chris_b

Trombone or trombone player?

I believe the best 212 cab would be a Barefaced Super Twin or Super Twin T.

There are no stupid questions. . . . but the answer is, it depends. Depends on the amount of air the driver can move, the number of drivers, the size of the cab and probably a dozen other parameters which will affect the sound and volume. I have 2 x 112 cabs that sound louder than my previous 3 x 112 cabs. A previous 212 sounded louder than my 410. The Eden is probably designed to put out less bass and more mids.

Passive cabs for me. If anything breaks or I want to upgrade, I'd prefer everything in separate boxes.

I don't understand the "overkill" thinking when deciding whether to use 1 or 2 Barefaced 112 cabs. We're not talking a 2 x 412 stack or 810 fridge. For 99% of my gigs I'll use both SC and SM cabs. I see no downsides in using both. IMO 2 sound better than 1, 2 can be heard better on stage and if you got 'em use 'em!

These are custom drivers, made to Alex's specifications, so my guess is that recone kits won't be available. Always worth an email to confirm.

If your back is knackered I'd switch to 2 BF 112 cabs. My back is shot so I usually gig a Super Compact with a Super Midget. On very loud gigs I use a BB2 and SM. I believe there are a few BF cabs in the classifieds. I also use a folding trolley when I can't park close to the gig. How bout getting a trolley for the ST? It might move around easier than on its own little wheels.

Do they? If that was the case we would probably have heard about many more failures than we have.

I've been using ACS plugs for 20 years, and use ER17's and PRO26's.

They see more data than we do, so maybe they were able to determine the likely cause of the problem. Depending on the number of driver failures they see and the various circumstances, maybe their guess was the driver wasn't at fault.

Wrong thread!!!!

I bought a used Wal mk2 which sounded thin and gutless. I chopped it in for a mk3, at a local store, which sounded fat, full and punchy. Both Wals but chalk and cheese.

My rigs are always over spec'd. I used to run 2 Two10's with an 700 watt amp. As loud as you could want and bomb proof when playing a 5 string bass.

The first "pro" bass I bought, and the only one I could afford at the time, was a very used Gibson EB0. It was awful. The tone sounded like a goose farting in a fog. I used it on 1 gig and that was 1 too many. The next day I borrowed a Danelectro Long Horn and as soon as I scraped the cash together the EB0 was replaced by a fabulous Fender Precision, which I still have.

Really? I prefer Max Bennett's lines. They serve the song better. It's always the Jaco show, which is fine, but if I'm listening to Joni Mitchelll (who I like a lot) I want to hear the songs, rather than clever bass lines.

Fantastic basses. I briefly owned the 4 string version. Wish I'd found a 5 string. I'd still be playing it.

Several drummers I know take an extra bass drum pedal, second snare, extra cymbals and of course a variety of sticks. That doesn't always save them. Last year one turned up without a snare stand, one forgot his carpet and many years ago one turned up with the wrong traps case and none of the stands fitted the drums!

The OP was asking if he should use pedals or play more to fill out the sound when an instrument is missing. The point is you can add something, but you don't have to. For all the reasons given, just because there was 2 guitars on the record doesn't mean there has to be 2 guitars on the gig. I've spent years playing Soul records in bands that didn't have a brass section. The Ronettes, Crystals etc didn't gig with a Phil Spector Wall Of Sound. The dynamics of live sound means that an empty sound is better than a band trying to fill up every gap. Take Hotel California, the drum and bass line is so powerful you don't need most of the guitar lines on the record. They are there because there are 3 guitarists in the band and a 4th on the gigs but while only having 1 guitar might affect the arrangement, it wouldn't affect the song. I saw several Robben Ford gigs when he had the trio, and own live albums, and never saw Roscoe Beck tapping. I don't know when that happened.

Guys, stop racking your brains for ways to thicken up your sound in a solo. If the bass sounds thin in a solo then it'll sound thin for the rest of the song, and that's bad. Get a tone that works for the whole song, from the intro to the coda. If you think you have to fill in all the "holes" you're thinking is wrong. When a solo starts you stay locked with the drummer. Whatever the lead instruments are doing is irrelevant to you, and if they are having sound problems it's not your job to fill in. You can't anyway, you're on the wrong instrument. A good solo is about dynamics so many guitarists will drop out for a bar or two at the start. The solo will then build. If the bass or drums start filling in the gaps there are no dynamics and the whole section is a mess. If your bass line is good for the verse then it's good for the solo.

I've never broken a string but I'm carrying my last 3 sets in my accessories bag. And many years ago I had a drummer knock over my P bass. Fortunately there was no damage, but after that I put my basses back in the gig bags whenever they were not being played. I bought 2 Mono Vertigo's to make that easier.

Funk isn't a technique. It's about the groove and about syncopation. In all styles of music there are good and bad examples, but start by getting your definitions right.

. . . and timing. The best players have perfect timing, 100% of the time.

My wife has 12 dolls houses of varying sizes dotted around the house. I have no problem with them and she doesn’t mention my 5 basses, 4 amps and 5 cabs and assorted bags and boxes.

That's not a Fender logo. My guess is it's a replacement neck.