Downunderwonder

Step 1, back off the bass on the Marshall.

Off the top of my head I don't think my inate pitch would be good for better than a semi tone either side.

Tbf I don't know that American authorities have quite got the hang of revenue generation from sales tax anywhere near like the UK.

It's been well established by measurement already if you bothered to read the thread.

Me, no, bargains like those aren't seen here. Maybe I could find a cheap enough bass that could work but amplification doesn't come cheap.

Because some conspiracy theories hold water, this one is weird?

You are the living proof that auditions cut both ways.

Nah. I will walk you through moving the bridge your tomorrow evening if you like. You can take progress photos along the way. It'll be a piece of cake. Need masking tape, drill choices, a sharp pencil, your measuring tape, a clamp or two wouldn't go amiss but not necessary, the correct screwdriver for the bridge screws is essential, toothpicks.

Ya reckon? There's loads of boutique brands that weren't mainstream 30 years ago. Fancy a Vanderklay or a Verellen or an Aguilar or a Handbox...

Parallel describes situations additional to dual amplifiers driving discrete cabs off one signal. Parallel is also when two cabs are daisy chained to one amp. Often there are parallel outputs provided on amps for the purpose of not having to daisy chain cabs. The cabs are a parallel load.

Philosophically, does one need to experience being far too freaking loud to appreciate being just loud enough? In my musical yoof we were just a bit too loud and we really had to get down on the Marshall stack guy to rein it in. The other guitarist was older and wiser and used a small combo mic'd into the PA. The young guy thought this was the devil's work. My Trace rig was as loud as it would go. The only other way would have been for me to get another cabinet, then we would have been way far too freaking loud for the pub. This is indeed loud enough for a pub. It's lovely when everyone is on the same wavelength. The dancers have enough to get them going and the non dancers can still converse without screaming in each other's ears. The booze flows and everyone has a great time. I used to help out the odd band with sound. One outfit had the whole band piped into the best PA in town in one of the smaller venues. They were very polished with very intricate tuneful in your face metal. One number in and all the faders except vocals were off. They brought in a steady stream of punters who left after one drink. If they had all stayed for two or three drinks the joint would have been hopping.

Another valueless opinion: it looks like it has been there awhile. Even though it has apparently gone all the length of the body right the way through it hasn't fallen apart so I am voting paint distress patina also.

I copped one a few days ago. Yesterday someone complained of theirs with the words oops ''double post'' so should be easy to find.

Has someone been strapping ducks to otters in your neighbourhood?

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.