chris_b

Maybe you have a loose wire resting on the cone? Have yo taken the driver out and had a look?

Fuzzy notes doesn't sound right. Maybe the driver has a problem or there might be an issue in the amp.

Oh yes. Hit that low note. Own the ending of the song.

The definition of wisdom is "the quality of having experience, knowledge, and good judgement". IMO that has nothing to do with literal interpretation, or narrow fundamentalist thinking. Drivers are defined by a dozen or more Thiele/Small parameters and these can appear in any number of permutations in the finished article. It depends on the aim of the designer. Many of those permutations will work well together as a "happy accident" others will work together because the designer knew exactly what he was doing and designed them that way. My Mesa cabs could have been happy accident or design, I don't know. They worked so well together I don't care. Other driver mixes can be equally successful. The biggest sound problem bass players have is a bad room and the other band members. Listen to the cabs. If they sound good they are good. That's wisdom.

IME Trace Elliot watts is only a thing with Trace Elliot owners. To the rest of the world a watt is just a watt.

Seems like the singer is suffering from a lack of confidence. I play with a singer who fiddles around with the unimportant stuff when he's stressed. I ask him why he wants to put this pressure on the band before a gig. That usually settles him down and we are OK. Is the rest of the band with you or with the singer? You're the bass payer, the logical and sensible one, so it's up to you to lay it on the table. Your band needs x songs for an x hour set. List what you have that is ready, then ask the band how they propose to get the rest up to scratch in the time available. If they need 18 songs for 2 hours, at 2 hours a song. . . lay out the maths and ask them how it's going to work! Tell them that running through the whole set at least once, maybe twice, before the gig is a prerequisite to doing the gig. Don't threaten to quit but stress the effect that a shambolic gig would have on your reputation and chances of getting other gigs.

Define "struggle". Define "house practice"! Sounds like you are playing a lot louder than I do at home! The difference between 8 ohms and 4 ohms at home shouldn't be so noticeable. Are you sure the 400 is the watts and not just the model number? You can connect 2 8 ohm cabs or 1 4 ohm cab and your amp is at it's max. That's fine, but you can't mix 4 and 8 ohm cabs because that will look like 2.67 ohms to your amp and that is beyond what it can handle. I don't know Behringer amps but depending on how clever the designers were, but at 2.67 ohms, you might see the amp just power off when it gets too hot or you could cause damage to the amp.

If it's "really fun to play". . . . play it anyway. Take it to rehearsals and enjoy it for itself. Maybe the subtleties and possibilities will emerge. Having 5 strings doesn't mean you have to use them all on every song. Play all your 4 string lines and see what develops. The number of strings you have available and the number you use on a song don't have to line up. Often I just use 3 stings on a song. I don't know anyone who thinks a 4 string bass is "too much" or keeps a 3 string bass at hand for those songs. I'm easily confused, so I prefer the familiarity of having the same fretboard under my fingers, no matter how many strings or notes a song or band requires.

Stub, when I look at a 5 string bass I see notes and possibilities. You seem to be focussed on counting the strings and imagining problems. You're not even taking it to rehearsals! Don't fight this, sell it and stick with the 4 string bass you're happiest playing.

+1 for Nordstrand singles. Have you discounted Fender's Original/Vintage or Gen 4 Noiseless pickups?

The head will probably get hotter than it was designed for and will power off. That should do no damage to the amp. If the designers weren't so clever or were cutting corners the amp might sustain some damage. You shouldn't do any damage to the cabs. If you don't know always play safe and stick to 4 ohms.

Switch the Two10 to 4 ohm and run with the 8 ohm One10. I believe Quilter have said the BB800 will run at 2.67 ohm but I can't find that documented anywhere. If you wanted to run a 310 it might be a good idea to check with the distributor. Otherwise you are limited to the usual 4 ohms for your amps.

You sound like my Grandparents! That's what they said in the 60's and most of that "pap" turned out to be pretty good, and is still being played and enjoyed 60 years later. Who'd have thought it?

Another option is to put the Two10 (4 ohms) together with the ONE10 (8 ohms). I've gigged a BF 310 and it sounds very good. You do need an amp that can go down to 2.6 ohms though.

I used to lift 100lb cabs, until my back gave out. Now this is what I do (and what I now know I should have done). If you are carrying gear then each trip should be as light as you can make it. Making 1 trip carrying everything is not a good idea if that trip kills you and 4 flights of stairs has its own challenges! IME that means a separate amp and cab. While a combo would be cheaper and only one trip it will be heavier lift, which will not be pleasant after 4 flights of stairs and after a gig. IMO 2 or 3 lighter carrys would be preferable. The best power to weight ratio would be a Barefaced Super Compact, at 21 lbs, and a separate D class amp, at about 4 lbs and accessories. With a light bass that could be 2 comfortable trips. If she wants to use a bass rig for guitar I guess the lightest option is to use some pedals to get her sound.

Is music getting worse? From what point are you starting this decline? A couple of years ago I had to learn a set of "modern" songs for a wedding. It included 90% of stuff I'd never heard, like Jesse J and Taio Cruz. There were some great songs on the list. They were well written, well recorded, satisfying to play and they went down well with the guests. I still don't listen to that stuff but I now appreciate, even more, there are gems in all forms of music. These threads generate lists of stuff people don't like, but that isn't a list of bad music, just a list of preferences. I think great music is still being made these days. Keb Mo, Delbert McClinton are still active, and Vulfpeck and Vintage Trouble are sounding as good as ever. And that's just some of the stuff I like. I expect after everyone has added their favourites to the list, we'll have covered most recorded music. No, music was never bad and hasn't got worse. It's as good and varied as it ever was.

Is music getting worse? If you grew up with the likes of Grandad by Clive Dunn, Mrs Mills and Agadoo etc peppering the charts you wouldn't think so.

That could be Wilton Felder on bass. I've read that he used a Precision in the studio. He was the 1st call bass player in LA and did most of Barry White's sessions around this time. When he moved on he was replaced by a very young Nathan East.

Spend it on lessons.

. . . . then again a combo with an extension cabs is unlikely to be smaller than your 212, might be heavier and without the extension cab probably won't sound as good as your 212.

You have a rig that sounds so good you have to put "awesome" in capitals!! And you want to change it for a combo and you didn't say what that sounds like. Half a dozen reasons and the sound wasn't one of them! IMO this is not a good move unless you hear this combo and decide if you can live with what might be a less than "awesome" tone.

This happens when you are left handed and you just grab a right handed bass and learn how to play it like that. Stan Sargeant with Keb Mo plays like this and Albert King used to. It's no handicap, you just play the same stuff, but differently.

It's good to challenge yourself and expand your experience, but forget the extra string, it's only a bass. Play all the bass lines you already know. There are no 4 string lines or 5 string lines . . . . . they are all bass lines and you can play them all on this bass. Put the 4 away and concentrate on becoming comfortable with a 5 string. If you get lost work through it and it will happen less frequently. As others have said, a 5 string bass is not just about a couple of extra notes, it's about changing how you play to use less hand movement. A 5 is very flexible but don't look as a different instrument. It isn't.

I got the 210 from Wapping (there were 2, which were supposed to be ex-Mark King) and the 115 was brand new from the Bass Cellar in Denmark Street. Both were the Road Ready versions which did for my back in the end!! Thankfully Neodymium came along at just the right time. They made a great sound with my Ampeg SVT-3 PRO.

I'm not arguing, just pointing out that there are varying degrees of pro musician. If you have the desire to have a good working knowledge of theory and technique then there are no short cuts. Put in the hours and you will be a much better musician by the end. . . . except there probably isn't an end. To be a good player is a life long path and you can always keep improving. Also find a good tutor and take some lessons. There's nothing more focussing than having to sit in front of someone and prove you can play what they set you in the previous lesson.