Alec

Er, Adobe Acrobat Reader, amongst many options... I shudder just looking at that cable. Yes, it'll work, but it's really not the right tool for the job. While a typical amp-speaker cable like this won't be subject to abuse, it's tempting fate not to have something more robust. Round profile double insulated speaker cable is exactly what the strain relief in a Speakon plug is designed to grip. Your cable will be much less resilient in the face of one strong yank. And then there's those horrible ancient Speakon plugs with that nast twist ring. The more recent versions with the metal latch are so much easier to use. And, more significantly are easy to disassemble if you need to. Given that your cable is at risk from an incident, good luck on working out how to disassemble the plug to fix it in an emergency - when I was unfortunate enough to have to do this years ago, it took me forever and much swearing.

Yup, that could be part of it, too. But it does look like that steel channel would contribute to the positive locking experience Here's what's in my STL-10T, bought at the same time. No visible branding at all, but does appear to have the steel locking channel. Looks like GB just used whatever cheap crap they had available. This is what gets me about the whole "built in the US thing" that Americans rave about. So much of it is 1950s and quite agricultural. In the rest of the world, quality gear would always just have Neutrik connectors.

Just to resurrect this ancient thread... I'd been having grief with the connection on my NEOX 212T cab recently, with the speakon cable not engaging in the locked position firmly. Worse still, on a couple of shows, vibration has caused the connector to rotate slightly off centre, cutting signal. All highly irritating. I went to investigate today and discovered that Genz Benz shockingly used non Neutrik speakon sockets, and that the plastic in mine had clearly worn, such that the locking function had become more or less ineffective. Thankfully, replacement with a genuine Neutrik connector was a quick job, and the problem is now fixed. Comparison of the cheapo copy and the real article are chalk and cheese, with the Neitrik having a steel channel for the locking nub to sit in, rather than just weak plastic. I know that Genz Benz have not been a thing for years, but shame on them for cheaping out on connectors like that. Proper shoddy work. Here's a couple of photos, clearly showing the wear on the cheap copy on the left, compared with the genuine article on the right.

Shouldn't really be a surprise. While it's all very well to have "every amp ever made" in the studio, who really needs that out gigging. Most are happy with a preferred amp, and then all the FX they need into that. As for the "harsh/thin/digital sound described, most guitarists in particular are used to hearing their amp pointing at their ears. Hearing the equivalent of it mic'd through a monitor will sound harsh by comparison, but that's the difference between the massive low-pass effect of listening to an already directional cab off-axis and hearing what it actually sounds like. Not to mention the fact that a close mic'd cab will sound more "harsh". They should try putting their ears by the speakers - they'll hear a *completely" different tone.

I finally acquired one of these years ago, having lusted after them when they were first released. Never really loved the sound, hated the weight. What a relief when I finally shifted it for some better sounding lightweight kit (Genz Benz STL-10T driven by TC RH450) Never looked back...

Next thing is 2.5 Vs 4mm cable?? 😩🤔 That is correct - 2 core is what you need. FYI, bi-amping is where you have two amps. Typically, but not always, one driving low frequency drivers, the other driving high frequency drivers. 4 core speaker cables allow you to feed both amplified signals with a single cable. As with most things, a quick google will explain things in more depth if you're bothered. While there's no harm in using 4mm cable, it may make you feel more of a man. However, 2.5mm would be ample. Net power loss will be minimal, as the cable is so short (presumably sub 1m) This page explains in more detail, along with a cable size calculator tool.

Sorry, I replaced my Trace 1210 4x10 combo for something better and lighter - a complete win.

I had the same amp for about 20 years - loved the sound, but hated ever moving it. My revelation was a kitshare with someone who had a GenzBenz 2x12 cab plus light head, and which sounded fantastic. Within a week, I'd been out shopping and bought similar. Much louder/better than the Trace combo, and easily transportable. Never looked back. So pleased to move the old Trace combo on...

Pretty much all the suggestions made are positive and can work. The problem is that only you know and understand the situation you're looking to work this in. So many variables - Pub gigs still vary from PA for vocals only and minimal monitoring - all the way up to fully mic'd and in-ears for everyone. With or without sound man. With or without subs. Crappy PA or decent PA. What do you really want to hear in monitors - just "me" or a full/partial mix. Also, how much sound experience/capability the band has. Are they disciplined with onstage sound or loudness competition warriors. Combo, PA speaker, in-ears - all valid, but some may not be suitable for your setup. The only real steer I'm getting from you is that you fancy a combo for home practice so, unless money/space is endless...

Just be warned, the DI20 is possibly one of the nastiest bits of audio kit in existance. A pure white noise generator, disguised as a DI box. £20 for a dual DI - this product proved the mantra "too good to be true"...

I never understand why people ask questions like this without saying what kit they're using - it makes any meaningful answer impossible. (Subtle hint to the OP, a bit more info would help!)

This - more than you could possibly imagine!

My RH450 is a better fit on my Genz Benz STL-10T. I love the fact that when I'm out and about with my bass, amp & cab, the heaviest item is the bass....

I'm agreed on this being the best starting point. Yes, of course it's not really flat. If it helps satisfy pedentry, how about "default" or "zeroed"?

Just stop and consider the PA systems you find in A-list gigs these days, in theatres/arenas/stadia/festivals - pretty much all of them (D&B Audiotechnik, L'Acoustics, Clair Bros and so on) are powered by Class D amps. And I don't think you can ever claim they lack grunt...