Downunderwonder

I think they must have dropped reading comprehension practice and testing from the education system.

Repositioning the bridge only takes a drill and screwdriver. Take bridge off. Mark the new holes through the bridge in the new position. Drill new row of holes. Sucess.

Fiddle player is the main gig booker? I think you know where you stand there.

Best reposition the bridge per Skank and then see about the rest.

Put together a killer three piece and take all their gigs.

Measuring the G side would give a better idea, but the octave measure back the other way to the nut looks to be more than what you have got anyway, with thf saddles backed all the way back = fubar placement. Fix that and your intonation problem will be history. Hard to make out any twist in your pics.

Until you get a feel for 1 cab vs 2 you need to be cautious with that. Getting the last watt through 1 twelve is well and good until it isn't. The rating does NOT mean you can let fly with the amp and the cab will take it.

Read the other post twice more. Square waves are not square. Regarding the OP, many times I have heard of stray material getting in through the port and lodging behind the cone. Everything from a Homer Simpson toy to a lolly wrapper. The other gotcha is a dying battery in your bass preamp or a pedal. You would have to really slam a BB2 for it to break the woofer. Rig up some music through it at low volume and increase. If it gets deafening without the distortion you'll need some very good hearing protection. Putting your ear down to the speakers you should be able to hear if it's coming from the horn or the 12.

No. Speed is velocity, a unit of distance / time. Frequency is how often something happens, unit kinda abstract but always /time Independent of what is being described, the kicker is the wavelength, over which distance it takes an observer to experience the wave repeat. Velocity = frequency x wavelength Turning up the loud knob makes the cone fly further making it louder, doesn't change the frequency. To travel further in the same time it must be travelling faster.

The faster the speaker cone moves the further it must travel to maintain the frequency relationship. Both of those take more power to do. Low bass eats power.

Check the scale length. From the sound of it the bridge is too close to the neck. Measure the nut to 12th fret. Should be same again to the bridge.

There's a small boat made in China Going nowhere on the mantle piece It's the same room but everything's dif'rent You can blah the blah but not the ( rhymes with piece) ChOrUs!!!!! Blah de blah de throwaway blah De bla DeBlah de Blah...yada yada.. ChORuS!!!!

I was going to say Gene Simmons: Self. But everything covers it well too.

It's in the OP. Less haulage for most gigs. Other benefit can be avoiding startling venue managers by setting up the 212 when it's overkill.

If I were you I would keep playing gigs as they arrive, minus freebies, and start another project. When and if that takes off you can leave the semi-pro lot completely or continue to play as available, and snag upright gigs for your main band, as as you feel.

Heating an otherwise unused space to keep basses comfy seems like a waste of power to me. Controlled heating won't do anything to the moisture in the air except make it relatively less saturated. So long as you were keeping it at 16° and it didn't overheat naturally it would be fine. Still a waste of power. Then what do you do when it bakes in the summer?

Simple. A BF tweetered 12 and a non tweetered one for backup.

I have never tried it myself but several of these threads have had ''I was giving away a perfectly good XYZ on driveway, it sat there, until I changed sign to Price: £50, then it was stolen in ten minutes".

Nobody DI's the guitar amp. It's on you to not be sending a midchopped or noisy mess.

It is wrong on double bass. I've never had a problem on BG but I have a good span. 1 finger per fret avoids a lot of jumping around just to play scale notes.

It was fun stringing Dad along. No prizes for the reveal.

...means you need some welly behind you just for the odd occasion. The old Trace amps were rated to deliver a continuous sine signal. Any of the 200 or 250w amps into 4 ohms of decent cabs will keep up with the drummer which is as loud as you ever need to be. The trend for weddings and the like is extremely contained volume, to point it isn't a heck of a lot of fun. It sounds like your band isn't on that unmerry go round of trying to compress a live band to sound like a CD. You won't go wrong with any '500'W modern amp and a couple of modern 12's. I am not familiar with the Edens though.

It better be, or I have to hand in my reader card.

Yep. That is not tab. I forgot it had the tempo on it. I can play stuff in my head from notation only so well. Generally when sight reading my fingers lock in the key so the accidentals have to be read while the rest are sorta assumed, if you know what I mean. When I leapt into reading I was very reliant on the chords for root note and played something akin to what was on the page well enough to get the job. I was a pretty handy treble clef reader from 30 years prior so I was keeping up with the charts. @RichI promise you could go from needing the note names to not needing the note names in a couple of weeks if the BL stopped doing that. All the information is there already! Here the 1 bar rest and the rhythm had pretty much given the game away by the end of the 2nd bar.

You've lost me there. I am sure we were looking at a short bit of notation.