BigRedX

This. If they can be placed somewhere discrete rather than front and centre that's much better. I suppose if your band has a repertoire of 50+ songs that will be chosen as the gig progresses and some are only played occasionally then it's probably necessary. However if you are doing a 10 song, 45 minute long set then get of your lazy ass and learn the songs, so you don't need any prompts. When I was gigging in the 80s and 90s we didn't even bother with set lists. We knew the songs inside out and we knew the order we were going to play them without crib notes.

You and your band should carry on playing as if nothing out of the ordinary has happened. Don't look accusingly at each other or do anything else that would signal that someone has made a mistake. The chances are that unless it was so bad that it bought the song to an unexpected grinding halt within 30 seconds of the start, no-one in the audience will have noticed. IME to sooner you stop worrying about what will happen if you you make a mistake the sooner you will stop making them.

There's your problem. You should have used the output jack.

There you go. Useful information for everyone. If you want to change your signature it is easier to do it on a proper computer.

While playing the fretless parts on a fretted bass would have worked even if if it wouldn't have sounded as good as I would have wanted, playing the fretted bass parts on a fretless bass was way beyond my ability, and the fretted bass was the one I was more likely to break a string on.

Just be aware that if you want to do anything reasonably complex with Canva you could run into trouble. These days a significant proportion of my paying work is fixing graphic design that has either not come out the way that was intended when committed to paper or is essentially unprintable. More and more I'm finding that these problematic graphics have been created in Canva. I'm finding that PDFs made by Canva are producing some very strange PostScript (the language used by professional printing systems) with multiple nested clipping paths and fill colours created by using a clipping paths around single colour bitmap objects. Both of these make the artwork unnecessarily complex and consequently difficult to edit in Illustrator which is what is normally required to name the artwork printable in the way the "designer" intended.

There's not a lot "modern" about Adele's music.

I have an off/on relationship with having a backup bass. In almost 45 years of gigging I've needed one 4 times (always for a broken string) and not had one once. All through the 90s and early 2000s I always had a backup bass and never once needed it. At one point I was playing both fretted and fretless bass and would have a spare for both. At the moment whether or not I take a backup bass depends on how important the gig is and how I am getting there. For very important gigs where there is plenty of room in the band transport (i.e. we're not a crammed into a single car) I'll take a backup. For everything else a spare battery if applicable and a spare set of new strings will have to suffice. Personally I think it's more important to have a spare for a short set where your band has 30 minutes to impress an audience who probably haven't seen you before and maintaining the flow of the set is essential as opposed to longer gigs where dropping one song because you need the time to change a broken string won't be the end of the world.

Sometimes it is beneficial for other forum users to preserve the original problem post and also provide the method by which you fixed it.

1. Burns Sonic Bass. The first bass I ever owned, bought in 1981, and the one I used in my first two bands including the recordings that got CBS records interested in signing the second band I was in. 2. Overwater Original 5-string Bass. The 4th bass I bought (in the early 90s) and the one that took over as my main bass from the Burns until... 3. Gus G3 5-string Bass. Bought in 2002 and has been my main bass ever since for all bands that need "conventional" bass guitar parts, apart form a brief stint when I was mostly playing fretless bass and another when I was using a Warwick Star bass for image reasons. I currently own two - one in black, with humbuckers and passive electronics and one in red with single coil pickups and active electronics. Unless I was being paid a lot of money to be in a band that demanded I use a particular bass for image reasons I couldn't see myself ever needing to buy another bass to do typical bass guitar parts. 4. Eastwood Hooky 6-string Bass. Bought in 2021 and the culmination of several years of searching for a suitable Bass VI to use in one of my bands where it is required in order to be able to play both "bass" and "guitar" parts. Playing and sound-wise it is perfect but, if I had the funds this would be replaced immediately with a Gus made with the same string spacing and scale length as the Eastwood.

£249?Just for a splitter/crossover. If the OP is prepared to spend that kind of money on a single device they might as well get a Helix Floor.

I think what is being suggested is to wrap the speaker in clingfilm and then box it.

Maybe the venues in Hull and London that will benefit do actually need the money and aren't part of a well-off parent organisation. All I'm saying is that they were doing the same in Nottingham it would be a mostly empty gesture.

Be aware that any significant re-shaping of the neck may well alter the sound of the bass.

So are these people doing their own rig captures are doing them in a properly acoustically treated space using a distance mic on the cab(s). Because lets face it that's the only way you are going to get the actual sound that you like.

So I had a look at the Music Venue Trust's website to see what counted as grass-roots venues in Nottingham... Rock City, The Rescue Rooms and The Bodega; all part of the massive DHP group. Rock City doesn't count as a grass-roots venue by any stretch of the imagination, and The Rescue Rooms doesn't really either. Metronome which basically the performance space of Nottingham Trent University. Rough Trade, again part of a much larger organisation and the venue itself is just an otherwise unused space at one end of the bar over the record shop, and Peggy's Skylight which only rarely puts on bands. I suppose if you think live music begins and ends with stadium and arena gigs then these might count, but there's a load of smaller venues than these who really are grass-roots and far more deserving of the publicity and financial support an organisation like this is supposed to bring. I'd be interested to know what people living in other cities think of what are supposed to be "grass-roots" venues...

It's being sold to people who've bought in to the IR capture hype. Personally I can't see the point. IMO no sound generation method is irreplaceable. The Helix (just as an example) has over 200 distortion pedal models or amps that have drive/distortion as one of their parameters. With that many options to choose from you should be able to find something that will be a close enough replacement or might be even better than any device you are trying to capture.

For me it's the other way around. A broken bass or other gear can be replaced. What I don't want is an injury that could cause me to miss important gigs or even stop me from playing.

No. Never. One of the reasons why The Terrortones only once played in Manchester, because every other venue we contacted wanted us to guarantee the sales of x number of tickets. We always told them that they're not London in the 80s anymore and even London venues now were paying us as well as supplying food and drink. If Manchester didn't want us that was their loss and we'd play Liverpool instead where again we'd be paid and treated properly.

One of the many, many reasons why I no longer play in covers bands. I've played to some extreme audiences - punk and psychobilly - in some very dodgy looking venues, but unlike pub gigs the audience respect the band and the stage area.

The "mass" of a high-mass bridge makes less difference than you would initially think. While most are about 2½ times as heavy as the typical BBOT bridge, once screwed onto a bass body they increase the overall weight of the bass by less than 6%. On a semi-hollow bass like that in the OP it might make a bit more difference, but it's still not a lot.

The bass player in one of the bands we often play with has a Kemper. He loves it, although I'm not massive fan of his bass sound, but that's entirely subjective.

That's fair enough. One of the bands I play with doesn't use any backline and we make the "empty stage" part of our performance. For the other we are normally sharing the stage with lots of other bands' backline so the fact that I don't have any isn't noticeable. Personally I could never go back to a conventional rig unless I was being paid a lot of money to do so.

Sell everything else. You won't need it once you have the Helix and FRFR cab. I bought an RCF745 FRFR which is relative large in the FRFR and TBH it's complete overkill for my usage, although I didn't know this at the time. However it was still smaller and lighter than 2x10 cab that was part of the bass rig it replaced. If I ever need to buy a replacement FRFR I will get something even smaller and lighter. Also the combined cost of the Helix and FRFR was just over £2k new. When I sold all my other amps, cabs and effects units (one huge bass rig, two cabs for my smaller bass rig and some guitar effects) I actually came away with an overall profit.

In that case Helix and a lightweight FRFR powered cab. If you are playing anywhere with a decent PA you won't even need the FRFR as you'll straight into the PA and use the foldback. If you do need a personal monitor you'll find that a typical wedge-shaped FRFR will fit in all sorts of places on stage where you wouldn't even begin to get a traditional bass rig. This has been my set up for the last 6 years now. Most of the time when I do use the FRFR for gigs it's pointed across the stage so that the rest of the band can hear me without needing to have bass in their wedges. I've only done two gigs where it wasn't possible to put the bass through the PA and the FRFR coped far better than my previous very big, heavy and expensive bass rig. Because of the far superior dispersal characteristics of the FRFR I find that I can a lot quieter on stage for the same FoH presence rather than so loud I can barely hear the rest of the band. Image hasn't been a problem. For support gigs I set up in front of the headliner's bass rig and no-one in the audience is any the wiser. If i really needed to have "backline", I'd probably have something fake and lightweight that could be folded flat for transit.