Downunderwonder

You need to be careful ordering birch that it is actual birch ply and not just veneer.

Not really true. Some folks list their stuff pickup only. If they sell it to someone who is prepared to risk shipping in a standard guitar export box then it's the buyer's lookout. Manufacturers ship in cheesy boxes because they can get away with it. The guitars go out in bulk so each protects the other and in any case the risk is limited to their cost of manufacturing and shipping. Merchants on sell in the same cheesy box because it's not worth the candle for them to repack and their cost is limited to their cost of supply. The cheesy box economy falls over at the used end and it is worth repacking.

I think a 110 is only going to work for a very quiet band. A 210 will work for a lot of UK bands that aren't hell raisingly loud just doing vocal PA. Unamped drums with guitarists that are onboard is the new world order. As for monitoring and going through the PA... all power to you if the 110 is pointed up to your ears, drummer can still get a feel, while it doesn't mess up FOH sound.

I would look sideways at any guitarist that brought 3 guitars to a GTKY jam. If you aren't taking any amplification I suppose a just in case fretless would be ok to carry in or leave in car.

The economics of shipping used cheap basses without a case points squarely at doing it differently next time. Taking the neck off and packing a much smaller box makes it cheaper shipping and very much harder to do any damage.

If we accept that Ampeg are selling us a bass cab and not a mid cab then I don't think it's wrong to infer SPL from sensitivity and power handling by assuming the xmax is available. When the assumption fails we get the accusation of spec fudging.

I guess we are really talking about whether or not Ampeg is telling us useless information in their table. It is not unreasonable to use their RMS number and sensitivity to derive SPL but it could be we are being lead to telling ourselves a lie. It used to be said that Ampeg were better than most with their RMS power handling numbers well related to actual bass guitar signals.

Probably just unhooked the blown driver.

That's down to your MIL and her bank. The average American over here was waving away before Covid. These days maybe 1 in 50 still has to sign.

Believing the claimed power handling from the table you get the "theoretical" max SPL very easily, is what Itu was getting at.

Good choice. Barefaced do their x10 cabs with one side doing only lows so don't suffer the beaming of highs and lumpy mids off axis.

Surely you should be encouraging those with a surfeit of luscious P basses to list one for your temporarily vaguely embarrassed mate to potentially acquire?

Vinyl stretches so if I was you I'd persevere for a bit. Taking off the skid rails, probably not a bad plan unless you are taking off the cover and then skidding it up on stage.

Maybe, but in general they have caught up on contactless paying in a big way thanks to Covid.

Too much power can blow up your speaker or make you deaf. It really comes down to how very loud your bandmates are. Back in the day I had a pretty similar amount of firepower as the GK combo you listed last. It was only just enough for the gig. A second cabinet would have been the solution. Instead we had to play a little quieter than geetarboy would have liked, which was no bad thing as we were hell loud for a bar room anyway. You get a lot louder with twice as many speakers compared with twice as many watts in the amp.

GR is doing well. I would mind the hype. 110 combo as a rehearsal amp, sure. As a gig amp, limited applications.

The old 15's had great sensitivity at the expense of much low bass. You would need a couple to get close to drum set volume. My experience of a Marshall 50w guitar head from the 80's through a single 15 was absolutely uninspiring. A 50w Bassman of the NZ variety sounded great but not enough poke at gig volume. In Aussie you have the Holdens which are very similar. All in all I fail to see the appeal of 50w tube amps for bass unless your band has a quiet stage and a full PA with mics on everything.

Generally louder sounds better until it is too loud. Removing the wall behind your speakers will have had some effect on the low end but mitigated by the room bouncing bass around much more than treble. Soggy though your walls may be they won't be perfect.

Without a switch you are getting smoke. Too late for me to draw you a diagram but someone will. Follow it very carefully or you will get smoke.

The forum doesn't seem to be set up to do filtering.

Call me thick but what's to stop trade items being listed in the for sales?

From your involuntary foot to donkey application?

Correct, swapsies all you like. There would be a lot more if 3 way trades were easier to organise. I think this is the main reason cash was invented.

The market is wide open for anyone to come up with a better product at a better price. It's a hard road to compete with the F though, such is the power of the brand. Buy what you like and disregard the rest is fine by me. As far as I can remember I own 1 Fender and 2 Jap knockoffs. Not in the market for any new basses as my used ones do the job.