Downunderwonder

Depends on the cab(s). Not many individual cabs will do a heck of a lot more with the extra 300w, other than space heat. Plenty of dual cab stacks would be the same story. By the time the tune changes you are going to be absolutely deafening and drowning out all nuances of the drumkit.

Dunno what that would do if your amp has a bridged output. In most cases there wouldn't be anything on the 2 set on the amp end. Your only utility would be using less sockets and plugs for a custom breakout box and lead that was fed from a mono speakon.

Overkill much.

Or least accompanying a gravelly voice so has to be hard rock of some flavour.

If they relabeled guitar amp bass knobs as 'suck' it would make things a lot easier. I was doing a series of gigs on DB with an acoustic guitarist. One time we set up and it sounded like derrière and nothing could fix it. Then he noticed he had switched off the low shelf filter on the guitar channel to do his solo gig. What a relief.

So true. My best achieving band however was founded on winging it. I was the least equipped to deal with the requirements but frequently was the rock that founded the floundering hot mess back to hotness so it balanced out very well.

Can't help but it looks like you are in good hands. Btw it's wits you have exhausted.

Frets are fun too. I mainly play fretless. I think you should have a crack at fretted. You might not like it at all but you can always sell it for what you paid for it if you go used.

Beats me why hollow composite e' guitars and basses aren't deriguer by now. Clearly ''tonewood'' is a crock in a solid body. So long as it can hold up the neck and the bridge it doesn't make a blind bit of difference. There's an old saying that translates to "you can't fool all of the guitarists and bassists all of the time''. And yet here we are nearly universally literally lumbering under timber basses and guitars.

I don't know that it's all that difficult. It just takes a bit of clear communication from the outset. If people go along with the plan but fail to deliver they get cut or the band folds. The problems come from trying to make incompatible folks change. My big band has cut a couple of players over the years. Both nice people who loved being in the band but not getting their parts down = public friendly g' up from MD followed by ''hope to cya in the audience'' when that didn't work.

Who needs glue when you've got a strip of tin and some screws?

If the band is as far along as you say then it really only needs a new guitarist to jump in. I would hit an open mic with the singer and see if you can't hook up with a spare one. Then grab the drummer back.

Friends don't let friends use cheap knockoff speakons. The real ones aren't expensive and positively cheaper than buggering up your amp.

I think for the purpose of waving a dB meter in front of a guitard to get him to stop with the godforsaken racket, an A weighted meter is useful.

Not at all unrealistic. You just haven't found the right band. Assuming your own chops are in order there's nothing wrong with seeking a band that is set on gigging.

By finishing their drinks and leaving when you are too f n loud

The money is gone unless you can get Interpol to take your case. That would be one for the record books, ie getting them to twist local plod's tail into doing something.

Enough to get a little bit rowdy I expect. Same power divided by more speakers equals louder from acoustic coupling. +3dB for free. More power comes out of most amps when you double up on cabs, so long as the impedance limit is respected. It used to be that a solid state amp would near double the output into half the impedance but not so much with the newer amps and all bets off with TC. Double the power would give you another 3dB. So usually you will get a handy increase in oomph by adding the 2nd cab. If previously you were only just keeping up with the band you should get or 4 or 5 dB in volume up your sleeve.

You mean his Mum does his laundry and makes sure he washes behind his ears?

I think that's the whole reason guitar amps come with fx loops. Certainly when I was running a bunch of fx the modulation stuff sounded best at the end of the chain. There was no bass amp, no vocal, keys bass and kick going to PA behind the band.

Trace Elliot maintained their hi low compressors had differing attack times solving the problem that no single compressor could do full range without making a mess of one end or the other.

For loudness v cartage you would be better off with one power hungry cab and a bigger amp... or just a bigger amp with the two cabs. Elf isn't exactly cheap, you're paying good money for smallness.

I think most of the value would kick in as saved staff time pissing around on invalid warranty claims caused by user error. That would filter back to a slightly keener price.

S/R is very handy for inserting a highpass filter. Preamp output isn't something I have used except for experimenting.

What was the little green saloon thing ahead of the lime VW van towards the end? Looked a bit like a Hillman Imp but not.