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...

Ever think to RTFM? I was always rather mystified why they went headphones only for the aux input. Reading the above again, I realise that it does at least mean that you can listen to the source in stereo.

Heavy - that is all...

Quite! Speakons are very eaily servicable. Most likely, you'll open it up and one of the conductors has come loose from its screw terminal. Total time for fix, under 2 mins...

Yes, you can do a temporary repair, but the right thing to do is replace the driver. It's such a simple job. But made harder for anyone to help the OP as his cab is anonymous. Given that the cab is a secret, you take the front grille off, undo the screws/allen bolts holding the driver to the front of the cab, gently pull out the driver and disconnect the two cables running to it (making a note of which one went to which terminal on the driver, albeit that they'd hopefully be coloured red & black). Look at the brand and model of the driver, which should be printed on the back, then Google is your friend to find a replacement. Installing is simply the reverse of the operation.

And, of course, all of these are the right answer. Even if this situation is sorted, it'd cost you under a tenner, and you'd never live to regret it.

And that can be one of the challenges that can over-rule the "best" solution - disinterest from some members of the band. Not to mention needing someone to manage the mix - it's bread and butter to me, and likely to EBS_freak, but many people struggle with setting up and operating 2 vocal mics. Removing backline is a *huge* culture shift for many players, and frequently a step too far, and needs great monitoring to work. Glad those bargain 722s turned up. At that price, assuming they're in the good condition they look to be, you've got a screaming bargain - about a third of the new price I paid donkeys years ago. Hoping you'll find them night and day compared with your old Altos. Wonder if you'll go back and buy a couple more for monitors... 😉 Again, let us know how you get on.

I'll always take more headroom, with the obvious variability of different manufacturers' SPL figures. But 2dB really isn't a massive difference. Noticeable, but not huge. And, of course, you'd be daft to run two speakers just to get more SPL, it's all about improving coverage. And, back on topic on the 12s for vocal only or 15s for a full band mix - not all bands are prepared to go for the hassle of a full PA mix. An awful lot of pub bands have the simplest of analog mixers driving their vocal only PA. Yes, it might not be the best solution for the best sound, but to go to a full PA involved a new level of kit cost, setup effort, and mix/playing ability - plus transport logistics. I'm happiest in a big venue, with a fully micd/DId band, but for many pubs it's overkill and the compromise of a vocal only PA plus backline is a winner. There's also the fact that space can be at a massive premium in many small venues, so much that cab size makes a genuine difference. We're aligned on being impressed by those bigger HF drivers in the higher end ART speakers, though. They're corkers, aren't they! Though, in their 15" world, the ART 745 takes the biscuit, with its 1.4" HF driver with a 4" voice coil, using a crossover frequency of 650 Hz, compared with the 735's 800 Hz. It's quite the beast. But also in size - which rules out any of their 15" cabs for my car-based logistics, regardless of performance.

While the ART 712 is not bad, it's really worth spending the extra to go to the larger HF driver in the 732 (similar to what I have in the now discontinued 722) - and still within budget. The extended response of the larger HF driver in the 732 brings the crossover frequency down from the 712's 1,600 Hz to 700 Hz, which makes it a peach for vocal reproduction - which is the target for this thread. Not to mention a minor 2dB increase in max SPL. I listened to a whole bunch of RCF ART speakers when I bought mine, and the difference between the two 12" models was quite clear. Quite a price hike, mind, but well worth spending. From a quick look on eBay, if the location was any good for you and if you're happy with used, I'd jump on some ART 722s at only £300 each including bags like a shot: https://www.ebay.co.uk/itm/RCF-ART722-A-Active-Speaker/163809337709

Come back later and tell us what you bought, and how you get on with it!

I'd suggest that 15s are unnecessary for your situation, with kick & bass not going through the PA. You'll likely find that a decent pair of 12s or even 10s will actually sound better for vocals than you've been experiencing - and you'll end up with a smaller/lighter pack. You're aiming higher than the Alto TS, which is good. They're "OK" if you're on a tight budget, but that's all. Once purchased, you're unlikely to regret having stretched your budget for decent kit. And don't forget to budget for soft covers - critical to look after your kit! I've got a couple of RCF ART 722 and four ART 710. To be honest, the 710s come out more often than the 722s, just because they're smaller. Both pack quite a punch Speakers worthy of consideration: Yamaha DSR112 (at the top end of your budget, but top notch, sadly no 10" option in the DSR range), Yamaha DXR12 & DXR10 (a step down from the DXRs, but highly capable), RCF ART 732 & 710. The new Yamaha DZR range is a little nicer still than the DSR range, but creeps out of your budget. All of these sound great, and have plenty of guts - and will be an easily noticeable improvement over your old Altos - night & day. Above this, though, you're into some silly money, albeit even nicer performance. Try and listen to some of these if you can. They'll all do the job, but you'll be steered by your balance of ergonomics/sound/price. If you want to hear some RCF ARTs in anger, I'm in Ware, Herts, if that's any use for you? Also, while I can see the pressing need to replace broken FOH speakers, don't discount looking at your monitors at some point. Do they do a good enough job for you. And don't forget your mics, 58s do a job, but for many situations, there are better mics out there.