jrixn1

I wouldn't say it's oversimplifying; in fact, it's taking things to the logical modular conclusion -- i.e. the separation of the tone shaping and amplification stages. An approach which works if you don't want the in-built tone shaping that a cab provides, or otherwise happy to recreate/simulate that via a pedal etc.

Yes, on my upright I have steel E & A and nylon D & G, which seems to work for me (but I haven't, and don't intend to, spend decades and £1000s trying out all the combinations...) I applied the same idea on my 5-string bass guitar, so my B & E are whatever roundwounds comes stock with a Yamaha -- I think it's D'Addario Nickels, 130 and 100. Then the A, D, & G are Fender 9050ML flatwounds, so 85, 65, 50. Basically I like flats, but found I lost a bit of definition on the lowest notes.

Btw the One10 are great cabs which can handle many watts and go loud - if powered right. The BH250 and Nano Mark are, what, 150W into 8ohm. The PF500 would be 300W. When I had a One10, I used a Shuttle 9.2 which is 500W. It might be something to consider, depending on your volume requirements.

If the idea to create the physically smallest possible rig, one small power amp is http://www.guitarsoundsystems.com/gss-baby-sumo-ampxlite-bass-guitar-power-amp-c2x21844846 -- but that costs the £200-£300 you don't want to spend.

How was the crossover set?

Does the direct signal sound horrid because it is "unprocessed" -- was the Ashdown DI set to "pre-eq"? If so, then the bass might sound horrid to the audience as well! What about a pre-amp pedal like a Tech 21 SansAmp? As for controlling your volume, you get that set during soundcheck; or during the gig by catching the sound engineer's attention. The above would present (IMHO) the most "correct" solution i.e. avoiding having two separate monitoring systems running side-by-side. However, I appreciate perhaps it wouldn't work in your real world scenario for one reason or another.

One thing you would lose is the DSP of an active speaker. My understanding is that it flattens the response and protects against over-excursion.

I've not used one (and I think it was linked earlier in this thread), but the QSC CP12 is 30.3 lbs (13.7 kg).

I found a previous thread where I said: "I had one for a while. They are not expensive. I really liked the acoustic sound - but you couldn't use that live. The sound through the pick-up was... ok, not bad by any means, but it didn't blow me away." https://www.basschat.co.uk/topic/293304-aria-feb-flf-fretless-acoustic-nbd/ https://www.basschat.co.uk/topic/318275-aria-feb-any-thoughts/

An unsolicited photo of my BB 😍

I can't answer, but could I ask you is there something about the 435 you feel is lacking? I've owned a 425X in the past, and a 735A currently. Am interested in past and current (and future) BBs for reference in case I get another one!

Depending on your exact scenario, perhaps a Zoom multi-effects unit like B1on, MS-60B, or B3n. They have a few options for HPF (e.g. `AcBs Pre`), and one of the cab simulations could play the part of a LPF.

If you are planning to have the work done by a luthier, one thing might be worth checking is that they will undertake the work with a customer-supplied bridge. Some do not.

I've owned a Streamliner 600 in the past, and also a Shuttle 9.2 which has a similar tube preamp section, and yes when I turned the gain up I also then correspondingly turned the volume down, as that's what seemed to me to work best -- but perhaps there are other, better ways to combine all the controls. In my mind it's like having an effects pedal where you use the output volume control to avoid overloading the next pedal in the chain.

I was hoping someone more knowledgeable than me would answer. Here is my understanding... On the M: the gain will not affect the tone. Its only purpose is to set the correct level going into the eq section. E.g. if you have weak pickups you would raise the gain; if you have powerful pickups you would lower the gain. However on the T: adjusting the gain will also affect the tone. E.g. you may want to "crank" the gain for its tubey tonal benefits. In that case, the extra volume control lets you attenuate back to unity, so you don't overload the eq section.

Another thing to be aware of is that the daily period runs midnight-midnight. So for a late-finishing gig, you might have to pay twice!

I've never used one, but Phil Jones Piranha 8x5 exists. https://www.thomann.de/gb/phil_jones_piranha_compact_8_cabinet.htm

I sometimes use one of these: https://www.thomann.de/gb/planet_waves_gr_01_guitar_rest.htm

100% agree with this. Modal compositions do exist -- but `Treasure` is not one of them. A lot of the discussion around modes can be bypassed by just pointing out "play the notes from the key you are in". Also 100% agree with this. The Ab, Fm, and Gm create tension, which is then resolved on return to Cm.

I'll throw this into the mix, although it's a slightly different approach. Barefaced Big Baby 2 (£749) and Fearless F112 (£750) are both very flat, high quality 1x12" with compression driver, which accurately reproduce whatever signal you feed it. So if you're considering those, I'd also look at an active PA speaker like an RCF 732-A or QSC K12.2. They're about the same price, but include a built-in matched 700-900W power amp. I've previously owned a BB2 (driven by a Genz 900W amp), and currently run an RCF 732-A, and they are comparable systems. Additionally, since you mentioned kickback option, a PA speaker can be used in the upright or monitor position.