obbm

Just as a visual comparison here are 4 types of cable. Top left is 4-sq.mm. speaker cable Bottom left is 2.5-sq.mm. speaker cable Top right is Klotz AC110 instrument cable Bottom right is Vandamme Classic instrument cable. I wouldn't/couldn't run a 100-watt light bulb of either of the instrument cables so why would anyone think they could run a 500-watt amplifier with them. The 2.5-sq.mm. speaker cable is great for guitars and adequate for bass however the 4-sq.mm. which is designed for sub-woofers, has a considerably lower resistance which helps keep the amplifier's damping factor high and allows to amp tighter control of the drivers.

[quote name='KevB' timestamp='1445427062' post='2891336'] Does this apply to extension speakers from combos as well? I suspect I've been using a short instrument lead to connect the ext cab from my Trace combo for I don't know how many years with no issues though I'm not absolutely certain it's not a speaker lead. [/quote] Yes it does. The power stage of a combo is the same as the power stage of a head or a stand-alone power amp. They should all use twin-core cable of an appropriate cross-sectional area conductor. You might just find that by using the right sort of cable improves your tone.

[quote name='Marc S' timestamp='1445423420' post='2891305'] I'd heard this too. But just wondering why, and what would happen if you used an instrument lead? [/quote] Like all things electrical there is the right sized cable for the job. Instrument leads are designed to carry small signals, i.e. miilivolts and milliamps. Power amps output large signals, i.e. tens of volts and several amps and need appropriate sized cables. By using an instrument lead to connect an amp to a speaker cabinet you potentially run the risk of overloading the conductors, burning out the cable and short-circuiting the amplifiers output stage which results in silence, blue smoke, a smell of burning insulation and a hefty repair bill.

Has anyone got one of these? If so, any comments.

Welcome.

Will just bought some knobs and a control plate. Couldn't have been easier. Always nice to sell to a fellow countryman. cheers Dave

[quote name='Dad3353' timestamp='1443351216' post='2873989'] The Xenyx 1002 has a 2-track input using phono sockets. With levels adjusted from the source (volume out from the laptop..?), no adaptor would be required. Just sayin'. [/quote] Indeed unlike some mixers this has a "2-track to Mix" to allow the 2-track input to be used an additional source, so just 3.5mm stereo to 2 x phono is all you need Louis.

[quote name='louisthebass' timestamp='1443339972' post='2873879'] Ok, that's cool - I'll look into that and pay a visit to my local Maplins. Thanks to everyone who's replied [/quote] If you draw a blank then pm me.

Looks like that mixer has 4 stereo inputs all on 1/4-inch jack. One of those would be ideal for your PC. What you need is a stereo lead which is 3.5mm jack to 2 x 1/4-inch jacks. These are difficult to find so an alternative is a 3.5mm stereo to 2 x phono lead and a pair of phono to 1/4-inch jack adaptors

Today's Cab Shoot Out at the SE Bass Bash got me wondering if one gets conditioned to certain sized speakers. For some years now I have used cabs with 12" speakers, I have briefly deviated to 10", 15" and even 5" but I always find that the sound that pleases me most comes from 12" drivers and I invariably return to using them. Have I become conditioned to 12" and unable to accept anything else or is it something more fundamental in their sonic characteristics?

Thanks to all. An excellent day.

Which mixer do you have Louis?

Well Bluejay I've finally decided what to bring on Saturday. Along with the two Sadowsky Metros and the Westfield Mini-P there'll be the Mesa Prodigy, a TH500, a pair of PJB Compact 4s plus an EH Mini Qtron for the raffle. I also might have a few cables and a few used connectors for sale.

Sold Alex a Hipshot DeTuner and a couple of speaker cables. Flawless transaction. Highly recommended

+1 for the Sony DWZ.

You could try Cadillac Guitars (Robert van der Linde) in Farnborough. Although he's not done any work for me I do know he did an excellent complete refurbish on Paul Geary's SR5 last year. Hopefully he will be at The Bash on the 26th.

Falls in the same category as directional speaker cables and super-dooper mains leads.

[quote name='dave_bass5' timestamp='1438011486' post='2830830'] I should add that im hoping to get one of the new Tech 21 500watt heads later this year, once our gigs pick up. Ill be able to stop using the VMTD as well then. [/quote] Just returned mine to Thomann. Just didn't get on with it. Seemed under-powered, Will continue with the TH500 for the time being.

Very interesting LS. I started with the Beeb and then was with Thames for a while occasionally using VR1200 or VR2000 VTRs. Later I worked for Ampex when the AVR-2 was current and then joined a fledgling Sony Broadcast and was involved with C-Format, Betacam, Betacam SP, D1, Digital Betacam and Betacam SX. Thinking back to early years with the BBC, almost 50 years ago now, there was a device in the radio programme path called an ASN, Aural Sensitivity Network, which rolled off the LF and boosted the mid-band in order to make speech more intelligible. I seem to remember that is was supposed to be removed during music but not sure that it ever was. I still have a piar of LS3/5As, which I don't use any more, but they lacked a lot of LF as well. As for the chap with his own VR2000,that doesn't surprise me at all knowing some of the guys who worked in VT.

[quote name='Phil Starr' timestamp='1442219313' post='2865139'] Other people have assumed that there was a deterioration in the sound when it was sold/licensed across from the BBC to Yesterday. I assume the BBC would have digitised the material from their masters and this is what was sold, I can't imagine they sent the master tapes. [/quote] Firstly the BBC would never let go of the original master tapes. As the artistic and financial values of archives were fully understood there was a great move to transfer away from Quad tape to newer formats. Quad tape is very expensive and can deteriorate if not stored correctly. Also the Quad VTRs are delicate and complex bits of kit and the guys who knew how to get the best out of them have mostly retired. In those days it was an engineer per machine. It could well be that some of these programmes have been transferred several times before ending up as a digital file on a transmission server.

[quote name='Slipperydick' timestamp='1442228509' post='2865258'] I mean mono as in monaural, not monochrome. When did nicam sound start ? [/quote] I think it was 1991

[quote name='Slipperydick' timestamp='1442184537' post='2865038'] This... Probably. The simulcast 'In Concert' shows with the sound broadcast in stereo on Radio 1 (Tellys were all mono back then) were better, but not great by modern standards. [/quote] First Simulcast was 1974. BBC2 was colour from 1967. BBC1 and ITV in colour from 1969.