Dan Dare

Sensible, but your CP60 doubles as a DI box, so not really worth duplicating it. The CP60 will give you more control over eq than using a DI box would, too. Use the XLR/balanced out from the CP60 direct to the mixing desk and the unbalanced out to your Rumble for monitoring.

It depends on what you like. It also depends very much on how much volume you need to produce. You need to audition gear and explore plenty of options. Don't buy on recommendation and don't listen to us. We all suffer from confirmation bias and will tend to suggest what we own or like. You wouldn't like what I use, because I aim for a more fat, old-school sound, so pointless my mentioning it. As far as dedicated bass gear is concerned, the Barefaced Big Baby or Super Twin are both full range cabs. Other makes are available, but they do have a deserved reputation for being accurate and able to handle power. Pair one (or more) of them with a powerful, transparent head such as a Bergantino Forte and you should be getting warm. Or you could look at a bass preamp plus power-amp rather than a bass head. You need plenty of power and headroom in amplification for a full range sound and to avoid the "rumbly lump". The other possible route is one or more powered PA cabs (often referred to as FRFR) plus a suitable preamp. I'd strongly suggest ignoring bargain plastic box PA cabs. They are not FRFR (full range, flat response) at anything other than very low volumes, despite claims to the contrary. You'll have to do your own research as far as prices go, but I'd say you would need to spend a minimum of £2k. If you need high volumes, quite a bit more.

You need large and powerful full range monitors to reproduce that at volume. How much do you want to spend? You aren't going to get away with a couple of hundred quid.

Often the case.

Absolutely. I use a pair of Fohhn LX150s, which contain 12x4" midbass drivers, with a centrally placed tweeter. They are very clean, project well and are pretty resistant to feedback.

Would it be worth opening up the case of your GSS to see what module it uses? You may be able to source a new one, depending on the make (ICEPower and some others are available to purchase).

Your main concern is whether the output is a subwoofer or full range signal. If it is a sub only signal - from around 120hz down - all you will get are the very low frequencies, which won't work.

Strictly speaking, Bose systems, which work very well, especially in irregularly shaped rooms in my experience, are not a true line array. In a line array, drivers all point in the same direction laterally. The main benefit of a line array is that they throw sound very effectively, so those furthest from them hear clearly. In larger venues, you will see multi-cab line arrays arranged in a 'J' shape, to direct some of the sound to those nearest the stage. It's certainly worth experimenting with angling PA cabs to try to improve sound spread and minimise feedback. Depending on the shape/size of the venue, you may have to resort to notching out troublesome frequencies if feedback is an issue, though.

Yes, Ashdown customer support is excellent. However, there is a difference between their offerings and those from GSS. Ashdown products are repairable. GSS essentially put Class D modules in a case, with the necessary connectors, etc. Class D modules are not usually field repairable. They are assembled robotically, many of the the components are tiny and Fred with his trusty soldering iron has little/no chance of fixing them. All you can do often is replace the entire module (which will probably cost more than buying a replacement amp). If you buy used, is it really reasonable to complain that the manufacturer won't offer after-sales support? Not that they ever sold it to you in the first place, of course. If you want a guarantee, buy new.

That would only work if the sub has a full range output to feed the other cab(s). If not, all you would get is very low end - around 120hz and below - from both. The sub would also need level controls on the outputs, so you can balance the sub and full range cab(s).

True. If you are in a band that will earn you enough to enable you to live the life of Reilly, it's worth making the effort to get along with people you can't stand. If your band plays for £200 at the Dog and Duck every fortnight, it 's a different matter.

If your jam sessions include drummers, I'd say it won't be sufficient. There's only so much air 40w and a 10" speaker will move. The Rumble 100 is not a great deal more expensive and would be much more suitable in that application. I'd suggest saving a bit more money until you can afford something with a little more power.

Did you go back later for your instrument and gear?

Probably used it as an oar

It's a practice amp. Perfectly good for that purpose, but you won't gig with it.

How was my gig last night? A struggle. Won't disclose location, but it was in a south western city where they like to chuck statues in the harbour. The venue was smallish, with a hollow wooden stage. The backline (provided, which was nice) was a couple of modestly sized and decent quality combos, so we thought it would be simple to play at reasonable onstage levels and let the PA take care of out front. Afraid not. The PA cabs stood directly on the stage. No stands or isolation. The top boxes were 15s+horns and the subs were 15s. The subs made the stage resonate like a giant double bass and the result was one note bass flub. The walls were bare, the ceiling was low and it was an echo chamber. The sound was horrible. The soundman's solution was to push the levels - out front and monitors - even harder when we explained we were having difficulty hearing what was going on during the soundcheck. Eventually, I asked politely if he could lose a lot of the low end and dial the subs right back. Everything cleaned up noticeably and we were reasonably happy. Problem solved? If only. The minute we began our set, the sub levels went back up and all the low end we had asked to be removed re-appeared. I had to play entirely by sight. Couldn't distinguish individual notes at all. Our singer did a great job. The way she managed without being able to hear anything she was doing was impressive. What is it about subs that causes people to crank them so hard that every bass note and kick drum beat results in a giant BOOOOOF? We wondered whether it was just a quirk of the stage sound, but when we stayed to hear a couple of numbers from the second band, it was the same out in the room. I'm getting too old for this caper.

You can't really blame companies for being leery about fixing something bought used.

A decent (I'm referring to ability, rather than temperament, personality, etc, which you tend only to find out about over time) drummer will always be in demand, so it isn't that surprising. They get more offers than most musicians, so are more likely to be offski.

Don't forget the banjo

Never ever? This is turning into the Why-don't-you-yes-but game (Eric Berne - Games People Play). Ah well, we tried.

Fair enough, but look. You posted on here about how you were unhappy about the way you played at a session. Being a decent bunch, people on here weighed in with sympathetic comments, sensible advice, etc. The next minute, you are disparaging people with no "drive", etc. Wasting time being "hard on yourself" (and/or others) is completely unproductive. You don't improve by making yourself or others suffer. You improve by working at it. You can't have it both ways. Most of us have or had (some of us are retired now) kids, houses, jobs, bills to pay, etc. It can be difficult to balance all the demands on ones time, but your situation is far from unique. How do you suppose others in your position manage? It's always possible to find half an hour to practice (use headphones so you don't disturb the family). How many hours telly do you watch a week? Knock a couple of hours off that and bingo, there's your practice time. I ditched my telly many years ago, when my daughter went to uni'. Obviously, you cannot do that if you have a family who like to watch it, but you don't have to sit in front of it because they are. I get a hell of a lot more done without that thief of my time sitting in the lounge. You don't have to go to that extreme, but you do have options.

So has all the beating yourself up led to your prospering? All the "drive" in the world is no substitute for ability. If you are making basic errors at jam sessions, the answer is practice, practice and more practice, not giving yourself a hard time. In my experience, people who say "I'm hard on myself" often use it as justification to be unpleasant to others.

Blimey. If anyone knows a brand new combo for £300 that'll do all that, order one for me, will you? Sandy's recommendation above is about as close as you'll get, but even that is closer to £350 new. Used will open the options a little more. If you don't live anywhere near a music shop, it's worth taking a day off work to visit a few and try things. Buying blind (or should that be deaf?) is a great way to end up disappointed.

All the time. I reckon aliens are changing numbers I've previously learned...