BigRedX

That will be down entirely to the quality of the PA system. In the days when U2 were still playing gigs small enough for at least some of the audience to be able to hear the actual sound of the bass rig, AC appears to have been mainly using Marshall gear.

Looks a bit like a solution to a problem most people have never noticed existed. Plus there will be no benefit if you use non-standard tunings.

Once you start playing stages of a certain size the backline for the bass guitar becomes completely irrelevant - especially so if you are using IEM. Your technical rider may specify a mic on a particular speaker in a particular cab, but there'll also be a DI feed direct from the bass guitar itself and probably another from the DI on one of the amps, and in reality you have no way of know exactly which source is the main contribution to the FoH sound.

I'd take all of that with a pinch of salt. I would say it's highly unlikely that whatever amps and cabs he's currently getting for free will have made any significant contribution to the sound of his bass guitar either on record or at gigs since about 1982.

All my tone shaping is done with my programmable multi-effects, so the controls on my basses are pretty much ignored. On the passive basses everything is set to full on and on, and the one active bass volume is at max and all the other controls are at their centre dent position. This is so if any of them get moved I can return them to a know position. The only controls I use are the pickup selector (if there is one) and the series parallel switch (again if there is one) which are set to the sound I like the best and left there.

I usually do that during the "tasteful acoustic interlude"

I'm always amused when the audience cheer just because the band have walked on stage. Why do that? They might be awful. Even a well-known band with a great back catalogue of songs may fail to deliver at a gig.

Looks like it. It should go on to trying to find a Sine Wave Inverter that actually puts out something even remotely resembling a sine wave. If it doesn't then there's another one!

I play and compose first and foremost for me too. But there would be zero point in playing live or recording and releasing my tunes if I didn't also care what my audience will think.

Well worth reading the (fairly recent) SOS thread on sine wave inverters and why most of the the cheap ones are crap for the average musician's needs and at best will add loads of noise to your signal and at worst can damage your amp. I'll post the link when I have more time.

Solos are for boring old fashioned bands. Every note I write and subsequently play has been carefully considered and orchestrated ahead of time to to be the best possible note (IMO) to go with what the other musicians are doing at any given moment in the song. The song is the most important thing.

Even on a Bass VI chords of more than two strings tend to be muddy and indistinct unless played high up on the neck. If you want to play "guitar-style" chords use a guitar it works and sounds a lot better. For 2 note chords so long as you know where the notes are on each string the intervals between strings doesn't matter.

As a band member and composer the audience reaction to our performance and our songs is very important to me. Whether anyone thinks I have a "killer bass tone" less so. I personally think that I have the right bass sounds for all my band's various songs, but playing the right notes is more important. My choice of instruments is down to band image and playability above all else. TBH if a non-musician notices the bass tone then there is probably something wrong with the mix.

Really depends what and how you play. Most ERBs are tuned with all the strings a 4th apart. It means that you can play the same patterns whatever string you start on and still be in tune. A Bass VI will normally be tuned the same as a guitar but an octave down. However there are no fixed "rules". I tune my Bass VIs EADGCE simply because it some of the songs we play require a drone "C" and overall it's a good compromise tuning that doesn't require me to retune between songs.

Since the late 80s I've always gone bass direct into the amp. All my effects have been in the FX loop of the amp...

Yes it is a problem. And add to that, the fact that the specifications change every six months or so, and what works under the old spec will almost certainly look rubbish on at least one platform under the new one. There are web sites that will give you all the relevant specs for the various platforms and the better ones will show you the area that you need to cover so that your image is not resized to fit, and the area that will be visible in all formats for that image size. The unfortunate truth is that the area that is common to all platforms is generally fairly tiny compared with the overall image size required to suit everything, and this in particular tends to render it fairly useless for displaying lets of text. I have a feeling that this is done deliberately so that the cover image cannot easily be used as "free" advertising in the way that the OP wants.

Unfortunately it only clicks twice if you use a TRS jack plug. Otherwise it's no more secure than a normal socket.

Everything gets good reviews in the magazines otherwise the manufactures stop buying advertising space.

The answer to Question 10 is because the forum software stupidly assumes that you want a smilie rather than an figure 8 followed by a bracket. Previous versions allowed you to turn off automatic smilies, or tweak the text by hand, but the last 2 or so have left out that functionality.

Although both bands I currently play in are in roughly the same genre (post-punk/goth) I use completely different basses for each. One band is a traditional vocals, two guitars, bass and drums with synths and effects on backing; I use my Gus G3-5 strings for that one. The other is much more minimalist with just vocals, synths, bass and drum machine and I use an Eastwood Hooky Bass 6 for that. I have the same amplification for both but because it is a Helix into an FRFR, the patches on the Helix are completely different for each band, and apart from mostly using the same compressor and chorus models they don't have any other modules in common.

Yes it is, but while "vintage" doesn't have a strict definition like "antique" does it tends to refer too anything more than 25 years old (but less than 100) so all those 80s things are indeed vintage now. As are most of the 90s!

Are you sure? I've no experience of 34" sets but all the Bass VI sets I have tried (30" E-E) have a wound high E string. If this was me, I'd be looking at getting Newtone to make me a 34" set based on their Axion Bass VI strings

Surely round-wound strings have now been around long enough (since the mid 60s) to also be considered "vintage". Same with "high-mass" bridges - the original Badass Bridge dates from the 70s.

But it's got nothing to do with the mass of the bridge and everything to do with the improved engineering that normally goes along with these designs.

You might possibly be able do something with EQ if you are also able to automate the bands so that they follow the pitch of notes you are trying to remove, but it's going to be much more long-winded and very probably not anywhere as effective as Spectralayers. If a piece of software does what you want then you need to weigh up the cost of paying for it against either not having access to the features anymore or using something that is cheaper but not as good. That's what free trials are for, so you can weigh up if it's worth the money. IMO if you need the features of Spectralayers and nothing else is good enough, then pay for it.