Dan Dare

Appears to be a way to cram the head and drivers into a slightly more compact cab.

Why not get a decent (HotCovers, for example) padded sleeve for one of the cabs so you can take just one for smaller jobs. As you say, they are light when not in flightcases, so it seems a BF 1x10 or a new combo will be an expensive way of duplicating what you already have.

How old is the power amp and how expensive was it? Ratings for PA power amps, especially those at the budget end of the market, can be very optimistic. It may heat an 8 ohm resistor for a few milliseconds sufficiently for the output to be claimed to be 500wpc (does it claim RMS, or another rating, such as "music"?), but in reality, a complex music signal can leave a lot of power amps running out of breath, usually because the power supplies aren't up to delivering sufficient current. The fact that you say it doesn't "maintain its tone" when pushed would suggest to me that it is running out of steam. Before investing in an extra cab', I'd get the power amp checked over. MB 2x10 cabs can give a surprising amount of wellie when driven right. If the amp won't drive one cab adequately, it will certainly struggle with two. You may need to upgrade amplification to gain any real benefit.

You appear to be deliberately misunderstanding me. I didn't say the mother shouldn't have gone and been part of the occasion. Neither did I argue against her enjoying it. I do not "lack empathy". I'm delighted for hearing impaired/deaf people to go to gigs (the fact that I have played loud music for over 40 years means I may be one of their number eventually). My point was that to sue is ridiculously OTT. It seems plenty on here agree with me. So please stop setting up a straw man to argue with.

This is crazy - http://www.bbc.co.uk/news/education-42776454. Leaving aside the obvious jokes about the fact that you would be better off not being able to hear what was happening at a Little Mix gig, how would having someone signing the banal lyrics of typical chart tripe increase anyone's enjoyment (can you even sign drivel such as "ooh yeah baby", etc?) when they couldn't hear the actual music? Note that I am not arguing against providing signing/assistance for hearing impaired people in as many situations as is practical or possible. However, music (I use the term loosely in this case) requires the ability to hear in some way. The lyrics are only a part of it. I know it's tough that those who cannot hear are unlikely to be able to enjoy music fully, but that's just the way life is. Discuss.

Quite a few used monitor wedges on the 'Bay at the moment. Some look quite decent.

Not really. If the money is legally his, it's his. He may have to count it behind bars, but it's still his.

The boost you get from an extra cab does rely on the fact that the amp can drive them adequately. I'd try before buying in case it isn't up to it.

You'll have to give us some idea of a budget. Do you want powered or passive, how large/powerful do they need to be (do they need to make enough noise for you to hear vocals over massive backline), will you be putting just vox or instruments through them, etc, etc? I use 4 of these - http://hkaudio.com/products.php?id=131, but they are mainly for vox.

Good advice. Gives you a scalable rig, which you can tailor to suit the size of the job.

Were there any?

Hilarious. What next? Shoes and wallets made from the great man's skin? Can't wait...

I'd bet Orange are playing the impress-them-in-the-showroom game and agree with Bill's opinion re. gain structure. It's a common trick. You design an amp to give pretty well all its power by the time the volume is at about 3 and people say "Wow. It must be staggeringly powerful if that's how loud it is at 3. I'll take it." Then they find it has no more to give.

Re. "Is this the norm?", there isn't a "norm". He who pays the piper and all that. Accept the offer/contract and you abide by the terms. No point in arguing. They can find plenty of people who will be happy to accept the T&Cs.

Maybe and maybe not. It's not so simple. If, for example, others are transporting/providing a PA or items of equipment you depend on to perform, then you are exploiting them, or depending on them, at any rate. If you're happy to pay them for their efforts, that's not so bad. However, if everyone decided that having a car was "too expensive, too much hassle, nowhere to park, traffic jams, unnecessary for daily life" and that they "have never really liked driving", where would you be then?

Bar lines are punctuation. They tell you where the strong/on beat should happen. Tied notes are used when a note should be held beyond the end of a bar. What's wrong with that?

This. Speakons should be the same diameter as XLRs.

When it's a bass synth...

More generally, would anyone claim learning to read language "stifled their creativity"? It's the same with music. A lot of defensiveness around the topic in my experience.

Wrong way round, surely? C = no sharps or flats, g = one sharp, F = one flat and so on.

Old Peavey 4x10s and 8x10s are the same. Heavy, but seriously good sounding and can be picked up for peanuts.

Never thought of that. I've just compared my Mex PJ with my Bitsa (which uses a Squier body, so I assume it uses the same spacing as a full fat Fender) and the p pickup is in the same place on both.

Fusion rucksack. Being a tackle tart, I got it because it matches my gig bag.

I'd like that on a T shirt

Before cutting holes in your Nate, would it be worth selling it as is and looking for a PJ? If you mod' it, it may well reduce the re-sale value (modification usually does). The Mexican Fender PJs can be picked up quite reasonably second hand.