Chienmortbb

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.

If there were a value to idiots we could wipe out the National Debt.

As The Swallows sang, "It ain't the meat, it's the motion".

I don’t have the imagination to think about that.

In general, the Pro versions of the Fane Sovereigns are on cast Aluminium chassis rather than the pressed steel of the non-Pro versions. The cast aluminium chassis are preferred in larger diameter drivers but for an 8". IMHO, there is no benefit. In fact, the cast aluminiom Pro chassis increases the weight somewhat. So in conclusion, get the non-pro version. Fane Sovereign 8-225

As porn, Ampeg gear has no effect on me.

Those pictures don't do anything for me. Am I gay or a closet guitarist?

I think the answer is yes, but. Going to 9mm will require a lot more thought and bracing than 12. If you do build a cab, the best thing to do it feel around the box while playing various bits of mosaic through it. You will soon find the resonant points and hence where to brace. Thinner panels may not be suitable for baffles. The driver cutout plus the extra weight of the driver means is more stressed than the other 5 panels.

I believe Barefaced use 9mm ply on some cabs but the bracing they use is very complicated. You can also. Reduce the weight by changing the species of timber used in the plywood construction. In the Basschat Mk3 12” cab, the prototype* was built using 18mm spruce but the final cab used 15mm Italian Poplar. You also need to look at the number of plies. One Italian poplar we found had 7 while another had 9 for the 15mm sheet. More plies give a more rigid panel. Of course the lighter the panel, the softer the wood so there is a trade off between the rigidity and strength of Birch down to the lightness of Spruce or Poplar. Oh course the ideal cabinet material is concrete with MDF being a close second. However I would not recommend either Thor a transportable cabinet. If you can cut the sheets yourself, some builders merchants have poplar ply faced with hardwood ply on the outside. I know @Phil Starrhas seen it at Jewson but they do not sell the small panels and do not usually do a cut to size service. It is also of Chinese origin so weather rather quality stacks up against Italian Poplar I do not know. *actually the prototype was for the Mk2 version

You would think that your ear canals go inwards but in fact they go down at an angle towards the your face. Think of the angle of a headset mic. As for which is left and right, I need to get mine out to check later.

You are making me miss my old Ramsa DA7. I sold it when some years ago, but now wish I had it back.

Lidl have clamps in the Middle at the moment😄

Here is your problem. Aliens inhabit that planet. Seriously though it’s weird that anyone would doctor a classic like that. Nothing more to add but hopefully the bump might elicit more info.

It really is tiny Matt. The grille was a bit of a cheat. It comes from the original Ashdown combo. So the Ashdown is currently grille less. I have used a company on eBay before for my grilles. I will look them up and see what they can do. I had a play with it and the Bugera amp last night. Apart from the volume, obviously I can’t use gigging, I had to add a bit of bass but as I usually cut the bass slightly, it was still only at 12 o’clock.

You know that bassline you thought that you would never get right, but you kept plugging away? That is the principle I am adopting. Of course what I say is true (no really) so no debate.

Most class D amps use a type of modulation called Pulse Width Modulation. It is more a radio modulation technique, think of AM, FM, PWM. It is not strictly analogue and it is not digital. It could use a digital control circuit but the amplification is not digital. At the time Class D was developed, we already had Classes A, B and C. Hence it was called Class D. Back on topic please.

It is in the garage now and I can happily take some pictures.

I have not read the whole thread but will make 2 comments: Thomann supply to the UK duty paid. They are registered for VAT with HMRC and collect any VAT/Duty, paying HMRC directly. So there should be no Customs and Excise checks/charges/delays. DHL are the worst for importing from the EU. No tracking to speak of and no customer service.

However, as I have never bought from them, I cannot comment on their service,

I cannot attest to BD’s service and despite the honesty of all BCers, the comments on here cannot properly be calibrated. You have to make your own mind up. My beef with them was a criticism of a manufacturer that they did not sell, that seemed spiteful. One of the things I learnt in my working life was never to criticise your competitors. If you do, you may allienate all their happy customers.