Dan Dare

I like his small driver cabs. I have two C4s and three 4Bs that I use in varying combinations according to how loud I need to be. Very clean sound and project well, although you do need to use them in number if you want to make a bit of noise. They are also quite inefficient and take a bit of driving. The 4B is fuller and a little softer in tone than the C4. As stand-alone cabs, I prefer them. However, I find two C4s with a tweeterless Berg 1x12 to fatten the bottom end makes a potent compact rig.

A word of caution re. soldering preamps and similar micro-circuitry. Don't use a high wattage soldering iron and keep contact between iron and what you are soldering to a minimum. It's very easy to cook miniature electronics. Quite a useful guide here - Soldering Irons - A Complete Guide | RS Components (rs-online.com). I use a 15 or 25w iron with a fine bit for jobs like that. I note you want longer wires on the preamp. It may not look as neat as replacing them, but would it be safer to add wire to lengthen them (you can insulate the joins with shrink sleeving)? They will be out of sight once the pre' is installed in the bass, after all.

I don't think it's possible to "fill the gaps". I agree with those above who say don't change or do so minimally. If you're not happy to do that, maybe suggest to the others that the band recruits an additional musician. Fwiw, there are very few guitar bass and drums line-ups that really work live for me, but that's just my 'umble opinion.

There's a Workingman's on eBay at the moment.

I'd look for a nice pre and add a PA power amp. That's what I used before I went lightweight to ease the strain on my aging back.

The only way to find out is to try it with another. If it distorts when you are pushing it, it may be that you are overpowering the cab. That will do it no favours, so don't keep doing it. If you are using a 1x10 in a band setting with a drummer, it's pretty likely it cannot cope. It may be rated to take 300w, but manufacturers can be a little optimistic with figures. Are you able to try the head with a different cab to see if it still happens?

This is in danger of turning into handbags at dawn. Fwiw, I think focussing on cabs is incorrect here. The OP is likely (imho, of course) to find the limiting factor is the head Nothing wrong with a TE Elf - it's a micro amp, designed for practice/smaller jobs and it will handle that fine. However, it's power is limited - quoted max is 200w into 4 ohms. Given that he says his existing 1x10 cab will handle 300w, his Elf will likely run out of steam if he adds another. In his shoes and assuming I liked the sound the existing cab makes, I'd get another cab and a more powerful head. Should be doable for £600 odd (Elf is £200ish new, so assume roughly £100 from selling it) if he buys a used head. I tend to stick with new cabs as you don't know whether used ones have been abused, but that's just me.

Yes. Really. Those three were all respected primarily for their song writing. Had they attempted to get gigs purely as singers of others' material, I doubt we would ever have heard of them

I find great players and artists a spur, not a discouragement. There's always someone better than us. There's always someone worse, too. I'm grateful for whatever ability I have and try to make the best of it and enjoy it.

Some excellent advice above. Nothing wrong with your Tanglewood. They are decent budget instruments. Your issue is one of technique. You will experience the same problem whatever instrument you play. Why not spend some of that £600 on a few lessons? It will get you on the right track (and save you money).

Phil Jones or Beyer DT770s should do it.

You might try recording rehearsals on the basis that it's good for everyone to listen back to the recordings to see what issues need to be addressed (which is good practice regardless). See if the singist picks up on her faults and works on them after listening to the recordings (if she and the guitard are an item, maybe he will if she doesn't). Does the band have decent vocal monitors? Perhaps she struggles to hear herself. If there's work in the offing and you can stand it for now, stick with them whilst looking for something else. If it's making you unhappy and there's no sign of improvement, you have no alternative to leaving, really.

Yep. With a few exceptions, they play instruments that are just like everyone else's, too. I've never understood the nonsense that means a mass produced, factory-built instrument that has passed through the hands of someone famous suddenly acquires mythic status and a grossly inflated price tag. No doubt someone will be along shortly to rave about JP's Bass of Doom. Here's the thing. He would have achieved what he did regardless of the instrument he used. It came from him, not the tools he used.

Exactly. I'd use (and have used) my regular gear for personal monitoring in large venues and the foldback/IEMs can take care of it for everyone else.

Just don't use the same glue that BF do

Sounds like a dodgy solder joint. When you switch off and on or bang on the top, the vibration remakes the connection temporarily. Only sure way to fix it is for a repair person to check every joint. Fiddly, time-consuming and likely expensive as a result.

This. If you ever need to replace a pot, you're stymied if you can't get your knob off (oooer).

A C8 is less efficient than a CAB47, so the perceived volume from each will not be the same. Also, I'm pretty sure the C8 is 4 ohms. It's effectively two C4s, which are 8 ohms each, in one box.

To each his own. I'd do the job myself rather than wait for a couple of weeks for s replacement. I'm confident I can drill a hole without causing wholesale destruction.

I don't know nuffink about art but I know wot I like 😁

You're a better man than me. I wouldn't necessarily expect a singer to carry the gear (I actually prefer to schlep/set up my PA myself as some others are none too careful with things. It's light, so no biggie). However, if they demanded a mic', they would be told that we provide our own instruments and they can provide their own mic'.

A band is no different from any other cooperative enterprise - workplace, sports team, etc, etc. It is likely to include an equivalent mix of personality types, from good eggs to awkward tw@ts and all shades in between. To quote Sartre, "Hell is other people".

Those MB 2x10s are surprising. A pal has the combo version and it sounds fat and punchy and fills a room very effectively.

Specialist shops are good because they will usually get a better price than you would get by selling privately, which helps offset the commission you pay. Plus, they deal with all the tyre kickers for you.

My subscription copy arrives in a plain brown envelope.