Chienmortbb

The Harley Benton seems OK . I have had one for about 6 months https://www.thomann.de/gb/harley_benton_airborne_pro_5.8ghz_instrument.htm

All part of the service😇

You have not removed enough of the carbon shield I suspect. Modern instrument cables have two screens, a copper one and a conductive PVC. it is the conduct of PVC that stops crackles win. Cables are moved around. Conductive, PVC is almost always black as it consists mainly of carbon, and it needs to be stripped away from the cable that goes to the tip of the Jack Bug. The inner cable usually screened with either white or a transparent insulator. you need some clear or white insulate are showing beyond the Black screen. If not you will get a signal but it will be low or muffled. See picture below. I have repaired a number of cables made by BBC members where this mistake has been made.

I recently made a couple of those for @andydye at 60cm or just short of 2ft but of course it depends on where your output Jack is situated and where you site your transmitter.

Just shy of 2.5ft (whatever a ft is)

Damn you. I will have to look at it now.

Ditch Chrome?

When I modified the Ashdown After Eight, there was no room to put the port on the baffle or the back. So it is side ported. Thinking outside the box there. In fact, the port could go outside the box, but it would look as fugly as a Bose "sub on a stick" (joke).

My comment was slightly provocative, but I could easily go ampless, but I do deps for a few local bands and none of them have a PA that could handle bass. I think of it like chopping off the sound box on an acoustic guitar. Your amp, whether through FOH or backline, is your sound box.

The problem with Cat 5/6/7 is that it is designed to be used in a static environment. Tour grade Cat 5/6/7 cables are expensive, and I would not try to make an RJ45 terminated cable. Sommer makes one, but it is expensive compared to normal network cables. PM me for a price or other lengths. Touring rigs would use racked systems with Neutrik EtherCON connectors but that increases the complexity and the cost again. About an extra £15 per end.

Wasn't it Gibson?

I wish I could get my dinosaurs to go this way. The singer will not give up control of HIS PA. The Rhythm guitarist is one of those that can walk into a Pub first and get to the Bar last, so the chance of them buying or buying into the IEM revolution is very low. IRoNically the drummer (Ron) is the oldest and most likely to agree.

Firstly. Let me say that everyone should have an amp, even those that go "Ampless". To my collection: Bugera Veyron 1001M- The FET one. Ashdown Retroglide 800 HH VS Musician Bassamp 100 HH Bassamp 100 The first two are my working amps and the HH amps are for nostalgia. I must get the HH's out and check them over.

My goodness you are good.

if it is leads you are after 😀 I am your man.

Ah, sorry if I misled anyone.

Maybe ask Ashdown to have a look at it? They are servicing Trace Amps these days.

I have been using Clean Spirit recently on all sorts of things. https://www.diy.com/departments/diall-clean-spirit-0-75l/1059029_BQ.prd It is not as good as a solvent based white spirit, but for this type of job it's ideal and much kinder to us and the planet.

I have had few problems with "dirty mains" in the UK, and never at a pub. Most noise is generated by pedal power supplies or pedal interaction. Of course, you also contend with other people's equipment. I had a noise, probably about 1KHz, through my cab and it turned out to be a combination of my pedal power supply and the connection between mu TC Mic Mechanic (you did not know I could not sing), and the PA mixer. When the TC and my other pedals were powered from different power supplies or batteries, the noise was not there, and I could not reproduce it at home. So keep an open mind and investigate before blaming the mains. It may also be worth buying a socket tester https://www.screwfix.com/c/tools/socket-testers/cat7910008/

I was hoping @Bill Fitzmaurice would reply= and I agree with him. Likely a custom Kappalite as supplied to a number of cabinetmakers.

Only the first prototype was spruce, Phil. It was what I had in my Garage. The Beta versions were made from 15mm Italian Poplar. We decided early on that Birch was too heavy. The best thing about the spruce ply was we managed to produce a prototype that proved the concept, using existing materials (and it was cut with a hand saw). That ensured that we went forward with the beta versions. In my opinion, the best cabinet material is concrete, followed by MDF* then Birch and the other plywoods. Concrete (yes, I have seen and heard one) and MDF* are too heavy for transportability. Birch on a big cabinet is too heavy if you carry your own gear, are over 40, and you have a 2 x 15 cab. *Trace Elliott's speaker designer (I do not remember his name) swore by MDF, but really only HiFi speakers now use MDF as they do not need to be moved,

The Basschat MK2/3 prototype cab was made from softwood(spruce) ply, very lightweight but also very soft. The later kits were made from Italian Poplar, a good compromise between weight and durability. Watch out for the number of plies though. The cabinet for the Fane 8-225 that a @Phil Starr made for me was from 18mm ply that he had lying around. I am not sure what it is.

She is a keeper!

Having had the B1 ON, B1 Four (and now the B2-Four), I disagree. The only effect missing from the B1 ON is the Organ and that was not top of my list of effects. The tuner on the B1 Four is the best tuner I have used live. The combination of the speed of settling and the clear LCD and LED displays are really useful. The addition of Volume Bass Middle and Treble controls is a big improvement and many of the effects were improved. The only thing I bought the B2 Four for is the DI out. It saves me taking another box (DI) to a gig.