jrixn1

This is a good suggestion. I play upright and bass guitar on the same gig, and I use a powered PA speaker. Its flat response means it is basically a blank slate and you can then do whatever you need to it. For the upright, it gives me a really clear and accurate sound; then I use a preamp and a bit of overdrive for the bass guitar. Better than any actual bass head I've owned. The trick in this case would be keeping in comparable budget of a Hartke KB12/Rumble 500 (so about £500).

I'd consider a Fender Rumble 500 over a KB12 or KB15.

I'd use the DI only to send to the FOH PA system. (It's at mic level btw) I'd use the pedal "amp" output to send to my powered speaker. The pedal output will be in between mic and line levels, so you can use either mic level input with the volume on your powered speaker turned higher, or line level input with the volume on your powered speaker turned lower. I do the first option.

V940FL?

I think the modular approach is a really good one. I use a preamp pedal into various outputs depending on the gig: a powered speaker (RCF 732A), borrowed backline, in-ear monitors, or provided wedges - which means I can get the same familiar "my sound/tone" each time. One thing to consider is that the Harke might impart its own tone. However I've used a borrowed HyDrive 115C combo in the past and I don't love it but I also don't recall it being particularly coloured. I've not used a Samson Servo 300 but another thing to bear in mind is that in bridged mode you'll be at its limits at 300W - i.e. nowhere left to go if it turns out it isn't loud enough, or in the future you want to add a second cab. Crown make some power amps which are popular with bassists: https://www.thomann.de/gb/crown_xls_1002.htm or https://www.thomann.de/gb/crown_xls_1502.htm Also, they have a lower sensitivity setting of 0.775V - see previous poster's comments. Another option perhaps worth mentioning is a powered speaker like a QSC or RCF, which has the advantage of matching the power amp to the speaker, and other DSP options; plus the wedge option, and convenience of a self-contained unit. I find them powerful and with a lot of clarity - I can't see myself ever returning to a traditional bass rig. However, I guess part of the appeal of your potential setup is the deal you are getting on the Hartke.

What is the problem with plugging the Battalion into the EBS? Set the EBS eq as flat/neutral as it goes. Will the Hartke + power amp setup sound any better, louder, or be more convenient, be more scaleable, or save you any money?

This is a 1x8. I really wouldn't think it could keep up with a drummer - I'd love to be proved wrong though (because then I would buy one myself).

FYI there used to be this - http://www.doubletrolley.com/ I never had one, but the impression from reading about it was perhaps that it was neither a great trolley nor a great stool? Hope your project is a success!

There is a house MarkBass CMD 121H - and about three drum kits, a PA, a grand piano. So just walk in with your instrument (through the restaurant - the club is down the stairs at the back). Also, parking really isn't great in Soho so try to avoid doing driving there.

I can see it... Either: rcf.it > Products > By Family > Sub Series > Or: rcf.it > Products > By Feature > Subwoofers > https://www.rcf.it/en_US/products/product-detail/sub-702-as-ii/233962

Do you mean an upgrade the audience will notice - i.e. for it to sound better? In which case, subjective, but changing the pickups and/or electronics is a common option. Or an upgrade that perhaps only you will notice - build quality, finish, better tuners, lighter weight, etc?

I saw this one: https://www.thomann.de/gb/rcf_sub_702_as_ii.htm £716, 17.5kg Never used one - no idea if it's any good!

Ah, ok. That's a question more about this GK's two-channel gain feature than the effects loop - and I don't know the answer I'd think though if you're using channel A (and so therefore the level B knob is not in use) you should be able to get a usable output level from the combination Helix and GK.

I would think most send/return loop are at line level. If the return socket is also the power amp input, I don't think it could be anything else?

You're saying QSC but I think you mean Alto? What are RCF's mid-price sub offerings? Presumably they make one which works well with the 310A - both sound-wise and connectivity-wise? And the logos would match...

I think @nilebodgers is on the right track. If the GK send/return loop is at line level, your Helix (or anything you plug into the return socket) should also be at line level. Using instrument level into the return socket won't give good result (e.g. plugging your bass directly in to return socket).

Hmm yes, I see. The LF1400 only has a single input/through, and the 310s don't have any HPF options, so none of the above will work.

BTW there are other ways to connect subs but I think it's variations on a theme - if the tops have a built-in HPF and a full-range "through" output (eg QSC), you can connect the mixer to the tops, and then "through" to the subs. Another way (I think what we do in our band) is not daisy chain anything - we take four XLR cables from the desk and go directly to the relevant top or sub. It gives easier independent control of the volume of the subs and tops (sound person mixes from out front with an iPad).

You don't need any other gear - the filters/crossovers are built into the sub. Take your two full-range outputs from the desk (L and R) and plug them into the sub (it will have two inputs); the sub will sum them and output just the low frequencies through its speaker. The sub also has two "through" outputs (L and R) which are high-passed; connect those to the two tops. I see the Alto has DSP switch to choose exactly how to high-pass the signal.

I've remembered that we don't always use subs. We own one set of subs but on busy dates we send out two or more bands. To the casual observer we look like a 10-piece band - but really we are a pool of about 25 regulars (e.g. I am one of three bass players). Anyway, in that case, the "main gig" or largest/most important one seem to get the subs. The smaller (say, six-piece) get some tops but no subs. It works ok but the band with the subs will sound better. For one thing, without subs, the bass amp on-stage will also have to provide FOH, so it's harder to get the balance between on-stage volume/eq and FOH volume/eq. I think I said it recently in another thread, but it will always be much better having two distinct systems for monitoring and FOH - anything else will be a compromise one way or another.

I quite like my MicroBass 3. It doesn't sound metal at all - or at least the way I have mine set up. There are two switches ('gain' and 'type') giving a total of six overdrive variants (and that's before you've even touched the 'drive' and 'tone' knobs) - how were yours set?

We're doing mainly weddings/functions in those sort of venues, and our FOH is two QSC K8s (each is 1x8) and two QSC KSubs (each is 2x12). I rarely hear the band from out front, but the few times I have it sounds pretty good. It can also go very loud (if needed). All instruments go through the PA. I'm not sure we need two subs, but they are good stands for the tops (smaller footprint than a speaker stand - and sturdier if people fall into them...). I think each KSub is 73lb - but they have built-in wheels. I'd rather push 73lb than carry 55lb. Also, they make good carts for the rest of the gear, the tops, etc. Btw our van has a loading ramp.

Some suggestions in here :

I would say the classic vintage flats are La Bella Deep Talkin' Bass.

We have a Mackie DL32R and iPhones/iPads. The only thing about the Mackie is that it doesn't support Android. I suppose the one thing I have different to the rest of the band is that my pre-amp (Microbass 3) has an aux input and headphone amp which allows direct mixing of my bass into the received monitor signal. I set up my monitor mix from the desk to have no bass in it, and then mix the bass in directly on the Microbass 3. The volume control on the Microbass only affects the volume of bass in the in-ears (doesn't affect FOH). Of course, I try to get everything right during sound check - but it makes the occasional mid-gig tweak a lot easier. Using the app is fine, but I find having a physical knob really convenient.