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Looks like a neat and tidy job to me, well done.

I would never use any wireless system for recording, no matter how fancy/expensive it is. It's not as if you need to be mobile when recording, is it? So why introduce the potential for noise/latency/dropouts? I use several pairs of Lekato WS-70 wireless bugs. They're UHF, so probably running on an illegal frequency band, but I honestly don't care - they're so short range in the grand scheme of things that they're never going to annoy emergency services or ham radio enthusiasts. They've been so handy - obviously being mobile during gigs is a lot of fun - audiences love it when I do a walkabout into the crowd/round the pub. Also have used them to link the desk to the PA speakers or wedges in venues where cable runs require shares in a gaffer tape factory to make safe. I have three sets, so I'm covered in case I forget to charge a pair, or to be able to do handy stuff like the PA shenanigans above. Had all three running simultaneously on the same stage with no issues.

I think many manufacturers are let down by their cabs.

That really is the weakest definition of AI - ie, its AI in the same way as a spreadsheet is AI. But that is the trouble now, marketing is putting everything done on a computer as AI, as by some definition it is. I would just call that a database. Or probably more normally Big Data.

In a bar you buy beer by the pint and spirits in cl.

In the US metric hardware, as in nuts and bolts, have pretty much replaced Imperial entirely. It started with cars, when the best selling cars in the US were all Japanese, and the US manufacturers were forced to follow suit. It became complete when almost every product made was of Chinese origin. But as for going full metric about the only product that has done so is alcohol.

I think I read that Adam Clayton used the Sub feature ON very lightly as part of his normal tone ? Regarding the cabs I agree that mostly they are heavy and woolly sounding which masks your tone slightly and they are not very efficient either. They are robust but not high end quality

Gigged this song years back and it’s a great song

Is there a master volume on the Terror, or a control for the FX loop? Been doing the same with various Line6 boxes over the years (currently a POD Go), and it's been fine with my Ashdown MAG combo, because there's a master volume. Haven't tried the FlyRig outside the house, but again, it's been fine.

when i bought my Denon TU-260L the guy in cash converters said it wasn't worth plugging it in to test as they never got signal in the shop, I plugged it in anyway and even without an aerial i got the bbc radio stations loud and clear, possibly the best £20 i spent. I upgraded to a TU-1800 a while back which adds DAB as well, just using a fairly inexpensive aerial from john Lewis It works brilliantly. quite a few of the DAB tuners i've come across have got pass through connections on the back so you can plug the FM tuner into the DAB, and then the DAB into the amp, when the dab is off then it just passes the FM straight through, doesn't need an extra amp channel. Matt

If i went back to an amp set up, I'd go for something like this, but also a matching extension cab. Dunno if this has a matching 2x8 cab, but i bet that set up would be better for the slightly larger gigs.

Once upon a time, when I was a grasshopper I would have been chuffed with that...... Not, pmsl

When I plug my sansamp deluxe into the effects return of my terror bass head the output level is very high (unusable) even with the level control of the Sansamp turned down. Tried it through my Genz Benz shuttle and it's fine. Both amps class D. Any ideas please?

Under the Boardwalk - The Drifters

An old FM tuner is a good thing to have, for the same reasons. Cheap to buy and, as long as you're in a decent signal area (proper aerials can be a bit pricey) and can get results with a piece of wet string, it can give you access to a load of interesting stuff.

Under The Bridge — RHCP

You've got a chorus section with some structure. A verse with looser structure and the rest is just jamming. IMO there's no need to "learn" more than the chorus section. Just get the feel right and you've cracked it.

Would love to hear your thoughts and maybe some sounds when you’ve settled in with it.

One last thing from me and I'll shut up. The above is more or less what I do, except my 'pedalboard' is just a Sansamp Programmable. In my case I have a single lightweight speaker, an LFS Monza, and my amp (TC Elf) is in the bass case with the SansAmp so bass on my back and one hand free to open doors. The Monza is beyond the £600 budget but the Goodwood is cheaper and only 9kg. The LFSys have a ruler flat response which is what you need from a 'does everything' set up. The only issue is that LFSys are such new designs that your chance of buying a used one are remote and you would have to stretch your budget.

Unusually I use it to switch between DB and BG but have used it as you describe for DB only gigs. Works really well, independent HP filter/notch filter plus EQ on each channel means you can make the most of the microphone whilst managing feedback and use the pick up channel to boost more volume without the same feedback sensitivity. Works great!