jrixn1

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.

Joining basschat.

Yep really happy with my ZS10. I prefer them to SE215, which is the other ones I've tried.

You only live once. Get an upright 😀

Hope there's a positive outcome - but just to clarify, the missing amp is GSS's responsibility, not yours. They should send you a refund or a replacement.

I think generally you'll have to compromise - one piece of equipment can't be at two different volumes at the same time. Either it will be too loud on stage, or too quiet out front. That's why, if possible, it's better to have two independent systems (monitoring + FOH).

It's hard getting people to change, particularly if they've been doing things a certain way for years/decades. Push for the digital mixer, but remind them that in-ears don't have to be "everyone or no one". I use in-ears whenever I can - but not everyone in our band does; some still prefer floor monitors. Getting the new mixer and getting at least some people on in-ears is a step in the right direction. I sing the praises of in-ears whenever I can - it was others doing that which convinced me to give it a go in the first place. Become familiar with the mixer/app, so that when a bandmate asks a question, you know the answer and can show them what to do and how easy it is. This will give them confidence that it's all a good idea. Or perhaps at first you can control the singer's mix for them; then over time, introduce them to the app. Only once we've had a connection issue - everyone other than the bandleader was locked out of the app. In such a scenario, the mixer (Mackie) continues to use its current settings, so we were stuck for a bit with the monitor mix from the previous gig. The gig wasn't a disaster.

It's a bit odd when the chord is Bb7 to notate an A#.

I have a Cioks Adam under my (unmodified) Nano. I'd also be considering a Truetone CS6.

Don't let me put you off getting a wireless pack if that's what you want - but would a collar cable clip work?

Is the radiator in use? I wouldn't want to keep the instruments right above it.

I don't know - but some banjos are like that.