I was after... Edit: After buying the Hooky I'd use the rest of the money to buy one of my bands in the studio with a decent producer who is sympathetic to our genre/sound and get as many tracks recorded and mixed to best possible standard until the money ran out.

I can't help thinking that you must be playing the wrong venues. Since the mid 90s almost everywhere I have played (that's pretty much all over mainland UK) with originals bands has had an in-house PA and lighting system. The few times (around 5) when there hasn't been a PA on site was when we deliberately chose to play venues that don't normally put on live music. And while I do get to play some big venues, my bands still play places with capacities of 100 or less.