Yes, I think that is the more accurate term based on responses. It is clear to me I didnt understand what a bass amp head is
Looking at your setup from this angle, I'd ditch the DI between preamp and synth - there's not much sense in that - because you will need a DI at the end of the chain to send to the mixer, and I'd guess that the synth is sending a line level signal anyway.
Furthermore, you do have to consider your EQ choices, because FOH will usually go about things more or less like this:
1. Setting the gain on your signal
2. Applying compression as a limiter
3. If you work in the bass register, there will often be a resonant frequency in the rough area of 100-150Hz, where you get a nasty vibration from the room. FOH will apply a notch filter on that.
4. EQ the signal to taste.
5. If the signal uses distortion (and it's not a mic'ed cab), some low pass filtering will be slapped on to get rid of the nasty uppermost harmonics generated through clipping.
6. Setting the signal level to sit well in the mix.
You usually don't know what kind of system FOH is running and how capable the humans operating it are - but at the end of the day you'll have to trust them. You can help them along the way.
1. You can provide a signal with the strength they expect.
2. You can run your own comp set to limit your signal, so they don't have to
3. The notch filtering is something you cannot really help with, since you're up on stage, listening to your own monitors.
4. Don't overdo the EQ from your end unless you really know what you're doing (by that I mean that you have experience running FOH and know what's good and bad from their point of view) EQ does give you the general flavor of the instrument, but it's also used to marry the instrument to the sound system to the room, and that's where you can heavily interfere by boosting what they don't want or cutting what they need.
5. You can also run your own LPF and HPF to filter out unwanted frequencies so they don't have to.
6. Yet again, it's in their hands to balance the mix, that's literally their job.
From setting up a system that you think will work to arriving at the system that does actually work, it can be something of a process. Communication is key. What I personally learned in three decades of gigging is that it really helps to treat FOH with the respect they deserve.
I usually went to them, introduced myself, and told them what I would wish for with my sound, listened to their input and told them that when anything is not to their satisfaction, to tell me and we'll fix it together (also, when the band is introduced, asking for an extra round of applause for FOH (remember their names when introducing yourself)), and then after the gig, asking their feedback and what they'd wish for should we cross paths again.
It took a few gigs, but I did arrive at the point where all they have to do is setting the gain and the notch filter, being happy with everything else unless the room is a disaster for FOH.
The components you're suggesting are all top notch studio grade gear. I cannot comment on how they fare in a live environment. Maybe you could get away with cheaper stuff that's build more rugged, but maybe you don't have to.
