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I'm not sure how interested anyone will be in this cab but I'll offer it up for comments and questions in the hope that some of you might find it useful. At the recent South West Bass Bash I demonstrated just about the simplest way to self build a bass cab. I took 42 minutes from the first glue to a working cab, my aim was to demonstrate just how easy building your own cab can be. It was really just built for a demonstration and I didn't expect to use the cab much but it turned out better than I expected, so I thought I'd share the design. This cab is effectively the little brother of the cab I designed on here a couple or years ago, 14kg, 350W, 122dB and costing about£150 to build. You can find the information here https://www.basschat.co.uk/topic/227904-1x12-cab-design-diary The original cab was a 50l cab based upon the Beyma SM212 driver and designed to produce lot's of deep well controlled bass with a neutral uncoloured response, several people here have built versions of the cab and I've been gigging it for two years. My problem with the original cab has been that in rooms with poor acoustics there has been too much bass and I was tending to dial down the deep bass and boost the upper bass. It sounds great in non resonant rooms and out of doors but has way too much bass if you are shoved into the corner of a low ceilinged room. Since I had promised to demonstrate a cab build anyway I thought I'd squeeze the Beyma into a smaller cab which would reduce it's bass output but give it a 2dB boost in the lower mids/upper bass which I thought would help cut through in difficult spaces. UPDATE It looks like Beyma are about to pull the SM212. Coincidentally I've just been given a Beyma 12CMV2 to try in this cab, it has the same magnet but with a heavier cone, stiffer suspension and a new voice coil. It also has a pressed steel chassis and is considerably cheaper. The good news is that in this cab it actually sounds better. The bass response is basically unchanged, but one of the frequency anomalies of the SM212 has gone and there is a broad boost in output in the upper mids which makes the sound lighter and more detailed. I'm still investigating and haven't tried it at a gig for COVID reasons but I'm happy to recommend this speaker if anyone is thinking of a build. If I get more information I'll put it here. If you do fancy building one yourself then the panels for the cab are 2x 374mmx290mm, 2 450mmx 290mm and 2 450mmx350mm (all 12mm ply) the front baffle is set back 30mm to allow for the grille so internally the cab is 350mmx450mmx236mm. the ports are made of drainpipe/downpipe which is 64mm internal diameter 160mm long You should be able to build it from these dimensions and the video. thanks to WoodinBlack for filming this. I loaned the cab to derreybass who has written a review, many thanks to him too. I'll save a space under for the review and put up some more pics when I get my upload problems sorted. Thanks also to Mrs Scrumpy for lunch which is far too obvious in the video

Many years ago the good lady wife and I holidayed in Venezuela. Having bounced around various heritage sites we fetched up in the Venezuelan capital and discovered that our hotel was overflowing with tubby, middle-aged male Brits, these being industry delegates on a 'fact-finding trip' organised by the British Meat Processors' Association - the trade body for UK slaughterhouse owners. That evening the hotel mounted a 'cultural celebration of music and dance' in the main bar and it soon became clear that the British abbatoir chaps were far more interested in the free aguardiente (a local rum) than upon the folkloric aspect of the night's entertainment. Eventually a handful of them invaded the stage, seizing from the outraged performers various items of percussion the better to accompany their chant of 'I'd rather be a Turk than Venezuelan'. Fisticuffs ensued, the police arrived etc. Next day the English-language newspaper Correo del Orinoco carried the headline: 'Knackers With Maraccas Cause a Fracas In Caracas'.

haha - don't overestimate my abilities I put the pieces on the carpet to see what it would all look like in scale. A bit dark but I am actually pretty happy with this: Nothing is specifically lined up here, just moving things around to get a general feel of it. And no, I am not going to use 5ps for the controls, just needed something to mark out the buttons. Although now I look at it I realise that if I do it in that pattern they would have to be parallel with the two edges that they run along or it would forever annoy me.

I always make sure to see Jeff when he comes to Milwaukee. The smaller the venue the better. Jeff played the rather small Turner Hall ( an old gym from the 50s). I arrived early, real early walked in on their sound check. Here I am, alone with Jeff, Tal and Vinnie. When I realized what I had done I freaked out , turned around and left before I got the boot. Great night, great show, somehow I ended up standing in front of the stage with Rick Neilson from Cheap Trick. Blue

I've been in covers bands for 50 years and could probably play 90% of the numbers I've played over that period. I put 200+ in the poll however, you wouldn't want to bet on me remembering the first vocal line of any song I'm singing, or why I've walked upstairs 😂

if he's a really good front man he's probably a narcissist, most are drummers that don't drive aren't a problem as long as someone else is happy to transport them and their gear around, otherwise it is a no no for me as well

You could get an old Diesel cab for not very much. Ok, a bit heavy but they're awesome cabs. Here it next to the Subway 15s that replaced it (eventually).

So I bought a new router bit that has the bearing at the end, as the one I had was only really short. There were some really cheap ones but I got something that seemed decent, and god it is sharp. Used it on the other side of the wood and what a difference it makes. No resistance at all and the edges it makes are smooth, rather than rough like that top. Wish I had shelled out for the first half. So the outline is done, and although it is a little rough in places, where I can file it down, the only place it is bad is on the top horn, where unfortunately a piece of wood chipped out on the overlap. Might just round it off a bit more. It is wider than it needed to be which is lucky as it needs a bit of work. But in general pretty happy. Will spend some time getting the sides smooth the old fashioned hand way, then on to the scary bit of cutting out the neck joint, pickup holes, electronics and making the bevelled bits, the arm dent and stomach bit!

Let us know how you get on. The fact that the drummer still hasn't got back to you doesn't do him any favours. In my opinion, you should walk as it sounds like you've got all the skills and you're doing all the work. It's bad enough when you have one passenger in a band - but if you've got two or three, there's something very wrong. And that's without mentioning their musical competence, or lack of it. Life's too short to pander to flakes and fantasists. But as I said, just my 2p. Play it your way for sure and good luck.

Yep so did I.

no ones doing a wedding for 200 notes Phil !

I think that making "affordable instruments" is part of Gibson's problem. In addition to the leisure brand acquisitions referred to above, they appear have spread their core business too thin, trying to appeal to everyone. They make solely in the USA (and fair play to them for that), pay people proper wages and as a result, are never going to compete with far eastern manufacturers who hire children, pay them in bags of gravel, don't have to abide by any workplace or materials regulations, etc, etc. When I was young (a loooong time ago), a Gibson was something you aspired to owning. I saved up for several years to buy my first Gibson instrument. Now, every shop seems stuffed with them and they are trying to sell at all price points. They should go back to making things that are special/desirable and leave the entry-level instruments to the mass producers, even if that means, as it undoubtedly will, that they become smaller (and also leaner and fitter). Just my opinion, of course.

It is frustrating, but not everyone is like that. I'm not dissimilar to you - own a high quality PA and am on the case when it comes to business issues and I've been in that position. There are some who view someone like us as a nurse/nanny/skivvy and try to take advantage. It's the same in most areas of work - there are people who take the lead and those who tag along and do the minimum. I don't think our advice will change anything (it isn't as if the band members are likely to say "The chaps on Basschat agree with you, so we'd better pull up our socks", after all), although I appreciate that you are probably looking for a bit of a confidence boost or confirmation that you are not being unreasonable (if what you say is true, you are being very reasonable). That's fair enough, but you don't have to answer to anyone but yourself in the end. I'd advise telling them exactly what the problems are for you and what you expect them to do to put it right. Don't take no, or even maybe, for an answer. If you go, they'll have no gigs and no equipment, so make that clear to them. Draw up a list of agreed goals/changes to the way things are and make them commit to them. If they won't do that, walk. As others say, with decent equipment and business sense, you will be an asset to plenty of bands (I'm assuming that you can play a bit, too, of course). It may be tough to be without something in the short term, but you'll be glad you did it later. Bon chance.

You can't lose IMO. I've just taken my 80's Arpege out for a play; criminally it's been in it's case for about four months unplayed - it was still in perfect tune! That Excess is stunning.

I should have said ' shape up ' I've lost the ability to type the English language

That's about as diplomatic as you can be. If they don't up shape after that, have it away on your Nikes

Update: I have gone with my gut and the majority here and sent out a message on our whattsapp to say that I am not happy with our current situation and we need to meet up to talk rather than say nothing and walk away. I have had some responses from the singer who seems worried but nothing yet from the drummer yet.

You're clinging onto the band because at least its a band and the' in no band' wilderness is a depressing place to be if you have no immediate direction. These two idiots serve only one purpose in your life right now and that's to make sure you don't get any better at playing bass by restricting every possible positive bass playing experience you could be having elsewhere. Bin them with immediate effect and get on with your life. Use this as a what not to do in bands learning experience.

And as I said, your drummer is a reasonable exception. As someone who relied on being driven to rehearsals by a bandmate with my bass gear for a few month before I passed my driving test (I hope I behaved very professionally) perhaps I am being too harsh.

In which case it should be renamed "pbassspecial and the dreamers"?

In fairness, that's a generalisation, and also a bit harsh. I played for years in a band with a drummer who did not drive, due to his eye sight. He was a great drummer and a nice guy all round. The other band members and I, shared the transport duties. I would prefer a non driving drummer with a pro attitude over a driving one with a bad and lazy attitude.

Sounds like a case of sack it off. You have a PA. You are a very attractive prospect for existing bands... or in an ideal position to start again and be more critical when it comes to hiring. Life too short for that kind of shizzle. Enjoy the inevitable bad mouthing though if you do decide to uproot.

Or, alternatively, chin both of them.

This is easy... Drummer = c*** Singer = c*** ...any drummer who doesn’t drive isn’t a drummer, they are a royal pain in the a*** and that’s before any of the other negative traits you mentioned. Embrace the C word here and walk.

I'd quit, non-driving drummers can be a real pain, means they aren't responsible for getting their own kit to a show, so they get sloppy, and not driving can mean they'll drink & smoke more than is good for the music. I'm slowly stepping away from a band I've been in for the last five years as this becomes more and more of an issue.

I think the original question should be... how many songs that are not derived from a standard 12 bar blues progression can you play...?

Leave. I made that decision as soon as I reached the "Drummer doesn't drive" bit, let alone the rest. I don't care if it's Dennis Chambers - he transports his own frakking kit.

I really couldn't be in a band which is named after one member...stinks of narcissism and egotism.

Now and again I get the Dubster out..

1. They must have a plan 2. No "classic rock" 3. All gigs are paid 4. Gig at least 4 x as often as they rehearse. 5. Bloody good drummer 6. No divas 7. Everyone pitches in with set up and tear down. 8. Whole band continually aims to improve.

Thanks!

yeah i had spotted that, it is a silly price and very tempting

Glad to see you haven't lopped an arm off with that router yet. I only used it once and it scared the pants off me. I reckon you're going great guns. keep it up. Measure 4 times and cut 3.

Indeed H, they were. I also did my secondary schooling at South Ockendon

For me, it has to be the Vigier every step of the way. The stability is 2nd to none and if you want a modern take on a classic design, the Excess is the one. The pups and electronics are stunning and versatile. Everything I need is in this bass. It completely stopped my GAS so much so, I ordered another I play the 5 string version and the clarity, playability of these basses surpasses any thing I have ever played before. It did take me a small time to get past the neck relief "thing" but now, I honestly don't think I could go back. I used to take other basses on tour with me in different countries and worry every time that there would be a neck adjustment upon arrival. That wasn't always the case but 50% of the time, there was. With the Vigier it never happens. That consistency for me, is worth it's wait in gold. I've had all graphite necks but they felt soulless. With the Vigier, you get the feel of wood and with the stability of an all graphite necked bass. I play in a rock / progressive band and the Excess is dream in that situation but I can see it covering any style of music. It is punchy, clear and cuts through any mix, beautifully. Try one, you will not regret it

It does sound good BUT he still has his amp affected (not flat) before the dUg pedal hits it. I'd much rather these sort of reviews be done straight into the effects return or better still into a poweramp.

Is this another bassferret thread?

I must have about 1000 Gregorian chants down.

I'm afraid it's a decision for you, we've all got shortcomings, some peoples you can put up with, some peoples you can't, all bands have stuff going on but only you can decide if it's piissing you off enough to leave

If it were me I'd leave. Highlighting the reasons above and being open to a 'please don't go' conversation

Hundreds... thousands maybe. Been doing it a long time and once they're in my head they tend to stay there. One thing to bear in mind is that people think in different ways. I can remember patterns, numbers and music really well but I cannot remember visual things.

I can play the ones we currently play in our set. How many I have *ever* known is another matter. If I don't regularly play songs I forget them. I'm envious of players who seem to remember every song they ever knew.

Maybe Robert Trujillo most of all. Ever since Lights, Camera, Revolution! He literally changed my world. Honourable mentions go to Les Claypool and Jo Bench.

You won't be disappointed, the Krell looks cool and is really ergonomic too (much like all of Alan's designs). If you can stretch to it, go for the MC Series pickups too, they're are amazing. Can't wait to hear how you get on. I'm expecting another delivery from ACG Towers tomorrow Eude

Agree with you Pete. I was in a well known function band for nearly 20 years, and the golden period for us was mid 90’s to around 2006. After that we started getting fewer gigs, and the bands in the same market around here ( Yorkshire and the North) suffered the same. Not only that, but fees either stayed the same or even dropped, causing the band to eventually call it a day ( after I left in 2010 ). I understand there is still work out there now, but not the same as before, with a DJ often being the only music provided instead of live bands.

Don't know how I didn't find this thread earlier... I've been thinking just starting work on a few similar mods to my PB-50 since I got it last year - all these really nice finished basses have inspired me to get on with it. I'm planning to start with just a headstock re-shape, and (now I've seen how good it looks) a bit of a vintage tint on the very white neck to go with it. I'm also deciding whether to get a clear scratchplate made up - it was only when I stripped the thing down I realised how much I preferred the look of the body without, but the holes would annoy me too much to leave it as is. I did a quick image search and found this Italian site with a couple of pictures where someone has whipped the scratchplate off - unsurprisingly mine looks exactly like that right now... http://www.suonoelettronico.com/harleybentonPB50SBVintageSeries.htm I've already confirmed what everyone else says - that decent flats are the future for this bass, and I was able to set it up 'acceptably' without changing anything else. The one weakness I've found is the tuners... the ferrules were all loose on mine, so after a while they were all sort of slightly pulled out, if you know what I mean? I think I can secure them by wrapping them in tape before reassembly, but it's an annoyance, and I don't really want to replace them since it held in tune fine. All in all I think that a few simple mods will make this a spot on backup bass for me... although some of the ones people have done here would be #1 basses.

Can you read SPL charts? This compares response of a Simplexx 15 sealed and ported with the Eminence BP1525 driver. Note that if you want to get the same response from the ported as sealed you can, just back off on the bass EQ, which also reduces power draw from the amp. The chart only extends to 200Hz because above that they're identical. The ported advantage in low frequency sensitivity is there, but it's not huge. Now consider this, a maximum SPL chart, which takes into account the response, the driver thermal power handling and driver excursion limit: The sealed cab doesn't even come close down low. The difference is attributable not only to the output added by the port but also the reduction in cone excursion that porting results in, and it's excursion that primarily limits how loud a cab will go below 70Hz or so, not the thermal power capacity. You can get a ported cab to sound like a sealed cab, but you can't get a sealed cab to deliver the low end output of a ported cab. There will be those who say otherwise, but in controlled double blind listening tests when EQ'd for the same response listeners are unable to tell the tone of one from the other.