Dan Dare

He's pretty shameless, but hides quite a lot of knowledge and ability behind the BEHS humour and dipstickery. I like that. Much more relatable than Chas B. Mohini D and those who esteem themselves highly.

This. The sound we like - the one we set at home when playing at modest volume - is often not the one that works best in the room. The classic mid-scooped bass tone with a touch of low end lift that sounds so good in the lounge or showroom often sounds like mud in a real venue when the rest of the band is playing.

I just take a lightweight head to a rehearsal room and use whatever cabs are there. Never had a problem.

If something doesn't sell, it's either not desirable (which is not the case for a quality P bass neck), or the price is too high.

Sounds as if a full and frank discussion between all parties, rather than one to one chats between A & C, A & B, B & C, etc, is needed. Get everything out in the open with everyone present (not online, but physically present, where nobody can hide). If it crashes and burns, so be it. Doesn't sound a particularly healthy situation at the moment, so no great loss.

If an agent books out a band, he/she will charge - usually 15%, sometimes more - on top of the band's fee. So how is it different that a venue asks for 10% for recommending a band? If the band doesn't get the booking, it (and the customer) won't pay, so what's the problem?

I read somewhere that MB drivers were/are made by B&C (which would be plausible as B&C is an Italian company). Worth approaching them for advice?

If I'm reading this correctly, it appears the venue wants 10% for recommending bands to those who book the place if those bands actually get a booking. Given that agents charge at least that in commission, it doesn't seem too bad. Perhaps I'm missing something.

That's what I use - two or three 4x5 cabs - and it works for me. My amp (AG700) is 700W, but I don't use it at anything like full power.

Use enough of them and you will.

Like a lot of pros, too.

Interesting. I just measured a driver in one of my PJB cabs. The cone (from the join with the suspension roll surround) is 3.75" in diameter, which gives a surface area of 11.05 sq in. Multiply by 4 and the cone surface area of a 4x5 cab is 44.2 sq in. A 1x10 with an 8.5" diameter cone would have a surface area of 56.75 sq in and a 1x10 with an 8" diameter cone would have a surface area of 50.28 sq in. In practice, because cones are not flat, their surface areas will be larger. So there is a difference, but it isn't enormous, especially in the case of a 1x10 with an 8" diameter cone. Edited to add: there is a coupling effect from multiple drivers in a single cab, which is also relevant. Area is not the whole story, of course. You need to factor in excursion, plus how the cone behaves as it moves. A smaller cone is likely to be more rigid and flex less, which will increase its ability to move air cleanly. Having compared my PJB cabs with various 1x10s, I can only say that they are not left wanting in either volume or bass weight. One man's meat is another's poison, of course. They do the job for me, which is all I'm bothered about.

The same applies to a 10" driver or any driver for that matter. Frame and surround are usually included in the quoted diameter.

It's equivalent to a 1x10 in terms of cone area, but things such as excursion are also relevant. In practice, I've never found a 1x10 that betters one of my C4s or 4Bs. I felt a couple were equivalent - the baby Barefaced was one - but none were superior. That's imho, obviously.

I'd love to hear some Danley cabs in the flesh, Bill, but they're pretty well unheard of here in Blighty. Demonstration videos on YouTube are impressive, especially the amount of throw they produce, although even if you listen on quality headphones, you don't really hear what they can do. Are they really as good as they seem?