chris_b

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.

I GAS to sound better, to do what I do better, not to own more stuff. The world of bass has gone through a renaissance in the last 15 - 20 years. New gear is always coming on the market, new techniques and styles are being developed by some very cleaver minds. I like to keep up with this instrument. Check everything out and occasionally you can find something that improves your sound and how you fit into a band.

Did you change to the RM500 because of any differences in tone?

If I read this correctly, the OP isn't talking about buying, he already owns these cabs.

What is your definition of a pro bass player? If it is the guy out of U2, Sterephonics or Thin Lizzy, then just know enough to play the songs. That's fine, but if you want to be the musician you claim, learn to become fluent in bass. The beauty of scales is that they are a shape. Learn that shape in every position and you've become competent. Learn all the scales in all the different shapes and how to put them together in interesting ways you'll be on the way to becoming the player you are talking about. You'll still only get to play the songs, but you'll sound better because you'll be a more confident, flexible and accomplished player. James Jamerson will be talked about while there are still bass players taking breath, because his simple lines were intelligently put together, because he knew his theory inside out.

I used a 210 and 115 mesa Boogie EV stack for nearly 10 years. That was a great combination for me. I also used a 210 and 112 Bergantino stack for a few years after that. Wonderful sound. Put the right cabs together and these formats will sound good. I'd expect your cabs to work together. You have the cabs, try them and let us know. I don't know TE but IME the bottom line is if it sounds good it is good.

Unashamedly nicked from a thread on that terrible Talkbass. . . . . Damn, I've got to practice harder! Ex-Prince bassist Sonny T stretching out. . . .

. . . . and the Richter scale of idiocy has a tenancy to rise after the pubs have shut!!

Sadly, no slavery no music I like!

I briefly had the D800 and really liked it, but only wanted to keep one amp so ended up choosing my Aguilar. I slightly preferred the tone. The WD800 might change my mind but I can't afford over a grand for an amp these days. I did a Reggae gig with the D800 and the bass boost button engaged. The band loved that sound.

I get Martin at the Bass Gallery to do mine. The last set up and fret level was about £80. My Sadowsky played itself after that.

If this was me, I'd probably sell the big rig and stick with the small rig, the amp and Super Compact. It'll be the same size as a combo, lighter/easier to move around and, for the size, probably louder than any equivalent sized combo you can find.

Before microphones singers used acoustic megaphones.