Chienmortbb

It is like cables. I used to like the very bendy cables from Van Damme, they came in colours and didn't tangle. However I had the core break in two separate cables. As I have started making cables for people my main concern is reliability and of course a wireless system and a cable do the same job. It is more hassle that it's worth to chance it with a cable so the same should go for a wireless system. In my former life I used many wireless systems and the professional ones from the big names all worked well under the most. arduous conditions. One day we had a problem at an exhibition with a mic working in the free band. We had to borrow a mic from one of the major brands that were also at the show. Wehad the same problem. All the free bands were swamped. These days the free bands are mainly 863-865MHz FM and 2.4GHz Spread Sectrum. Digital TV and 4G interfere with the FM bands and wifi/bluetooth can smother the 2.4GHz band. Most recently, our guitarist bought one of the early Amoon systems as he was so impressed with my Smoothound. AS soon as he switched it on the Behringer Air mixer we used dropped wifi contact to the devices controlling it. Now the Behringer is very sensitive and most people use it wired with a router, but it never skipped a beat with my Smoothound. Of course if you are using a different mixer there should be no problem BUT there might be. So cheap may work for you but keep a cable handy just in case. As for the Smoothound? It works for me, has never dropped out in use as it constantly searches for the clearest channel. The reciever sits on my pedal board so I can immediately see if there are any problems. Of course in a touring situation things are different. The down sides? Max of four per stage, battery cover is a little flimsy but in all the correspondance I have had with them they have given exceptional service.

I found ground loops tp be the biggest probelm. Neutral on an aircraft is connected to the aluminium chassis of an aircraft and I found that the most troublesome. We would often house the power supply in a separate shielded enclosure.

The amps have a bit of the Ashdown look and most of the Toneman range are now on 3 months delivery, often a sign of discontinuation. No lightweights though. The 300W is heavier than the Toneman 300W.

You bring back some memories there @agedhorse. I was designing for use in Aircraft and the big problem there was keeping 400Hz out of thr audio chain, as airccraft use 110v 400Hz for the mains. It made for tiny transformers but any residual 400Hz on the audio was far more trouble as the ear is much more sensitive at 400Hz than 50 or 60Hz.

The good old TDA2030, I designed a number of specialist amps with those in the 70s/80s.

Chaos theory says that if the oft quoted butterly was directly in front of the speaker, a sunami would hit Japan soon after.

I did and was a bit surprised. Lpooks like a lovely pub. I am only jealous as we don;t get back to rehearsing until this coming Sunday.

Nice violin, what did you feed it on? (ducks and runs for cover)

Colin is very knowledgeable and even though his channel is bascially guitar he does do bass videos sometimes too.

One of the things I like about the Smoothound is that you can see when it finds a contended frequency and then that is has retuned to a quieter channel.

You basically correct and I am not trying to pick a fight. One of the problems with any instruments is the way it is played and my referal to Ian Anderson was meant to convey that. His technique, in a rock setting, is agressive and will contain many harmonics, a softly played flute, far fewer. I suspect that a penny whistle would be closer to a pure sine wave as would a human whistle. It is also worth noting that every noise cosnsists of one or more sinewaves. I should also apologise for my part in subverting the thread.

The Rapid one is only rated at 1 amp/12V. So it would not have been any good anyway. You can take out the contacts in some plugs. Can you get the PCB out? If so I will have a look if you can send it to me. I have just seen that you are on the wrong side of town. I will PM you.

The note beside the plot is telling. “Higher in the range of the flute, the energy is mostly concentrated in the fundamental and second harmonic. For very high notes, it is almost a sine wave.

The flute's output is almost a pure sinewave, unless played by Ian Anderson, and contains little in the way of harmonics so the top graph looks strange to me.

I would avoid the cheap ones, not just from Lynx, but any that have moulded plugs. That means no screening you cannot see the quality of the workmanship. The dearer ones should be OK.

Thwey look like good cables at a good price (almost too good) however the delivery charges look a bit steep.

AS someone that makes cables,. I would go jack-jack. The outer on a phono plgb is very variable in the amount of force it imparts to the socket. I have had good brand's plugs that either barely touch the outer connection of the socket or are so tight you risk damaging the socket or its mounting if you force it. Add the fact the the jack inputs are TRS/Balanced amd it is a no-brainer.

Just ordered a set. Headline pric £15.99 offered £10 but finally accepted £13.

The output from a keyboard will handle the smaller cables much better than a passive bass, however the more connections, the less reliable it is. I would go for the two TS/Mono leads.

The idea is to have a track that covers the whole spectrum mof frequencies/dynamics. However I would not use a Metal track at a Reggae gig.

Beyond my capabilities that,

In my early years I tested TV studio monitors. one of the adjustments was near the line ouitput transformer. The LOPT (pronounced loptee) had a 1500V RF spike on it and, if you slipped, you had a nice little shock and a little hole in your finger. At least it was self quaterizing. Now I must get on with the Combo.

Don't tell the cat what the strings are made of