Downunderwonder

How I would do it, others may have a better plan so give it a day or so for it to work through: Per previous you want the octave fret nut distance to be in the ball park of your G saddle at well extended position. Check out the current side to side positioning. Hopefully they got that bit right! That gives you a handy guide for getting it shifted straight back. Assuming it's good, lay down some tape straight back each side of the bridge. Then unscrew it and mark your new position for distance on the tape each side. Also lay down another strip of tape under the holes at that position. Now you can poke a pencil through the holes at the new position to give you a nice row of dots on the tape to drill. Maybe tap a small nail into a dot to see how the drilling goes with a dimple to sit in. Drilling advice already given previous.

It's working but the double posts are back!

A pair of 210 stacked tall O O O O thusly. Don't stand right in front of it.

Nearly all 410 cabs beam badly. This means the upper mids and highs are much less audible outside of the space in line with the front of the cab. Barefaced make theirs with a filter so only one side produces the mid/highs getting around the side by side interference.

Starting in primary school we had a monthly performance in a hall. This was a feature all through highschool. Every once in awhile we were treated to a demo from a working musician or group. I guess this experience normalised performance for me. I guess that was the whole plan. I did get a bit sick of hearing Fur Elise on the piano being performed for the umpteenth time as prep for the exam. Late in highschool I had too much on my plate with sport and theatre and exams and music and reluctantly performed a violoin solo for some showcase thing. I was under prepared and nervous and blew it. Swore off performing solo. Still not a fan of it on bass.

You are hinting that you are putting together an entire PA plus bass monitor package for this band. Or not? Wanting a cheap bass cab doesn't gell with building a PA so please explain. There's bigger questions of what you are really trying to achieve here. Beggars can't be choosers. If you were up for dropping £500 into a bass cab that would make recommendations easier. There's two ways to run bands in small venues. Both require cooperation from guitarists and drummers. Either the guitar amps play to the venue under the PA vocals, or they are very much quieter and mic'd. It is relatively harder to do bass on stage and in PA without the stage bass making mud out of the PA bass. It's hard to monitor with a cab unless the stage is all in shush mode. I have only played with one drummer I know for sure could play in a pub and need the PA for projection. There's two kinds of guitarist. Those happy to monitor their mic'd 112 combo pointed at their head by using a stand, and 412 stack tools pulverizing the backs of their legs.

You must have had a spare 5 min to see if the top pops off the speaker pole by now?

Hard to please some people. It's made of steel, so won't it won't fold up under your gear. It looks about as spindly as it could be for what it can do.

There's nothing to go so wrong as to wreck it if you go carefully. Practice on some scrap. It can be handy to punch in the hole location so there's no skating around. Make sure you are drilling vertically. Most people's eyes aren't that great at that from one look. Wrap tape around the drill for the depth if yours doesn't have a depth guide. Say 90% of the screw length. You don't want to come out the other side! I would go with a slightly smaller drill than the screw shaft, one that you can fit the butt end down the old holes without any difficulty. Probably a good idea to take it to the fix it forum as I am no luthier, just an owner of a few tools that I use to fix stuff here and there.

Heavy applications of cash usually does the trick.

Those saddles should wind up a heap lower and you may find the pickups are working fine without any need of tweaking. Any number of folk here can guide you through the setup step by step once the bridge is moved back. By the end of that you will be saving untold thousands by not paying someone else to do your setups for the rest of your life.

A luthier will always want to fill extraneous holes. You could fill them with boogers and it wouldn't make a blind bit of difference under the new bridge position out of sight. Do you not have any hand tools to go with that measuring tape? Shifting the bridge would make the most difference as to making it recordable v pretty wall ornament. All you need is a hand drill.

When the question is asked it is always a two channel amp with significant power available from both channels. In most cases there's a cab rated to just over the single channel output. A bad plan brews, they know it's a bad plan, but they ask the question anyway.

Power is voltage x current. If you supply more voltage while the load is the same you get current going up by the same factor. That means power increases by the square of the voltage. Handily summed up as Power = volts²/resistance when using Watts Volts and Ohms. That's DC maths for resisistors but if you work with the RMS of an A/C voltage it also applies to speaker impedances.

Never had any complaints with rigs. One time I was told the extensive monitor system meant I didn't need to drag my rig on stage. 'Sweet' thinks me. Bzzz wrong, too late, worst sound on stage ever. One good monitor would have been better than the forest of junk.

Too much available voltage is the problem. With inexperienced users it's like giving a toddler the leash on a rottweiler. Sure the dog is well trained and only does what it's told, but it just isn't a good idea. The environment in which you are 'needing' a metric buttload of power isn't conducive to hearing the cries of dying speakers if you overdo it. Getting all available headroom into play is highly overrated. The last 3dB of volume achievable is only going to be realised with twice as much power as before. 3dB isn't much extra loudness. If it isnt loud enough you need more speakers, or a quieter guitarist. I was reading specs on BB2 this morning. Max output 137dB iirc. With half the max power it's still 134 freaking dB.

Probably to give yourself less chance of blowing another set of drivers with your 1000w amp.

It used to be the price was the price here in NZ. Gradually there has been a shift to savvy consumer negotiating and being sucessful. 30 some years ago when I left NZ on my OE my worldly wise older cousin put me up to getting a hefty discount on a backpack, sleeping bag and boots as a package deal.

Hinky. It might say Fender on it, but I doubt that is even a Squier.

I think on the BB2 the 'tweeter' is a proper horn and the knob is a control on a crossover that sweeps the mid point, so not an attenuator as such. That being the case it might explain why ''off'' clears it up some and why BF sent you a new woofer without a full diagnostic check. I still reckon they jumped the gun on that.

Not exactly. The mic needs to go into another 'mic' preamp that provides the Trace with working signal.

My Trace amp needs the pre2 engaged or it feeds back. Whatever mids it cuts is right in breadbasket of the primary feedback frequency of my bass. You should definitely try out the rig with a bit of volume to see where you are at with FB.

I had it's descendant model from early 90's, full on station wagon in miniature. That thing was a springer spaniel in sheep's clothing with a 1600 twin cam motor. Out on the highway it had very good ability to sneak up on fancy motors dawdling and blow past on the corner exit before they could boot it and cut me off. I think the most I carried in one go was rack of amp plus double bass & fretless in case plus 2x15 and music stand.

That's a really easy way to blow the cab to bits.