chris_b

My last 212 was a Bergantino CN212. One of the best cabs I've owned.

Ah, so we've woken the most anti Barefaced person on Basschat. Al Krow, I'd suggest both you and the OP run a search on Barefaced cabs and read what actual owners say about their cabs in real gigging situations. There have been a couple of positive posts in this thread that seem to have slipped under the radar.

I used to know someone who took his double bass to gigs in the back of an S1 Bentley.

I can't comment on your preferences or experiences with amps and cabs or your choices regarding your own sound. The OP is looking to replace a 410 with a 112. There are cabs that will compete and cabs that won't even come close. Others can put up their own suggestions. A BB2 is an 800 watt cab putting out 127 dB. Alex gives a comparison between this cab and a 410 on the website. The OP doesn't give the model number but Ashdown 410's range from 450 watts to 650 watts and no SPL figures given. I assume the OP isn't running his cab at the full rated power, or else he would have blown it long ago. Realistically max figures are rarely reached unless you're looking at much more expensive cabs, so the BB2, the SC (600 watts and SPL 127 dB) or Two10 (500 watts 125dB) are worth investigating as a realistic replacement. The BB2 was sorely lacking? I haven't seen any other comments or posts anywhere that have described any BF cab as that. You don't have to like them, but "sorely lacking"? That surprises me.

Try the Barefaced Big Baby 2. A BF cab is the only 112 one cab solution I know of that will keep up with a 410. Also the BF Two10 will probably equal the volume from your 410. You might like the TB500 in your current set up but your overall sound will change significantly with any new cab.

Why spend money rather than adjusting the volume control for free? PS I'd also suggest that before anything is plugged in on stage the volume is turned down. Then you can turn up without getting any nasty surprises. Especially guitarists and whoever is setting up the PA. I usually put my earplugs in when the PA is being set up because there is usually an ear-splitting shriek of feedback when powering up at full bloody gig volume!!

Sounds to me like this has already moved from a bunch of mates making music to a band run by one person. That's no reason to leave but you might want to consider selling the PA to the band.

Budget? You can look at older equipment but IMO the gear being made today is as good and in many cases better. I'd be looking the Basschat Classifieds for good gear at good prices. There are Mesa Boogie amps and cabs, Bergantino cabs, a couple of Genz Benz amps. Some TC, GK, Ampeg, Ashdown and TC. You'll sound good with any of these and IMO separate amp and cabs are better for upgrading and adding cabs. For live work you'll need a 500 watt amp for a full clear sound and enough speakers to carry your sound throughout the room. You might need to project your sound on some gigs even if you have use of FOH on others. Hartke Hydrive and Fender Rumbles are good to start off with. So are GK, Ashdown and Markbass. You can spend more on great amps and cabs like the Quilter BB800, Mesa Boogie and EBS. You will not have any problems sounding like a million dollars with Barefaced, Aguilar or Bergantino. These are my opinions and none of this is set in stone. There are guys using boutique gear who sound average and guys using cash converter junk who sound good, but it's easier to sound good with better gear. We can tell you what we think but you'll have to put in the time to try gear out or see what suites you. Check out local bands and see what gear they are using. Hear someone making a sound you like and ask them about their sound. Most bass players will be happy to talk gear on a gig.

Best advice in your budget. . . . get another Hydrive112. Also check out a Hydrive 210 to run with your 112, I've had good results putting 112's and 210's together. Where are you based?

If you like the band as a musical unit then stick with it. If you think the band can only gig with one set of musicians then it seems that the rest of the guys have a different opinion. Bruised ego, dented pride or reality check? Dunno. If you think this is an assault on your ego I'd say get over it. I read it that the band is just trying to do a gig under difficult circumstances, which were beyond everyone's control. This is a reality check. No one in any band is indispensable. Look at Peter Gabriel, Roger Waters and Brian Jones. IMO the advice you're being given in this thread to throw your toys out of the pram and tell them where to go is bad advice. I've seen guys do this, it never turns out well, and they always look rather silly.

I might go to a gig to check out a covers band, professional interest you know. We should always be aware of the competition. I'll also see bands where I know the guys, to say hi and show my face, but I don't go to gigs that often. I depped out the cover band once and my gig got cancelled. I'm afraid I spent the night at home.

What's the problem? The band has a gig and you can't do it. Happens all the time. Get a dep or let them do it as a 3 piece. Why stop them?

The curse of youtube. These days no one can have a bad gig.

Bass needs more power from an amp to create a better sound. I'd start at 500 watts not because I need to be loud but because I want a clean powerful sound at whatever volume the band plays at. If you've been out of bass playing for the last 10 years, you might have noticed that the bass world has changed. You can still buy the old stuff, but it really is the old stuff. Modern bass gear is smaller, lighter, louder and sounds light years better than the average stuff of years gone by. I'd look in the BC classifieds (because you can find great gear at a good price) and look at separates because you can change your mind about your sound (and you will) an be able to upgrade each piece individually.

+1

Yep. There are 2 gigs, Blues On The Farm in Chichester and Blues At The Farm in Essex. You're in big trouble if you mix those up. . . . . and I know someone who has!

We're all bass players here. In a band I think we are the reasonable and sensible ones. Why get into fights or arguments or even raise your voice? Over the years I've played with many great people but I've also run into a few selfish, psychopathic, self-centred, pathetic, crooked and gold plated aholes and I've never had a cross word with any of them. What would it have achieved? As I keep saying, this isn't a hobby so my criteria maybe different to yours, but what keeps me in any band containing nightmare people like this is; is the band gigging, is it successful, are the other guys worth staying for, is there a better band on the horizon? I love making music, so if the band is good enough then I can ignore quite a lot of idiotic and twatish behaviour.

Good drummers are out there. I haven't played with a bad one in 20 years and I'm very grateful for my good fortune.

All the band leaders I play with are increasing their solo and duo gigs. I've done several guitar and bass duos over the years. They were usually good evenings. Bands are noisy and these days the neighbours have more power to hassle the venue. Also the music pub/club punter is a dying breed in many areas. Bands don't attract like they once did.

Good drummers can play at any volume, bad drummers only play at one volume. So good drummers are flexible and have ears and a brain that can work out what is required and best for the gig. Bad drummers are inflexible, don't listen and don't care whether they are playing appropriately or not. There is only one thing you can do with a bad drummer. . . . find a better one.

I like to be able to hold my music.

I usually work for band leaders so the name issue is always a non-issue for me.

Checkout the classifieds. There are some good Shuker and ACG basses around.

We turned up to a gig and found the drummer pacing up and down outside. Apparently, when he arrived, someone had said, "I hope you're better than the band last week. The drummer got stabbed!" It was a dodgy pub full of oiks, retards and throwbacks, but we still did the gig. Thankfully they liked us.

I usually don't join in "hate" threads. . . . but after a long time resisting. . . . I'm going to have to mention Grandad by Clive Dunn. I understand why they made it, it was the day job, but I see no redeeming features in that record at all.