BigRedX

But that doesn't take the way your brain processes audio in an acoustic space into account. They would only be the same if you and your speakers were in an extremely dead acoustic space. In the real world the way your brain uses your ears and eyes, being 3.4m away from your cab in a typical room is not the same is having the sound piped directly into your ears with a 10ms delay.

I know you want real-world experience which I don't have, but AFAICS to me it looks like a marketing gimmick. Firstly based on those brands that actually show the tension figures, "balanced" tension IS NOT equal tension (it's not even close), and anyway IMO what feels "balanced" is entirely subjective. The only way I think that balanced tension could be made to work is if they also take compliance into account so all the strings feel about equally "stiff". However compliance depends on the construction and stringing method of the instrument as much as it does on the construction of the string itself. That means while the strings may feel balanced on one type of bass they won't necessarily feel balanced on others. I suspect that if you have a Fender style, 4-string, 34" scale bass, without using through-body stringing and favour standard string gauges, a balanced tension set may feel more "even" compared with a standard set, but even then it's going to be subjective, and after years of playing using sets where the A and E strings are noticeably lower in tension than the D do you really want strings that feel closer to the same stiffness? You are also limited to a few string brands that offer balanced tension, mainly D'Addario, so you may not like the choices available. It's one of the reasons I haven't tried them myself because whilst all my guitars are strung with D'Addario strings I haven't liked the sound or feel of any of their bass strings that I have used.

If it's just for stage monitoring loud and low aren't as important.

Any decent FRFR powered PA cab should do the job. Have al look through the FRFR thread for examples. I have an RCF 745 but TBH it's turned out to be complete overkill for what I need, and a smaller, lighter and lower powered cab would be equally suitable for nearly all the situations where I still need my own amplification on stage.

I looked dispensing with my Helix Floor and using Helix Native going through the laptop which provides our drum and extra synth backing. Unfortunately even on an M4 MacBook, having the Helix Native plugin active added another 5-10 seconds to loading time of each song which was IMO too slow for live use, so for the moment I've stuck with using the hardware.

Because we use computer-driven backing for drums and our second synth parts, our set order is decided at the rehearsal before a gig and I put the songs in the correct order on the computer so I can cue up and control the start of each one using a footswitch. Although I'm always given a printed set list for each gig I tend not to look at it because cuing up the next song also selects the correct starting patch on my Helix Floor which uses the song name as Its title and therefore the Helix display acts as much easier to see set list for me. At one fairly high-profile gig our singer who usually produces the printed set lists printed out a different set order to the one I had programmed. Luckily I noticed that he was not introducing the song I had cued up ready, and was able to manually select the correct one on the computer before I started a different song to the one the rest of the band were expecting.

Glad to have been of some use. You're not alone in having the dock taking up valuable screen real estate. Most of the people showing how to use various Mac programs on YouTube are guilty of this too. I'm wondering if it's a self sustaining attribute, since the Dock is one of the interface items that automatically identifies MacOS and therefore anyone demonstrating a Mac program thinks it needs to be on their screen and consequently users looking at the videos never question it. Because I come from a graphic design background where every vertical pixel is at a premium and therefore any interface elements make use these pixels at the expense of what is in the program window are banished. At the moment my bane is the Adobe "Home Bar" which is at the top of every Adobe program and for many users like myself serves no useful purpose, but can no longer be removed/hidden. And you never stop learning Logic IMO. I've been using it for over 30 years now, when I got my first copy it was either late V1 or early V2 when it was just for sequencing external MIDI instruments rather than the fully-fledged DAW it is today. There is no correct way of using it; the two people I collaborate with each use the program in a completely different way to me, yet we all manage to get similar end results. Finally for reference here's my "home studio" set up (which also doubles as my graphic design studio for my day job) You can just see the bottom of the dock on the edge of the right hand screen:

As a Mac user I always wonder why others need to have the dock turned on, quite large, taking up valuable screen real-estate at the bottom of the screen. Especially as in Logic you would be able to fit another two tracks on the arrange page without needing to reduce their size (and being able to fit more tracks at a sensible magnification is always a plus IMO), and I doubt whether you dropped out of Logic at any time during the day, and even if you did it's generally easier to switch between open programs using Command-Tab. On my set-up the dock is arranged vertically on the right-hand screen where it is out of the way and not taking up valuable pixels on my main screen. If I'm using a system with a single screen like a laptop the dock is permanently hidden.

I buy/listen to albums because I think the songs are good and not for any particular instrument. The only time I have bought albums for a particular instrument was in the late 90s when I bought the entire Led Zeppelin back catalogue so I could make my own set of John Bonham drum samples and loops. As a listening experience I found it unrelentingly dull apart from In Through The Out Door which made me realise why they had signed The Pretty Things to their Swan Song Label because the music Led Zeppelin were producing at the time, sounded to me like a second-rate version of Silk Torpedo and Savage Eye. Once I had grabbed all the audio I needed I sold the CDs. I think I used some the samples on a couple of songs my band was writing at the time. I've probably still got them in folder on a hard drive somewhere.

Mostly outdated music technology that will be overpriced due to who it used to belong to.

Or the old holes in the body of the bass filled and new pilot holes for the screws made in the right place. Quite why anyone would assume one piece of hardware is going to have the fixing holes in exactly the same place as the item it is replacing when they are of different designs is beyond me.

Is that any worse though, than the sound of multiple cutlery drawers being flung down a stone stair well which is the default noise produced at bass shows?

I think they are all too "Indie" for your typical Planet Rock audience. For me "modern rock" would be a band like Bring Me The Horizon who use guitar riffs and electronica, or a more modern version of Young Gods.

What would class as a modern band playing modern rock music?

I wouldn't ever consider using DT100s for mixing.

The usual fix is to remove the Librarian and Central programs and their preference files and re-install, because something has become corrupted from the original installation. This which trying on a different computer normally also works.

IMO pretty much any modern bass will be well-made enough to be more than useable for recording. Go and try a load and buy the one that suits you the best.

It might be worth getting the acoustic treatment done before you consider spending serious money on new speakers.

It wasn't the most comfortable of instruments to play and the neck on mine had suffered from a serious break at some point which what been reasonably well repaired but then hidden under a much better re-finish so I didn't discover it until I stripped the finish off with the aim to have a more interesting colour... IME it doesn't really matter which way around the octave and main strings were. It only matters when playing with a pick if you only pluck in one direction - all up or all down stokes. And as I'm quite a physical player it was easy enough for me to pluck both strings even when playing finger style, although I preferred to play mine with a pick.

Bluetooth has too much latency for real-time audio transmission.

"Tone" as completely subjective. AFAIAC even playing pick with a pick some more mids are always a good thing.

Not really. Full of spelling mistakes (and they must be band if I can spot them) and a rather tasteless jab at Mark Hollis considering that he's passed away the year before the article was written and the author couldn't even be bothered to do a little research.

I just want to see a firmware update for the Helix/HX series that includes a MIDI triggered VCF and VCA with full and independent ADSR envelopes for each.

Hence the proliferation of "Straight Edge" bands. It's now more "radical" not to use drugs.

IMO the pre-shape is there to make the amps sound impressive when you try them in the shop. They have minimal use in real-world situations.