Dan Dare

Given that a double bass is tuned in 4ths, why bother? Many people play differently tuned stringed instruments without an issue (I play fiddle, mandolin, guitar and bass/double bass). It just sounds a bit pointless.

I really don't know what to say. I typed "Provided the rest of the band is competent, all will be well". Not crap. Do you need spec's? I can't see how "crap" and competent" can possibly be mistaken for one another.

I didn't say the other instruments were completely unimportant. I said that if the vocals and drums aren't right, it doesn't matter how good the rest of the band is. Leaving aside instrumental jazz combos and similar. most bands play songs. Ergo, the vocals are of primary importance, followed by the drums. Provided the rest of the band is competent, all will be well (there's a lot of truth in the saying 'good drummer = good band, poor drummer = poor band'). If the vocals or timing is suspect, it's pretty much game over. Most audiences won't care that the guitar or keyboard players are wizards if the singer is inaudible or out of tune or if the drummer is destroying the groove (try dancing to that). Your last question is a little silly. Neither is a band.

Absolutely. It also keeps the whole band tight if they can hear one another properly.

Depends on what the PA consists of. If it is only used by the singer, you may have a point, but what happens when you add things like monitoring that you use/benefit from? How about BVs? Like it or not, the most important things in any band are the vocals and drums. If they are not on the money, it doesn't matter that the guitar player has £4k worth of instrument or how good the rest of the band is. A quality PA is expensive. Mine cost three times what I spent on my instrument and backline.

The best way to buy a PA is for individual band members to own parts of it - one person buys the mixer, another a cab, another a sub and so on. Then if you split or someone leaves, you don't have to sell the whole thing (usually at a big loss as you point out). Everyone (or the person leaving if the band isn't splitting entirely) just takes their bit with them. I have to disagree that a PA is the singer's responsibility. No vocals/lousy vocal sound = no work, so the entire band benefits from the PA and should contribute. A decent PA usually costs a lot more than the average instrument plus backline. The degree to which each person contributes can be negotiated.

As with most things, budget is the governing factor. The mini line array plus sub(s) type rigs are certainly up to the job, but the better ones - LD Systems, Fohhn (which I have), HK Elements and similar - are not cheap . If you are on a tight budget, I'd go for conventional PA cabs. I don't like to put large cabs (12s or 15s) up on stands. They block the view of the band and are usually heavy. In the average pub, a couple of 10+horn boxes on stands with sub(s) on the floor is much more effective. If you are playing mainly in pubs, you're unlikely to need to run the bass and kit through the PA entirely. I usually put a small amount of bass, kick and perhaps a couple of overheads in the PA to augment the sound from the stage a little. It also means you can use compact backline and keep levels on stage sensible. You can get by - sort of - without monitors, but they make life a lot easier. Those at the back of the stage, especially drummers, really need some form of monitoring as they are unlikely to be able to hear anything from the PA. IEMs are probably the most convenient option, but if you use wedges, you don't want large bass drivers. A lot of low end in monitors often causes issues. 10s are fine in my experience.

Didn't he do the original version of Hey Joe, about a bloke who kills his missus because he thinks she been unfaithful?

Or the English language for that matter. Some brilliant non-sequiturs, too.

Do you want a fretted or fretless instrument? They are quite different. Only you can decide. We can't really help with that. If, as an existing fretless player, you wish to try a fretted bass, I would buy something inexpensive to see how you get on with it. If you buy a new Fender JB professional, you will lose money on it if you decide to sell it.

It would have been designed and built by Grommit, of course. I wonder if someone will reverse engineer it, as has been done with other highly regarded amps - Dumble, etc.

The NEC ought to do the trick. I haven't had a telly for 30 odd years, so I can honestly say I never watch it, but if it makes people happy, who am I to criticise?

As Downunder, Jonny and Jezza point out, you and your band mates need to be on the same page. Both approaches - taking it seriously and doing it for fun - are equally fine, but there needs to be agreement as to which is the way the band rolls. Different strokes for different folks and all that. Sounds as if a sit down and a discussion is in order. The upshot of it may mean you have to seek pastures new, but there's little point in staying if you are not in agreement.

I have both Roqsolid and Hotcovers. Hotcovers are of better quality and more thickly padded (I use them for my PA speakers). Roqsolid are perfectly decent - if a little less abuse-proof - and cheaper than Hotcovers. You pays yer money and takes yer choioce.

10,000 is an arbitrary figure, but progress depends very much on how you spend the time spent working on acquiring a skill. When learning an instrument, quite a few people focus only on the instrument itself and neglect musical theory. That's OK (sort of) if they merely wish to play parts learned note for note, but they can find themselves all at sea when they need to improvise, because don't understand the "why", as opposed to the "how". You don't need to have a comprehensive understanding of orchestral arrangement, but it's helpful to know why something works. It will speed up the learning process immensely.

Self storage companies - Big Yellow, Shurgard et al - sell large strong cardboard boxes. I bought a couple of dozen for my recent house move and they did the job.

Same here. I originally went to VCK because my previous insurer wouldn't touch me once I wanted to change from being a civil servant to a civil servant and weekend warrior musician. Vic was originally South East London MU branch secretary whose day job was in insurance. I find them very helpful and prices are competitive.

PJB? Not cheap, but compact and high quality.

"The band's image is that of a gang of individuals". Righto then, That's why the requirements regarding appearance are so specific...

Made by the same company - David Reeves's Hylight Electronics. He had learned his craft working for Marconi and Mullard. Sadly no longer with us.

An easy way to get what is effectively a 3 way rig is to use your amp with a small main cab ((10+horn or even 8+horn) and add a powered sub. I tried this once, using one of my PA subs and the sound was quite impressive. You retain the character of the sound from the smaller cab and add low end weight via the sub. I wouldn't go to the trouble of taking it on gigs, but it did sound rather good at home.

Exactly. Many artists leave a lot to be desired as people, but that's fine. We don't have to associate with them and can just appreciate their art from a distance. "Shut up 'n play yer guitar", as Frank Zappa (someone you probably wouldn't have wanted to meet if some of the stories about him are true) put it.

They project surprisingly well (as all MB stuff seems to do). There are limits to what any single 12 can do, but for the use described, I'd say it would be more than up to the job.

Good point. I have a Kiloton and there isn't a lot of room in the cavity. It's well named, incidentally. I had to buy an extra wide strap for mine. It may not weigh 1,000 tons, but it doesn't feel far off... Maybe think about an external preamp/line driver? It will save performing surgery on the instrument and affecting the resale value.