jrixn1

You could even get an IEC splitter. However, I still don't completely understand the original problem... With your current wireless system, you have to run power to the amp, and power to the pedalboard = a total of two cable runs. If you move to the pedalboard amp system (even if you find an amp which supplies power to the pedals), you have to run power to the pedalboard, and a speaker cable from the pedalboard to the cab = a total of two cable runs i.e. the same amount of cabling. What difference does it make if it's a power cable or a speaker cable?

I see. Could you get a couple of extension reels? I've not used an Ashdown Ant, but this power supply has a power output: https://www.thomann.de/gb/voodoo_lab_pedal_power_2_plus.htm

Set the amp's volume slightly louder than you'll ever need it to be, then attenuate from the pedalboard. If the final pedal in your chain doesn't have that ability, you can add something like an EHX Signal Pad - or a preamp pedal if you want all the EQ etc.

Thomann say they have some sunburst in stock. https://www.thomann.de/gb/marcus_miller_p5_alder_4_ts.htm

Here's an example of microtonality in a piece with otherwise conventional harmony. The phrase starts at 1:31 and he slips in a cheeky quarter tone at 1:34. https://youtu.be/K28H04Y2IdE?t=91

How do two sound compared to one? It's something I've thought about, although I probably wouldn't have the space for two 12s in my band. Is it just to increase the overall volume available, or does it sound better/fuller/different having two? Neat setup anyway!

Two? I can see three. Why do you need three?

Type 2x10 then select the x and change the font to Arial.

Yes, any of the three I mentioned will happily take the place of your Markbass in terms of volume, tone, and reliability.

What is your current Markbass rig? Assuming it's something like a CMD 121H (and not a pair of 8x10s etc!) - then the answer to your question is yes. My RCF 732A replaced a Big Baby 2. For QSC, look at the K12.2; for Yamaha, the DXR12 mkII.

2x10

Yes, I'm really happy with my RCF 732A at loud volume with a five-string bass. RCF's marketing says it goes down to 50Hz, but I add a high-pass filter at 60Hz anyway. And you can (or even should) cut the low frequencies even more if using your speaker as a monitor, as you'll be able to hear the bass from the subs just fine on stage even though you're behind them.

Happy to start a feedback thread for @nbpartnership. He was interested in a bass I was selling, we discussed a few things, and then went ahead with the sale. Prompt payment, great comms at every point, no problems or concerns whatsoever, and a nice, friendly person — highly recommended!

Our singers seem to prefer not to use in-ears, although they understand the overall benefits of a quieter stage. One has said to me his ideal setup is him with a floor monitor, everyone else on in-ears — you could try that? But at least have everyone download the mixer app, so they can do their own mixes (whether that's wedges or in-ears) and not have to rely on you doing it for them.

Good list. You have put Barefaced Super Midget under 1x10, but it's a 1x12. Their 1x10 model is the One10. Super Midget should replace Super Compact on your list, as the former is the lighter.

A Super Twin has a different backplate, with a "Super Twin" sticker on it. E.g. https://www.basschat.co.uk/topic/332586-barefaced-super-twin-gen-3/

I bought one of these with the original intention to use it very occasionally for just the trickiest of page turns (we have one very fast chart in Db, so I never have a free hand for iPad swiping) — anyway, I now use it literally ALL the time. Recommended!

I bought and used forScore for a bit, but I now prefer the free version of Piascore.

I realize that the Yamaha pickups are not Fender-sized — but is there definitely no way to fit the Dimarzio into a BB424?

Dunno what's going on with your manual, but those looks like they're for guitar version, GDI21.

I just opened a pack of Adagios and they look like this:

You're in the key of G, and this F chord is the bVII, functioning as the secondary subdominant, or the IV of the IV. One way to think of the F-C is as a IV-I in the temporary tonal centre of C.