Lots of folks run the GLXD+ as a tuner pedal in front of everything.
It’s the first thing on my pedal board, then out to the hx stomp and so on and so forth.
FYI for any who are curious. Feel free to ignore and skip to the next message.
Makes perfect sense if you use effects or some sort of modeling, or if you want additional tone controls available at your finger tips. The OP only seems to want a clean signal with an HPF and level control. Most basses have volume controls and most decent digital mixers have variable HPFs on each channel strip.
When everyone is using IEMs, I think it makes sense for each player to have tone controls for their instrument at their fingertips. The OP indicated this is not desired because he dials in his sound with his basses' controls. This is not how I do it, but YMMV applies.
IME, the vast majority of PA systems do not give IEM users tone control at the mixing console, although there are some exceptions to this. Usually a choice is made; channels strips can be configured as pre or post EQ. IMHO the channel EQ should be used to dial in the house mix, and usually the house mix has different needs than monitors or IEMs. So it's often better to use a pre EQ send, which means the sound in the IEM mixes is unprocessed. This is why I think it's a good idea for each IEM user to have tone controls at their fingertips.
Digital mixing consoles often allow the audio tech to choose from a variety of monitor send patch points. Depending on the mixing console, post HPF/pre EQ may be an option. However the HPF cutoff required for optimum sound at FOH may not suit the bass players taste.
IME, a DI is almost always provided, especially if the sound system is capable of quality IEM mixes. Not a bad idea for pro bassist to have a DI, just in case, but it's generally not required when dealing with pros.
With quality digital mixing consoles, it may be possible to dual assign inputs and basically split the console into house and monitor mixers. The key idea here is FOH and all monitor mixes get separate EQ for all channels. This is done by dual assigning inputs. I have mixed on several Yamaha LS9 that were set up this way. Basically Fader Level A (chan 1-32) was dedicated to FOH and Fader Level B (chan 33-64) was dedicated to IEM mixes. Each input is dual assigned: Channel 1 = Channel 33, Channel 2 - Channel 34, Channel 3 = Channel 35, etc. Running a board like this gives you extra capabilities but it's more labor intensive and can be somewhat confusing. IMHO the approach makes sense if the board is dedicated to one group and they always use the same mixing console.
Of course it's also possible to split each signal into two and use separate consoles for FOH and monitors.
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