SimonK

I'd hold out for half that price or less for these - certainly I got an identical 2x10 a few weeks back for £40, and a 1x15 a year or so ago for about the same. Mind you I will vouch for the sound of the combination!

I'd be willing to pay for the cultural experience of playing in a pub/venue like this - although I might want to stipulate at least one dog in attendance, and perhaps a domestic occuring at somepoint during the set?

...err.... nothing to see here thanks to the edit button Funny you said that - I was thinking of ordering some Kawasaki 777 to spray the inside rather than black... apparently that's what they used originally...

Get the right tool for the job and everything happens much quicker! Had to stop because of the neighbours, but tomorrow I will get the last bit of bracing out, then do some surgical cutting to try to get some straight lines again. Then it will be sanding and spray painting to hide the scuffs and cuts in the tolex. I'm keeping the central bit and the tweeter for looks.

I know it's cheap and cheerful but the "normal" setting on an EHX bass big muff works for me - used it over the weekend and was very happy that both dirt was added and the bottom end presence was still there (albeit I only use it on a couple of songs so wouldn't call myself a connoisseur of driven bass sounds). Simon

This thread just emphasises the knotty problem that is monetising music. Only a very few can make money, for the rest of us it is a hobby, and yes while we do need to be alert about others taking advantage, for the most part small venues and pubs are also struggling to survive. As I keep telling my kids, the most likely way to make money in life is to do well at school (in STEM subjects).

When I was a youngster I used to take it as a matter of pride learning all the tutorials in Guitarist magazine... until bloody Guthrie Govan became one of the tutors. I can still play about half of the piece that destroyed my ambitions to become a lead guitarist...

I agree - that would feel a bit odd to me - but not the other way round!

It's a performance - so long as they put on a good show who cares! I do admit, however, that it's not fair to call yourself a live act and then mime playing, but so long as the vocals and maybe lead parts are live that's probably enough to inject the energy of a performance into an event.

...and today was all about realising that I need the right tools for the job - namely an oscillating multi-tool that can cut out the bracing inside. My mini circular saw did OK getting the outer bits off but seems I will need to borrow something to get the rest out:

Here it is from last weekend (top - a 1048H) with the much cooler 1015H "stack in a box" that I needed two of the 10s for (the other two are destined for a 2103x which is probably the most sought after of old TE cabs):

The back history is on the thread linked below. Basically I've been buying super cheap TE cabs and trying to repair them. I needed some genuine TE Celestion speakers for repairing two classic TE cabs, so picked up one of the newer Peavey made cabs for not a lot (£90) as a source of speakers. So with an empty cab, rather than chucking it, I thought I would turn it into maybe some drawers or a cabinet especially as the design had a split grill making it ideal for maybe two drawers...

I think it depends if someone is trying to take advantage. I used to do loads of wedding gigs and would happily do it for free if it was someone I knew. If it was someone I/the band didn't know that was bit different, albeit even in these cases it would almost always end up in a loss (certainly compared to what we made in our day jobs), but a loss we didn't mind too much as it was a hobby and at least the money made us feel wanted. I don't do many (read none) at the moment paid gigs. Thus said if it was for a pub/bar that I knew was struggling to remain a venue for live music I probably would do it for free to support live music. However, an interesting nearby gig for me is at a professional cricket ground on match days. They have live bands throughout the day, and it seems pretty much the case that if you put a band together and audition it's not that hard to get the gig. BUT there is no way I would do this for "exposure" given they are selling £6 pints at the bar and tickets are £30+ to get in! Also they only want covers. But all the above is based on me having a different day job. If music was an important part of my income I wouldn't do any of it for free.

Been using one of these in my guitar rig for a while now. Awesome feedback at bedroom volumes!

Ooh!

Alternatively this is on ebay at the moment? 😈

It's a shame you are on the other side of the pond as I have most of these cabs sitting around in various places - thus said it makes a pleasant change to hear someone in the States struggling to get hold of music gear as normally it's the other way round - certainly for many of the bigger brand names where there is just a lot more available on the second hand market State side. I've looked at shipping options before (both ways) as I have family in the States but it almost always works out as a couple hundred £/$'s which is often not worth it for second hand gear. Regarding this thread, I think it has been interesting for me to look closely at similar cabs across what I think are three different, original UK made, Trace eras. Certainly it is easier to identify the later Peavey made Trace Elliots vs the carpeted SMX era (subseuqently sold to Kaman and then Gibson), vs the previous "original" Trace era's, but within this latter group I think the grills are helpful for identifying between series IV, V, 6 and early non-carpeted SMX. Despite what I said in a post above, I think you have a 1818x series V and 6, whereas the one I have is a slightly older IV based on the grills alone (and port position for series 6 onwards).

I'd forgotten about this thread, and now bought a further three more cabs since my first "fail" on 11th February... certainly much happier with having the cabs and not being in the abstinence club!! 😈

Not according to the following thread! I like single use pedals as they often do one thing much better than the multi fx units (and have simpler controls). I'm just after a new synth pedal at the moment, and while leaning towards the EHX mono-synth, am always after new ideas!

ooh synth with bass - tell us more - which pedals do you recommend?

Haven't seen that before - I think the tweeter looks retro-fitted as I can't see anything like that in the catalogues. BTW the more I look at the pictures the more I see differences. Based on your latest pictures the grill on the older of your cabs looks slightly different to mine in that in curves over at the edges and doesn't seem to be held on by wooden battons. Thus while I am convinced mine is a series IV, I wonder if yours is a slightly later series V, still with the ports on the bottom. I think that would definitely date it mid to late 80s, but before 1991 which was when series 6 came out (with the port moved next to the 10).

Trace Elliot ELF everytime - you can also use it as a DI box!

So mine has the two ports at the bottom, and I think is actually the one labelled 1818x in the picture below from the Mark IV catalogue (I've zoomed in and think this does afterall have wooden strips holding the grill on). Looking at the later catalogues it looks like the 1818x were then changed to have a single port, and a full metal grill certainly by the time you get to series 6 (1991?). I've not seen any reference to "1810" in the catalogues I have. Also as I have presumably one Fane and one Celestion, either someone changed a speaker at somepoint, or maybe mine came from a period when they were changing speaker manufacturer? So my current guess is that your cabs are both 1818x's, but one is a series IV like mine from the 1980s, and the other a series 6 from the early 90s. Series IV: Series 6:

With thanks to my electronics mate we spent the afternoon flipping speakers: The 4x10 has now been disembowled awaiting it's fate as a piece of furniture, while the 1015H now has three new (to it) genuine TE branded Celestions and is back to sounding awesome! The other two Celestion 10s will be going into the 2103x to get it back up to its original glory, but we need to get a new attenuator built first.