Dan Dare

Given that it's a very low-powered practice amp with an 8" speaker, does it matter? You couldn't gig with one.

Nice, but spendy for a backup.

I know I bang on about this on here, but, unless you are running bass through the PA, onstage sound is less important than in-room sound. What sounds good when you stand next to your rig can be terrible out in the room. The classic mid-scooped tone with a little low and high end lift can sound like mud in the room. I often find I have to lose some low end and boost the mids to the point where it gets a bit honky for it to work in the mix and in the room. Sound-checking with a long lead or wireless can be very revealing.

Naughty boy, Tim. Someone is bound to take the bait...

The words "art" and "artist/e" have acquired a lot of baggage, as is evidenced by many comments above. A lot of people seem keen to say something along the lines of "Artist? Me? Nah, mate. I'm just a regular geezer who plays in a band". Music is a form of art. Therefore, those who make it can be considered artists. It's up to them whether they choose to refer to themselves as such, but beware inverted snobbery.

Don't know if this will be helpful, but we all have to accept that we have limits. They may be physical - you say you are coping with an old injury, which is bound to slow you down/limit you. They may be due to time - there are only so many hours in a day and if you have a lot of other demands on your time, you con only spend a limited time on practice/playing. That will slow your progress, especially if you can't spare the time every day. 10 minutes a day is better than an hour every 3 or 4 days. They may also be due to ability, potential and realised. We are not all born equal and some have the potential to be better at things than others. I had to accept that a long time ago and face the fact that I was never going to be as good as I would have liked to be. It's often said "You can do anything you wish if you try hard enough", etc. Sounds great, but it's a myth. A one legged man or woman is never going to win Wimbledon, no matter how much effort they put in or how much they want it. Counting one's blessings is important. If you are much better than you were a couple of years ago, be grateful for that and keep working at it..

I used to work for the Department of Health and so had access to some interesting stats. All the area of high anti-depressant use are in the North. Possible reason we suverners are so miserable and norveners are so chilled... 🙃

Wood that be the Oddfellows, by any chance? I've played there a few times. Nice pub.

Thanks for the reminder. That was hilarious. Peely, bless him, was pretty much tone deaf. Couldn't carry a tune to save his life.

Bill's advice is good. Mini line arrays are great if you have a reasonable budget, but you really need two for all but quiet gigs, so the cost gets a bit steep. Quality 10+horn boxes on poles and a single decent sub on the floor will have minimal visual impact and can be very capable. Incidentally, Bose are not a true array, in that the drivers in the columns are angled to each side, rather than all pointing directly ahead, which gives good coverage at close to medium range, but lacks the 'throw' of an array. RCF are always a safe bet, as Phil suggests, for good but not pricey PA speakers. They occupy a sweet spot between budget and costly. For £2k, you could get a pair of RCF ART310s plus a 905 sub, which would be a very tasty system and would, I reckon, out-perform your Behringers, especially when it comes to clarity.

You could do a lot worse than a Bugera Veyron. I had one as a backup and it was fine. I didn't notice much, if any, difference between it and my Aguilar AG700. Get the mosfet version if you want a more neutral sound (handy as it's a bit cheaper than the valve - only in the preamp, not full valve - model). They're about £230 new, so used ones are not expensive. Ignore the ludicrous claims about 1000w output (you won't need anything like that with a couple of BF 110s, anyway). Half that is probably closer to the mark and the power reserves will keep it clean if you need to push things a bit.

Life's too short to get upset about it. If people want to make themselves look stoopid, it's a free country.

Sometimes, perhaps.

Once you've bought your reel to reel tape, you can have weeks of fun trying to find a machine to play it on that isn't either knackered or uber expensive.

Depends on the dimensions. If the driver in the photo is a 15, the cab looks to be about 19" wide by 12" deep by 24" high. That gives a cubic capacity of around 3.1 cu. ft, although the volume of the ports (which look a little large for the size Bill suggests above) will reduce that. It probably won't be that far off and certainly better than 4.7 cu. ft.

My bad, Bill. A thought occurs. Could @MostLow replace the baffle on one of his 4.7 cu. ft. cabs and add correctly sized port(s) and mount both drivers in it? I've done that before by cutting out the old baffle with a jigsaw, leaving and couple of inches of the edges of it in place to mount a new one onto. It would slightly increase the internal volume and get it closer to the ideal of 5 cu. ft. It assumes the cab is tall enough to accommodate two 15" drivers, rather than being deep, but with a small frontal area. Might that be relatively inexpensive and simple solution?

Have a look at the data sheet for the drivers on the Eminence website. That'll give you cab' capacity, port sizes, etc. Dave Green's Fearful 15 was designed for the Kappalite 3015 if you fancy building your own:

I loved Guy Pratt's story of the punk days, when everyone had adopted names like Rat Scabies, Fester Pustule and so on. People used to assume he had done similarly when he introduced himself.

Bit of a misleading question then, asking us "does such a thing as a decent, lightweight sub-woofer actually exist?". I took "decent" to mean "capable" (not an unreasonable assumption), but it turns out you don't actually need 'capable'. Silly me, eh? I'm impressed that you posted yesterday, then managed to do "a lot of research" and also buy a sub, all in the space of 24 hours. Why bother asking on here in that case? Had you told us you already had a MarkAudio sub', we'd have likely suggested sticking with that (I would). 23kg is hardly a behemoth. I'm 72 and have no trouble schlepping my Fohhn XS22, at 25kg.

How much do you want to spend? The rule is light, capable, cheap - pick any two. QSC, RCF, Yamaha and others offer quality lightweight subs, but they aren't cheap.

If I needed a stage name I'd call myself Barton Stacey, after the village down the road from me.

A further point in favour of the D4 is that it's likely to be easier to move on should you need to sell it. Its more versatile - could be used for small acoustic jobs and the line out means you could add a power amp and cabs for larger gigs. The Nano is very much a desk top only amp.

No, but wouldn't a fake name solve the issue?

If you cannot or don't wish to screw rubber feet to your cab, there's an alternative that is much cheaper than isolation platforms ands similar. Just buy one of those large heavy rubber tiles that are sold to playgrounds to place around swings and slides to stop kids injuring themselves if they fall. I bought three - one for each PA sub and one for my bass rig - for about £40 the lot. Each is half a metre square and they do a great job

X4 has a single 4" driver. Double 4 has two, plus an auxiliary radiator and double the output power. That suggests it will be more capable. I've never tried a X4, but I like the Double 4. I'm occasionally tempted by one for practice, but I have several PJB 4x5 cabs and one of those is compact enough, so it would be a bit of an indulgence for me to get one. Are you able to try them side by side? If not and you definitely want one or the other, I'd be inclined to go for the Double 4 because it offers more for not a lot more money.