Ghost_Bass

[quote name='StraightSix' timestamp='1393292584' post='2378450'] I just thought I would chime in here - I am the Promethean owner who was trying out different 10" drivers in the combo, with reference to LawrenceH earlier in the thread (page 5). I used mine with a Barefaced Midget as a mighty mini stack and found the original 10" driver was a bit close to the edge sometimes. I ended up using a Celestion NTR10-2520D 10" Neo driver and it worked out very well - it also shaved another 5lbs off the combos already light weight. Unfortunately, I have since moved on the Midget (needed cash) and now use the Promethean with a cheap 2X10 so I still have a 500W mini rig The original 10" driver is this one: [url="http://www.elderaudio.com/products/Loudspeakers/LowMiddle/2009/10LB075-U.html"]http://www.elderaudi.../10LB075-U.html[/url] which seems to be the same as the current Red Sub as stated above. I have found my original driver and it weighs around 9.5lbs so the Beyma suggested earlier (weighing 15.5lbs) seems unlikely. Hope that helps. [/quote] Regarding the stock vs celestion drivers, how would you describe the tonal diferences? Just with the combo, no external cabs hooked up. Would you say it's an upgrade? I'm very pleased with my stock driver, it's loud, clear and has a good bottom end but it does have some voicing and needs EQ on the amp to sound good to my ears, is the Celestion more flat?

Looking forward to that

Can you post an impression on the Promethean vs Mibass rigs?

Thanks for the tips guys If the fuse on the ICE socket had blown i wouldn't have any power on the amp but that's not the case because it powers on and the LED's light up. It seems more like something to do with the inside of the cab that's shorted or burned and causes the amp to go in to protection on startup. I haven't had the time to open it up and take a look inside. Once i do it and if i see any sign of short circuit or burned components i'll replace them. From what i've been reading in the web this is a fairly common issue with the ART series. Some people atibue it to som faulty transistors and some say that it can be a short on the XLR input. I was hoping i could find someone on BC with a similar experience that could point me out to a couple of possibilities. Cheers

[quote name='Torben Hedstrøm' timestamp='1392805588' post='2372866'] (...) Don't get me wrong, I am sure that their products are excellent, but they are measuring themselves against corporations with million dollar R&D budgets, and production quantities that likely lowers the price pr. unit to a level well below what Barefaced can get from their subcontractors. Ofcourse they don't have the same expenses for advertising and PR in general either (they seem to be very popular without...). But still, if you as such a small company claim to 'know better' than R&D departments with huge budgets and decades of experience, I get curious as to how and why... As stated, all designs IMHO contains compromises !. (...) [/quote] Sorry for this, not directly aimed at you, but what "million dollar R&D department"? I could build a 15mm thick plywood square box with no bracing or damping inside, cut four circular holes on the baffle, cover it in carpet and add plastic corners and rubber feet. The only thing i would have to be carefull is to leave enough space on the baffle to fit 4 cheap OEM 10" drivers and make sure i stick my brand's logo very visible on the metal grille. Then i would just move it for a premium and see them fly off the shelfs. Very small investment for a big profit! Now, jokes aside and answering to your main question, i had a 2x10" + 1x15" Trace Elliot rig, it sounded immense and i allways thought nothing would sound louder but then i entered the lightweight wagon and ended with a Barefaced Super12T, it's much much louder, more defined and hi-fi and weights a small fraction of that TE rig. I also lost all the boominess i felt on stage and started to be able to use less volume on the amp but at the same time hearing my bass a lot better. Things change and technology evolves, designing a cab has a lot of factors to take in to consideration being cone size one (but not the most important by a long shot). Summing it up i'll never gonna get me a 810, i love my back and my tone too much for that Cheers

Hey, i was hoping somebody over here could give me some help. During our last rehearsall we lost sound from one of our speakers, a RCF ART312a (MK1 i believe). The speaker powers up but the limit LED stays on and no sound in either the woofer or the horn. When powering down i hear a pop from the speaker evne with the volume rolled off. We weren't pushing it at the moment, i think there were only a couple of voices and an accoustic guitar going into them. The other cab is working has it should. Another piece of information that can be related (or not), a few moments before the failure we had the mains power from the electric board shutting down (probably due to too much power being drawn from the heaters). Uppon powering up everything was working until that speaker muted. Does anybody know what could have coused this? could this be as simple as a blown fuse inside? Is there a way to fix it myself (i have a very limited knowledge of electronics but enough to be able to operate a soldering iron without getting burned... most of the times)? This is the speaker: Regards, Marco

Korg Pitchblack happy bunny here! Very accurate, fast tracking, great to see in either a dark stage or in sunlight, true-bypass (doesn't suck signal or cuts your sound in the event of a battery failure - sorry TU-2/3 users...), metal chassis, easy battery access if you use one, daisy chain for other pedals, has choices for different layouts and the pitch can be set (so A=/= 440Hz if you ever need it). Main plus, it's cheap!!!

I recently made a pause from digital amps. Having used a Genz Benz Shuttle 9.0/Barefaced Midget/S12T for some time i found myself lacking of a bit of trouser flapping low-end response. I got a Thunderfunk wich can still be fairly uncolored but still lacked some low-end (unless it was added on the parametric EQ). It sounds good but i think it sometimes lacks a bit of character (or maybe it's just not a very good match with my basses). Now i'm currently running a Alembic F1X with a class-H 1kW poweramp though the S12T and i'm loving the sound. Big, fat, warm but retaining very musical highs. The problem is that i'm now lacking that mid definition that the class-D amp gave me and the portability (2kg of the 9.0 vs 15kg of the rack...). I guess it's just a cyclic thing, i see myself getting another micro-amp in the future but i think i'll wait for something diferent, clean and full-range but with real world wattage and low-end extention down to (at least) 40Hz. That new Ashdown amp looks really nice... Ok, i know, i know... pics:

[quote name='BobVbass' timestamp='1391158435' post='2353836'] So for ages have thought it would be nice to have a Yamaha 5 string and have liked the look of the RBX765's since they were new - spent ages looking and finally found an almost unused one in transparent red ash, gold hardware - looks the mutts. Bought it, set it up, plays like a dream, sounds awesome at home; deep piano clarity, beautiful! Took it to band practice last night, could i get it to sound good in the mix? Could I hell! Every tone under the sun except one that I liked - far too twangy, punchy, modern sounding I suppose. I spent half the evening mucking about twiddling the guitar and fiddling with the amp. Finally gave up (resisting the urge to throw the bloody thing across the room) swapped back to my Lakland and boom, bang on sound straight away. I guess I'm just a muddy P bass player - fed up now don't know whether to sell it on or persevere; having been in this situation in the past I just know if a guitar doesn't feel right from the off it's not going to get better is it? Anyway that's my Friday whining moan over with [/quote] I'm on the exact opposite side from you. I tried J's and P's (and everything in between) and nothing sounds as good and as versatile as my TRB. I understand your description of "twangy", it's the Yammy character but before you shift it try this EQ setting: Volume: full, obviously Balance: slight towards the neck PU from the detent (about 60% neck PU and 40% bridge PU) Treble: flat, or a bit cut if you get too many highs Bass: boost at taste There's also another thing you may have to take in to consideration, what did the rest of the band and the audience thought about your sound? I had situations where i had my sound on stage a bit too trebly but on the PA it was full, rich and lovely. In every band i've played the guys tend to prefer the sound of the TRB on stage because it has more definiton and doesn't muddy the stage sound. Maybe you should see if you can try a TRB5 or a 1005, they sell pretty cheap and the mid control could help you tailor your sound a bit better. As allways, it's unnecessary to point out that a great soloed sound often doesn't work on a mix scenario. Cheers

[quote][color=#666666]But in large venues , if ever they come along again, it needs to move a lot of air, with good woofers that can resist the pressure to get an amazing bass sound. Then again, I’m talking about the bass sound that I prefer, don’t know about anybody else. I know I’ve spent a lot of money over the years due to my obsession with the right bass sound. [/color][/quote] [quote][color=#666666]By the way, I don’t play bass. I play rhythm guitar (not that good either).[/color][/quote] This sums it all up. She must have bought an Ampeg fridge for another bass player to play trough... Being a rythm guitar player buying the bass gear it's safe to assume that "her bass sound" is completely lacking everything from the 200Hz up. No need to do much research on SPL and Xmax

Great article. Not confusing and i think it explains things in a simple and eficient way. About Chrissie... she's a guitar player... and i would bet she's using a 4x12"... that's probably why she wrote those things!

Be sure you try it first. These Promethean combos have a great sound, it's hard to find a replacement that'll sound as good

Well, with two Mi10's you'll be able to gig with any drummer, i recon. Just be sure that you won't miss the top end zing that a piezzo can provide.

Hi Eude I also have a P5110 combo and had a Mi10 that i used with my shuttle 9.0. First of all, you won't be able to use two Mi10's with the amp because the Mi10 are 4Ohm cabs, the Mi12 are 8ohm. What i can say from my Mi10 is that the cab is well put together, beautifull fit and finish, light, easilly portable, nice bottom end but the top lacks a bit (doesn't have tweeter, only a HF extention cone, like on the wizzy). It can handle some power without farting but it will only cope with a mild hitting drummer. One or two Mi12" will be a better option if you plan playing without PA or use for rehearsalls. I can safely say that the Promethean combo can handle a gig better than the Ashdown Mi10. Cheers

I allways go PRE, i use my amps for stage monitoring and the EQ for room correction. All my tone and fx comes from hands, bass and pedals

I must have misunderstood your post but both the 410 and the 115 cabs are 8Ohms acording to the site's specs. Rumble 500 combo has to be 8ohm loaded because it alows the ext cab, see here: All other combos state that they are Eminence loaded and have 8ohms except for the Rumble 200 that has a very confusing spec. I believe that this specs aren't correct and have lots of errors, not what people would expect from a brand like Fender...

[quote name='gjones' timestamp='1390494638' post='2346026'] The speakers are 4 ohm so no extension cabs possible unfortunately. Bit dumb that [/quote] At least the 500W combo alows for a ext cab (8ohm 250W) to be hooked up. Just look at the backplate pics Looks to me that a few more cabs are comming to the line in order to satisfy this. Haven't npoticed that both the 115 and 410 are 4 ohms. I'll take another look.

Only 410 and 115 cabs though... Would be great a 112 combo with the 500W head and a 112 ext cab, just like the Promethean, but with GB quality and reliability and Fender vintage sexy looks

[quote name='flyfisher' timestamp='1390317281' post='2343963'] Probably a 'log' pot but with dual pots they can be 'log/antilog' so it's hard to be completely sure. You won't do any harm by fitting an incorrect type (make sure it's 50k though) but if the 'sense' is wrong then the blend won't work as intended. I'd take ghost-bass's suggestion and go for an original TE replacement part if possible, just to be sure. [/quote] I would bet that that "B" on the pot's description means linear. In balance knobs is usual to use linear pots because they offer a constant efect as you rotate them, not like tone knobs where you're looking for a percieved sound change that acts close to the way we hear things. Not sure about what i wrote though, allways better to check everything first.

[quote name='Roland Rock' timestamp='1390301378' post='2343664'] The way I read the manual, I thought I could use this mode: • INPUT Y (Ch. 1 input signal goes to Ch. 1 and Ch. 2 output. Ch. 2 input signal is ignored.) I've e-mailed Crown to confirm. Thanks for the heads up [/quote] Yep, found it on the manual, it looks like this is the Parallel/Mono mode i talked about on my first post so this might work with two 4Ohm cabs but it doesn't hurt to check with Crown (Peavey) first

[quote name='Roland Rock' timestamp='1390301378' post='2343664'] The way I read the manual, I thought I could use this mode: • INPUT Y (Ch. 1 input signal goes to Ch. 1 and Ch. 2 output. Ch. 2 input signal is ignored.) I've e-mailed Crown to confirm. Thanks for the heads up [/quote] I'll check that again on the manual