Happy Jack

Now if that said RonnieBarker I'd have it like a shot ...

I've tried this with the Line 6 system, with the Smoothound unit, and with wireless bugs (X-vive, Joyo, Lekato). When they work they all sound exactly the same - as you'd expect. The Line 6 was the most 'stable' once in position, i.e. the least likely to give connectivity issues, but was far and away the most additional faff at a gig that I really didn't need, especially since almost all my DB gigs are doubling gigs. The Line 6 requires the most extra kit, the most pluggery, the most extra options to trip you up just before the start of set #1. I have a Line 6 unit in perfect nick in a protective case safely gathering dust in my studio. Haven't used it in several years. All the 'bug' systems (and that includes for these purposes the Smoothound) are far easier to use and have far less to go wrong. The Smoothound requires a plugged-in base station with very fragile antennae so I sold mine. The expensive X-vive and the cheap Joyo/Lekato (basically the same units but badged differently) are indistinguishable in use at a gig but share one common but intermittent problem ... they seem sensitive to the combination of vibration + angle of dangle which can produce a sort of juddering cutting out when you're pushing hard. The angle at which you have the main bug to the jack going into the socket - these are usually hinged units, remember - can encourage or damp down this vibration, but whatever angle you start at can change during the gig as gravity does its thing. For this reason I now use only https://www.amazon.co.uk/JOYO-Wireless-Transmitter-Receiver-Instruments/dp for DB, whilst continuing to use X-vive and Joyo bugs for electric bass. The fact that the bug holder is also a recharging unit can be an absolute life-saver if you're gigging intensively.

I'd pay serious money to be able to deliver a song like this ...

The OP specifies a Frontman and that's where the rot sets in. A singing guitarist or bassist or even (God help us) drummer can express their creativity through their instrument. A dedicated vocalist frontman HAS to think of himself as the epicentre of the band just in order to function effectively. Nobody wants a shy, retiring, ego-free frontman.

I'm pretty sure that they're trying to sneak through the legislation while we're all binge-watching Hidden Secret Mysteries of the Lost Nazi Gold on the Titanic. With Dinosaurs. And Vikings.

Does it really have to be The End Of Civilisation!!! every bloody week?

Slightly OT, I know, but I've never really understood the thing about avoiding side markers. I can see how playing without them can be achieved relatively easily if you always play the same intrument, but I don't. I routinely move between four upright basses but at least they're all more-or-less the same scale length; on electric I jump around from 30" to 32" to 34" to 35" whilst also moving from fretted to fretless. Side dots make life easier - why wouldn't I use them? On an associated note I once took a DB into a very respected luthier's workshop to have a new bridge fitted. He'd just taken a delivery of DB's for set-up & fettling from one of the big London symphony orchestras and they were laid out on the floor in a long row of side-on DBs. Almost all of them had faint (but clear) pencil marks on the neck where the dots would be ...

That was never 10 months ... felt more like five minutes. 😁

Deliberate - the description is correct, it's just the attention-grabbing headline that's obviously wrong.

I've never understood why people ask this question, requiring people to choose between cheap basses and expensive basses. I own both. Simples.

Yes, a cheap power amp once died in a shower of sparks at a country & western gig. Never had a mixer "fail" as such, but I have had to fall back on the emergency spare when the router on our XR18 just wouldn't re-connect. It was still working and the band could play, but without remote control from a tablet it was more trouble than it was worth. All that said, I've had enough issues with small mixers over the years (Alesis, Citronic, Yamaha, etc - all the usual suspects) that I would never gig with one unless I had a spare readily available. My most common issue is the outputs getting fried for some reason.

@Silvia Bluejay and I are in a good place for this, since we have a dedicated gigging vehicle - not a van but a large MPV (2007 reg) with the third row of seats tossed in a skip and the second/main passenger seats reversed to give the biggest possible load area. This means that the driver's seat and the passengers seats are back-to back but there's actually a permanent gap of just under 2' between them, tapering as you go higher. I have three old hard cases originally built for pro camera gear and which I sourced cheaply on eBay, and they fit in a row across this gap on the floor. They contain a full set of spares for almost every contingency (mixer, instrument leads, mic leads, speaker cables, power supplies, tool kit, etc.) and are pretty much never touched, let alone used, but the beauty is that they live permanently in the car and we never need to think about them. They also provide a perfect base on which to lay all the mic stands & speakers stands that we do use at gigs.

I've been in this situation accidentally when the singer/songwriter I was sideman to reset his tuner to 430 by mistake. I was on DB so I kept assuming the problem was my intonation. It was two rehearsals and a gig before I finally called him out on it and the truth emerged. This may have left me somewhat jaundiced but choosing a different "standard tuning" - a contradiction in terms if ever there was one - seems utterly pointless. The best you can hope for is that it won't lead to an embarrassing cockup, there is no actual upside.

Once upon a time, in a studio far far away from Angelsey, I found myself contemplating a similar problem @Owen. My solution was simple, direct, imaginative and showed impeccable taste. I asked @Andyjr1515 to build a new body to go with the neck he'd built for me.

No No NO!!! Stay behind after class, that boy, and see me. It's "Flonj-eh", just ask @Dad3353 or @leschirons, or maybe @Hellzero.

Rhymes with ganja. This may or may not be a coincidence.

I thought about writing something witty, but that shirt/kilt combo has left me speechless. Next up, MacDaddy in a onesie ...

For me, the answer to the actual question being asked is, it depends on the band. In a 4/5-piece covers band with either two guitars or guitar + keys I prefer to stay well away from that sonic territory. I use flats to supply the underpinning for the band. In a 3-piece rock'n'roll outfit I need to be period-correct so it's flats all the way. In a 3-piece covers band where there's a lot of sonic territory to be filled I find that flats just don't cut it, so I use a Rickenbacker 5-string with rounds. I've heard plenty of bands over the years solve that last conundrum (sonic territory to be filled) by just cranking the amps up to 11 and/or adding loads of FX but I have no interest in being in that sort of band.

And here's proof of exactly that ... if proof were ever actually needed. My gig on Saturday night, a section of the set where the DB isn't even being played but it's still front & centre, making a statement.

IIRC we were at that gig. Is that one of @Silvia Bluejay's videos?

It's never too late to grow up, Si. As a double bassist (and yes, I know you have an EUB) my main task at any moment is to be the coolest guy on stage. If I was 19 and in great shape then I suppose I could do all sorts of tricks. If I had learned to do all those tricks when I was 19 then maybe I could still do them today (I'm looking at you, @PaulKing). But seeing as neither of those apply, I just concentrate on pretending that I know what I'm doing while looking cool - though still wondering why I don't look as cool as @tayste_2000 when he plays.