Downunderwonder

It is quite simple, just not a one click process. Select model channel. Adjust all the knobs so nothing is flashing. That shows the knobs are in their preset stored positions. Select destination channel. Twiddle each knob up and back to where it was. Save. Now you should have a solid light and saved same as the model channel. Click over to the model channel. It should be the identical and twiddles up and back should go back to solid red also. I think that's it.

I wouldn't. Too many fudgy numbers flying around which means more power is almost never the answer.... 1000w is a pipe dream cab rating, and OP is looking at the low end response where the rubber hits the road. Class D amps usually get a notable bit over half of the rated output when pushing 8 ohms. 700w could easily be pumping out 500w thumps. I reckon he's pretty darn good for power. To make an appreciable difference the cab would need an actual thousand watts up it, and that would break it.

It would be a pretty simple job to solder in some extension splices. If you stagger the join by snipping the cable an inch or so apart then one piece of heat shrink can tidily cover the joint with no shorting. Remember to put your heat shrink on the cable before soldering.

If we use some typical figures your 410 should be around 101dB sensitivity and a 115 might be 97dB on a really good day. Let's say they have similar rolloff in the lowest frequencies of interest. Your amp might output 500W into the 410 and be on the edge of farting if you push it for lows. Let's say you can find a 97dB 115 that can handle 350w similarly, ulikely though. You are trading 150W less @ 101dB for 350w @ 97dB which is roughly a wash. But now your 115 is maxed while your 410 is having an easier time of it. Tends to break the 15 because you don't hear it complaining over the racket of the 410 in your ear hole. That racket sounds a hell of lot louder to you on stage but when push comes to shove it won't have more low end in it. At less than max output it will sound like you have a lot more headroom than you actually have. This is even more of a problem when you are basing this on the loud knob position.

Ditch the Hartke and grab the BF BigTwin in the classifieds.

I used one of those that was supplied jazz festival backline, or so I assumed. When it was my turn I was shocked to find it was filling the whole room all by itself. You can certainly send PA the DI and it will almost certainly not get used.

Never had a problem doing small venues with guitars and vocals. They always put the speakers at the back to the sides so it's monitor and PA in one. My bass amp goes just inboard or just outboard at one side. Have a look at some of the gig photos in the weekend gig rundown thread. You will see it's pretty standard.

.15 of an inch is over 3.6mm which is a bit ott if you ask me and way thicker than an business card!

Unless the PA has a subwoofer you are left with using an amp. Bass through vocal PA is highly unthrilling and liable to blow up the speakers. Playing along with vocal PA with acoustic guitars in it is what I have done all my life. People must have told tell me to turn up 100 times for every time I have been told I am too loud. Mostly nobody says anything. Vocal PA with backline amps and a drum kit. The trick is to have everyone stay under the vocals. This requires a drummer who can convey energy without bashing the living daylights of everything. It requires guitarists who aren't egotistical nitwits with stadium sized amp stacks. No drums and just acoustic guitars = take your little amp and you should be fine.

Something to keep in mind is any drive effect by its very nature also compresses the sound.

The problem is the lack of base. You can't do anything about the height. You have to mod the one you have to be wider at the bottom or get a new one that is. How hefty is your cabinet? It wouldn't take a lot of shagging around to have sticks tied to the top of your stand and the other ends to you cab. Sticks to opposite sides of a decently heavy cab would be rock solid.

Iif the PA has notch filters you could soundcheck your way out of strife from drum induced conniptions. I have had qualified success killing feedback on myself with 3 band parametric notch capable filter in concert with old Trace SMX that cured the remaining trouble with preshape 2 engaged. Ymmv. It never sounded quite right with all the notches but it didn't feed back.

Beware metric and oldfangled sizings. There is often a metric that will be a near fit for an oldfangled hole and vice versa. Then they slip and the nut hole is fubared in short order.

The clue is in the name. Lay off the beersies.

It must be a relief to discover said RELIEF is required, after scooting over that in all the YouTube advice. Truss rods require the correct key or you will munch the nut. In your case I would be happy giving it a half turn for the first daily attempt. If you ever overshoot then I think it's fine to retension the rod in experimental small bites. You still have to slacken off the strings but I don't find it necessary to wait another day for it to settle as the rod has its way with the neck when the strings are slack.

Have cab, fx send to sim to DI, unless you have one of the Markbass ones which need a little rejigging. Anything else that does a parallel blend fx loop which would put you back to plan A. No have cab, same, or use amp DI with cab sim in fx loop. With plan A it could still work if your amp DI has a bit of poke. Some are even switchable to line level. It also depends on what sort of signal the cab sim unit is expecting. Instrument level you would be golden. Half arsed pedal line level, hit or miss. Full line level, dead in the water without heroic intervention.

I only got a C in woodwork because I was well behaved and the teacher could see I was trying. One lesson I did learn well though. You can rasp away material but you can't put it back. If you go too far on a curve it's impossible to get the shape you were aiming at.

Engage the channel you wish to copy. Adjust the knobs until they stop flashing. That is what is saved. Is it still the channel you want to copy? Yes- engage the copy location channel and double click to save. No- engage the copy channel and adjust to taste and double click to save. It's been ten years since I was in charge of a Deluxe so I cannot guarantee that's the process but give it a go. If it's a fail I guess you'll have to go to tech21nyc website and upload the manual.

Looks like the E string was slipped out of the saddle before the image was taken. Soft furnishing artiste knew no better. Fail.

The mic is very important as well. I'd hate to be in the same room where the sax was so loud it fed back via the sax while the sax player was blowing it! The sax player would be discombobulated all over the stage. Any mic can feed back from backline amplifier through the PA but only if it's fed from the PA. TBF the OP isn't properly specific about the application. You can read it as BFM did. It's exceedingly rare for bass players to double on sax on the same gig so I was more thinking he wanted a do it all rig to replace all the other stuff. It would be useful for the OP to chime back in.

There is a less fancy BDDI programmable 3 channel that is a bit cheaper than a Deluxe but would do what you want. Possibly you would want an EQ as well to chuck in a few more mids before cutting them up with BDDI in different ways

Of all the reasons to choose or not choose a cab, whether the amp fits on top is way below the colour. Fit some feet cups or taller feet on your amp if there's a problem.

One would be quite sufficient as it doesn't matter which cab is taken to the gig. Other option is an extra jack plate, doesn't have to be fancy.

a completely unknown skill for many.