SubsonicSimpleton

Pics would certainly be interesting, looking at the design I would guess that the size is heavily influenced by the need for space for the cellist to sit on a chair, rather than a mathematical relationship between the surface of the cello soundboard and the surface of the podium soundboard, but I'm not not in the mood to do the maths right now so I could well be wrong about that.

That cello podium is basically a large wooden coned speaker, interesting and thanks for linking - you get a cruder but also very effective amplification boost with double bass on hollow stages as the endpin drives the stage as a giant soundboard (much like resting an electric headstock onto a table or door).

Just a thought, but have you considered that maybe the strings on your current bass might be causing some of the issues you are having with it. Badly fitted strings can cause all sorts of tuning stability issues - fitting strings properly does require a bit of knowhow beyond simply taking them out of the packet and slapping them on - it isn't safe to assume that emplyees in factories making instruments or music shops selling them are going to do this properly. Not all strings are created equal, and if you are really having big problems with mismatched tension accross the strings, it's worth looking at what strings are actually fitted to the bass - if the answer to this is 'the ones that it came fitted with' then swapping out to some decent quality strings will be a very worthwhile upgrade. There is so much on this forum about basses, pickups, amps and effects that it is easy to lose sight of how big a difference changing to a different brand/guage/type of string can make to both tone and playability.

It is made out of a plastic HGV mudguard from the looks of it, which aren't expensive, and looks like it would stand up like the bass buggie as there is a hole for the endpin. If you wanted a bass buggie in particular, there are a couple of european stockists, but I'm guessing you already knew that. I have a trolley that I lug my DB about on, and although it can stand up I don't really like leaving it unattended as it doesn't take that big a nudge or gust of wind to topple it.

There is this http://www.timtoftviolins.com/wheelbass

Ask yourself what you want - if the answer is Fender Jazz, then buy one - there are various options classic vibe, roadworn, highway one, us std and you really need to make the judgement with your ears and fingers as the most expensive option isn't necessarily the one that you'll gel with. A bass that inspires you to pick it up and play it is way more valuable than one that leaves you feeling 'meh', only you can answer the question of whether an instrument has that special quality.

Facebook is engineered so that you don't get much coverage unless you pay them to promote your posts.

Looks like they might be Thomastic Superflexibles according to the Quinn Violin databass (can't see the ball end quite clearly on your picture) there is a good pic on the following link. http://www.contrabass.co.uk/images/accessories/strings/super_flexible.jpg

Have you positively identified the strings that were fitted when you bought it? A picture clearly showing both ends of one of the strings (or all 4 if they are different colours) might help provide a positive ID on the strings and suggestions for alternatives.

Creative musician - 'I could find a use for any instrument in any genre' http://www.youtube.com/watch?v=cwI0gbGEyuI Music business person - 'Visual presentation is high priority, let's stick to what the audience is going to expect to see' If you flipped the situation around somewhat, if you were a spandex clad 80's poodle rock guitarist toting a day-glo BC Rich, would you get hired for a gig playing straight ahead jazz(regardless of your ability to play the music)? Acoustic double basses make a huge visual statement that comes with lots of associations - the entertainment industry is pretty conservative and formulaic and the higher the financial stakes, the less likely anyone is going to be willing to depart from accepted tried and tested formulas.

If you stuck some Marshall badges on an SVT and 8x10 do you think anyone would notice that it was a bass amp?

[quote name='hiram.k.hackenbacker' timestamp='1468845000' post='3093692'] Not a particularly accurate method, but close enough for rock'n'roll [/quote] What's inaccurate about the octave harmonics?

Do you have a written contract? If not, it's safer to get paid upfront - getting married costs a lot, and some people do opt to avoid paying for services they have already received, pro bands often take the full fee beforehand to avoid shenannigans later.

Does using the harmonics at the octave (fret 12) not work? Thats my go-to solution with tuners that have tracking issues.

Probably to discourage fraud - otherwise you could slap together a bitsa with a period correct fender logo and hardware and take some pictures to verify your ownership(but not be able to accurately verify the authenticity of the instrument), agree a value as if it was a pre-CBS genuine Fender and then let it get stolen - as long as it never resurfaced, it's authenticity could never be disproved.

The same person that is going to route the body for the pups maybe?

How many currently active virtuoso double bassists are there with Gary Karr level name recognition among the general populace? At community orchestra the other week one of the violinists asked me how long I'd been playing the cello

I would sugest that getting informed opinion from specialist vintage instrument dealers would be a good idea - they know the product and the potential customers. I've never had any dealings with Mr Baxter, but he would be top of my list of people to call if I were in the OPs shoes http://andybaxterbass.com/

As a starting point, you might want to weigh the cab as it is now and demount and weigh one of the existing drivers - just by way of illustration I did this with my ashdown 1x15 extension a while back to see whether I could make loading easier, and the driver was less than 20% of the total weight of the cab, so from a weight saving perspective changing from the existing ceramic magnet driver to a lightweight neo magnet driver would have been very expensive and shaved about 5-7% of the total cab weight. To really make substantial weight savings on the cab in question would have required re-engineering it with more expensive materials (original construction is chipboard/mdf baffle) which seemed a bad idea considering the quality of the driver. The PA subs in your cab might be substantially heavier than the ashdown drivers, so the maths might make sense in your case, and you can at least try adjusting the weight of the cab by removing one or both drivers and adding ballast to simulate reasonably accurately the weight of the new drivers to see if that weight saving is really going to make the difference you are hoping for.

Heel access doesn't have to be an issue, every instrument I've owned has moved about a bit when subject to big temperature fluctuations, but I've never had to resort to adjusting the truss rod on the gig - if you like a really low action and play lots of gigs with difficult temperature/humidity conditions then it might be a problem, if you like to experiment with different strings regularly then it will be a minor inconvenience that is worth living with if the instrument works well for you.

There are battery powered PA speakers available at reasonable money by manufacturer Qtx if you want to busk or play with others, if you want to practice then a zoom B1on can be had for less than £50, but you'll need to use headphones.

[quote name='Graham' timestamp='1467999333' post='3088004'] As promised, a cover of Tornado Of Souls by Megadeth to show the tone, the amp EQ was pretty much flat and I had the bridge pickup solo'd and in series. You will notice my children didn't understand the concept of keeping quiet whilst I was recording, so you can hear them arguing about playing Polly And The Wolf, dancing, my wife vainly trying to get them to be quiet, and in my favourite part, my eldest asking if I stink. Never work with children or animals. [media]http://youtu.be/dCne6Ivo7V4[/media] [/quote] When I watched this, I thought that Dave Mustaines singing was quite hard to tell apart from the squabbling kids and there were places where the squabbling kids were an improvement over the original vocal IMHO

If you do a google search for 'cello geared pegs' you will find several options for tuners that look like conventional pegs, but contain planetary gears and operate like mechanical tuning pegs. If you are having difficulty using regular tapered pegs, the problems could be being caused by the pegs not being properly fitted to the pegbox(factory fresh instruments often have two different size holes each side of the peg box rather than a properly fitted taper) and/or the strings not being wound correctly onto the pegs - a strings luthier should be able to run a tapered reamer through your peg holes and refit the strings properly. edit: you'll probably need to have the pegbox reamed anyway even if you plump for the expensive geared tuners.

Only way to improve at this is to do it - if your knowledge of the keys isn't equal because you play certain keys regularly and others seldom or never, or you always transpose by shifting patterns up/down the neck rather than thinking about the actual notes involved, then you'll have some blank spots which will catch you out. Simple remedy to start building the mental agility is to play one octave major scale up/down through the cycle of fourths/fifths naming the notes as you do it, but rather than sliding up/down the neck to your new key, play everything using open strings and the first four frets only, and move any notes up/down the octave to fit in this area.

Don't waste your money modding, sell the 210 as it is and replace it with a portable 4ohm cab that you like the sound of.