Chienmortbb

What do you call Dance Music? It's not a trick question, I am just interested.

Do you think this indicates that we place too much emphasis on the low end? Would a drummer with a mic’d up kit change the situation? I suspect that unless you were a reggae/dub band a good pair of 12s would be more than enough for most pub gigs.

One of us is confused. The ANT is mains powered.

I was on the committee that worked on the second revision to EN300422 (EN 300422-1?). At that time the 5GHz band was allocated solely for the use of PMSE, wireless mics, IEMs and audio links. At that time, analogue was not allowed in 5 GHz band, hence my mistake. Sadly, all the major manufacturers were there proposing different schemes and the CH69 switch-off was a long way away. For years there was no equipment made/sold for the 5GHz band, and so it became a shared band.

I cannot really blame Shure. The whole hall was flooded with 863-865MHz Wireless Mics.

@EBS_freakis already saddling up his charger (get it?) but her is my take. Channel 70- Like 2.4GHz is not dedicated to PMSE* and has all sorts of things using it. The bottom end is very close to the frequencies used by 4G/5G mobile networks, and they are notorious for overlapping into different bands. In a full stand at Poole Town, our Ch70 mic was almost useless once the mobile operators started using what used to be Ch69. We solved that problem with a Ch38 mic. However, the Licence for a Channel 38 Mic currently costs £75 per year. I have also attended an AV exhibition where Shure kindly lent us a Channel 70 radio mic. Again, it was unusable on any part of Channel 70, due to the number of Channel 70 mics being used in a small area. Channel 38 is relatively interference free except close to a big venue, i.e a West End theatre 2.4GHz has two problems, the main one being that all its channels except 1 and 13 (from memory) (memory bad it is Channels 1, 6 and 11 as pointed out by @EBS_freak) overlap with adjacent channels, so Channel 2 overlaps with Ch1 and Ch3. In contrast, 5.8GHz channels do not overlap, so even with higher use and shorter theoretical range, it is IMHO still a better bet. 6 Channel 70 and 38 are traditionally Analogue and do not suffer from significant delay. Digital systems have a delay/latency built in. If want your system to have the best chance of working, go Channel 38 or 5GHz.

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.