Jack

If it helps at all the HX Stomp's outputs are balanced, no DI box needed.

I mean, how big are your stages?

Split the path in the helix after your effects. Run one side straight into the amp and put an amp/cab model on the other, that one is for foh.

Agree completely. And again, I'm a convert, my rig is in my signature. It's maybe my fifth or sixth 'frfr' rig, with the first few existing well before that was even the term. However the original point I was responding to was that an frfr cab would blow away a normal bass rig. My point still stands that that isn't the case. Also I'd like to point out that frfr doesn't mean modelling. Plenty of people use those cabs without. I'm giving serious concern to buying a Noble di to use with mine. Wireless (and tuner) > noble > qsc, no modelling at all.

I think that's where I was getting confused too. In general, an frfr cab is about replacing your stage rig with a pa cabinet. Now, it's bigger than that but whatever. This is still a source of bass on stage. What you're talking about is just using the already existing foh pa for bass. That's not 'going frfr'.

I don't really see how the two concepts are all that linked. One is a type of cab and the other a type of headphone. I'm pretty confident that one qsc k12.2 would cover most rooms, I'm certain that two would cover nearly all. I'd put them up against most other high end 1x12" cabs. That is, after all, what they are.

Whilst I don't know your band, I do know that the 712 didn't cut it for me.

I've had a g30, g55, smoothound and now the shure, they're all good. Just pick the form factor you want.

The fact that some people can't use effects properly doesn't mean they're bad. Plenty of people are bad drivers, I still have a car. Whilst I really do agree with the general point that nobody cares if I was to swap my Klon for a TS9, I very much disagree with the general nihilism that because nobody notices gear and therefore it must follow that nobody cares about the music. If I thought I brought so little to the band I'd stop playing.

I think you're absolutely right, and I also think it's true that we're all 'most people' outside of our own one or two areas of interest. My brother in law is always taking us all to interesting micro breweries and buying me really obscure craft ales that are made with Nigerian spring water, flavoured with jojoba extract and hand made by Tibetan monks. It all just tastes like beer to me. That being said though I have no interest in just playing to the lowest common denominator in the crowd. Tap dancing on pedals makes me happy, and as long as I'm not hurting anyone (like noodling guitarists! Grrrrrr) then I shall continue to do so. If sometime notices the ever so subtle phaser for that one intro then great, if they just see a happy bassist playing well and enjoying himself then I'll take that.

The thing is though is that the 745 is almost £1100, plus there's the price of a preamp, which is like £150-£a million. £1200-£1500 will buy you one hell of a traditional rig, a Barefaced Super Compact and a nice Markbass or Ashdown head for instance. That would certainly compete in terms of everything that matters, build quality, sounds, volume, size, weight, etc. Hey, I'm a convert. I gig with a bass and a Pedaltrain Nano, very occasionally a QSC K12.2 or two. But there's more than one way to skin this cat.

Now, now, let's not get carried away. Plenty of amazing, really small solutions in all sorts of form factors these days. I haven't had a gig that's made me miss my Barefaced rigs yet, but I have a feeling that day will come at some of the big outdoor events next summer.

It's anecdotal but I had one of those Quicklok stands above and mid gig my Rumble 800 came crashing into the floor, landing on the XLR cable and bending all of the back plate. Not for me. If I had to use a stand again I'd go with the stool/crate option or something more like rushbo's suggestion. In the meantime, wedges ftw.

Good to hear thanks. I just couldn't shake the feeling that, as they would be in the middle facing outwards, they'd sort of be fighting each other if they both went 'out' and then 'in' at the same time and that going 'left and right' in sync together would be better. Obviously not!

Hi guys, quick question. Maybe this belongs in another forum, sorry if so! I'm sort of the default audio technician at school, and that's fine. We've got a really nice d&b/Yamaha system in the main theatre and lots of portable Yamaha gear so it's fun to play about with the gear and make some noise if nothing else. We've got two events coming up soon where I need to place a small stage and PA in the middle of quite a large rectangular room and I'm not sure how to go about it. I've attached a map of the atrium, it's quite a big space and both ends are four stories high, with a single story high in the thinner middle bit. The stage is red, and I need to cover the green area, not too bothered about going around the sides. I was thinking about a speaker on each side of the stage pointing outwards, on the floor like a stage monitor (for sight lines). My main question is: if I do this do I want to invert the polarity of one of the speakers? It kind of feels like I should if they were on stands, maybe not so much if they're on the floor pointing kind of upwards? Secondary question is, if anyone has a better way of doing this then please let me know! Unfortunately the stage and the coverage area are immovable, that's just what we're stuck with. Material is a mix of spotify music and then live singing over either backing tracks or acoustic guitar, so not demanding at all and quite low volume. Mixer will be a Yamaha LS9 or TF1 and the speakers will be Yamaha DXR10. This is school stuff, not a major production on broadway. I'll settle for the best we can do given the requirements.

Nice bass! Nice johnnyx prints too!

One of my bands runs Alto Truesonic speakers. We paid £500 second hand for the pair of tops (TS115A) and honestly they're great.

It's a balanced trs like the hx stomp according to the specs. You need trs to xlr, I use designacable but there are plenty of options.

Tuffcab is better anyway

You mean you don't? Odd.

That's the one. It's great but to be honest I wouldn't buy the same one now (hence me being nonspecific) as it's 2.4ghz only. I haven't upgraded because I've never had a single dropout to be fair but 2.4 is filling up fast and I'd want 5ghz these days. The most devices I've ever used at the same time has been 4: a wired laptop, 2 tablets and a phone. It was rock solid. I'm a pretty big computer nerd anyway as it's my other hobby, so I knew Mikrotik had an amazing reputation. The other side to the coin is that mixing really isn't very taxing. The free router you got with your broadband can easily handle Netflix, video gaming and zoom calls all at once in a house with walls, what's a few commands (not even any actual audio) on a 5m^2 stage compared to that? It's actually baffling how they managed to get such a crappy router in the Behringer.

The Behringer plus an external router will do everything you need and be under budget. The internal WiFi i is definitely patchy as a router but works ok as a client. Mine is wired to a router on gigs, and I switch to WiFi client when I'm at home. Mine lives in a 4u rack with a music player and a Mikrotik router, all 3 pieces of gear are amazing ime.

Well you can have a normal EQ block on just one side if that helps. Actually I was going to say that you can't have both line and instrument outputs...

Downer! Now there's less time pressure can you troubleshoot?