Jack

Yeah. The speakers don't know which cabinet they're in, it's just the wiring of the circuit that matters.

For all of his hair-brained ideas, a series/parallel wiring change isn't too bad. I mean, usually on a jazz it's a switch rather than a permanent change, but whatever.

Oh, obviously. 🤥

Indeed. Not really sure what you're getting at but if your point is "bridging isn't worth it" then again I wonder why a lot of micro heads do just that. I guess it's because that's how the amp modules come from the manufacturers, but then, why do they do it? I didn't ever feel the need to bridge the pa power amp I used. The cabs that need a lot of help getting loud can't usually handle the power, I'd have loved to have seen 1kW+ into something like a TE 1x8". For ten seconds. Conversely the cabs that can handle the power like a 4x12" or an 8x10" have enough sensitivity that they don't need a lot of power to get loud. So either way it seems useless. It's almost like professional, touring grade, rack mount pa amps weren't designed for weekend warrior bassists.

A lot of class D heads actually use two separate ampliers "bridged" together to get double the voltage swing on the output. A lot of big old school pa amps could do this if you wanted to put all your eggs in one basket rather than running stereo. This is a great way to get extra power out of a small amp and it's usually invisible to the user, up until you do something like use a speaker level di box or run a 1/4" cable through the socket when the amp is turned on and short the two amp modules together. I had a qsc plx 1602 for a long time. If I had an 8ohm cabinet I could either use one of the two amps to give the cabinet 300W, or I could bridge both halves together for 1100W. Some small class D bass heads just have two smaller amps permanently bridged with no user choice. I don't really know why to be honest, @agedhorse? I guess it's easier or cheaper than just having one big amp module somehow.

G&L SB2 Tribute. You'll thank me later.

Either system will work just fine with your Stingray. With the Nux you might need a cable, with the Shure you will need a cable.

I know you're joking but the actual answer is because bass amps went from 50W to 1200W. Not that 1/4" is a good idea at any power, but I digress.

Yeah but that's a custom cable as far as I know. Sorry I missed that you had already suggested that above when I suggested the same thing in my post.

Good solution. Mine was to use the tuner on my wireless. However, this won't help the op. I'm sure you could wire a cable with a socket on one end (to accept the hx psu) and then a split to the helix and the boss on the other. Polarity etc aside it's still just 9v dc. Maybe one of our cablers on here could help? Or kludge it with adapters? But then you'd need the hx psu, a step down from 2.5 to 2.1, a y cable, and then one side stepped back up to 2.5. At that point it's maybe a little messy?

The tuner is fine, just a waste of a switch.

Can someone please point me to an explanation of what exactly the preamp and six way switch do? Just curious!

The xlrs definitely mute the internal speakers? There's no mention of that in the manual.

Have you read the youtube comments? He seems like the kind of person who would do exactly that.

Indeed, the older RBii series.

Even those aren't quite perfect for me. The now-discontinued 9050cl had 45 60 80 105. A 'normal' set would either be 40 60 80 100 or 45 65 85 105. I liked having the slightly heavier E and G with the relatively lighter A and D, made for some great flats IME.

Completely agree but they cancelled the best set with the heavier outers and lighter middles. I'm a sucker for balanced tension.

The Olympia 45-100 ones are bloomin' fantastic. And only £18 last I looked.

Someone best tell DemonFX.

You're kidding, right? I know there's been a rush on prices for all basses* recently but Stingrays have over doubled in price in the past 3-4 years. * all things, to be fair

The only thing I pan in foh are our two guitars and even they are just barely. Just to get a little separation really as they're both quite similar tones. I try not to decimate their sounds with too much EQ, but there's a mid cut in different places on each guitar and a slight pan just so they're don't fight quite so much. To your second point, we use a Behringer xr18 with six aux outs. Three are mono for the two guitars and drummer iems, one is for a very seldom used stage wedge or front fill, and the last two are in a stereo pair for my iems. There's a stereo EQ inserted across the aux bus to allow me to EQ for my dodgy ear.

I'm running stereo IEMs but only really because I have some hearing damage in one ear (no, not from volume) and need some corrective eq in one ear only. Since I'm stereo anyway I have the toms, overheads (when used), backing vocals and the two guitars panned a little. It's kind of nice but I have not found it to be the game changer that some people make it out to be. The two caveats are that I have never used mono IEMs, and that my one-eared-hearing-damage might negate some of the stereo effects for me.

Indeed my post reads as prescriptive when it's my opinion, sorry about that. You said "those were all decent" and even though I haven't tried those exact units I totally believe you. I haven't heard a difference in sound between any wireless units except my Lekato ones which do sound noticeably compressed in the lows. Honestly they're all mostly good! To me the Shure units bring a few extra features and 'quality of life' stuff which may or may not matter to you (the royal you, not @Al Krow!) and may or may not be worth the extra. I don't think they sound any better than for instance my Line 6 G30 did and even if they do you wouldn't notice on a gig. I just like things to be all plugged in and pre set up. I'd lose bugs or stand on them or something.

Oh come on, what's going here? Again!