Mr. Foxen

So how can you not know what it is then?

Not familiar with Ryder basses then? Plenty of info on them right here.

[quote name='LawrenceH' timestamp='1337601308' post='1662481'] Btw if you don't like the Midget I wouldn't tar all Alex's designs with the same tonal brush... that particular speaker in that small a box is going to be very toppy and bass-light unless you EQ heavily (which it's able to take if you've got the power) but something like the Big Baby would be a lot smoother and deeper, even the Compact will sound more even. [/quote] Plus using an amp eqed for a different cab is like saying a line of shoes are no good because you tried someone else's pair that were a different size to you.

That's mine. Chucked it up on free listing weekend, waiting for the shop guy to come collect it.

Let's zoom that out a little: Oh, how did Amy get in the shot, cuh. Anyway, checking my current ebay bidding say no, no I do not yet have 'enough' amps. [size=1]Photo credit [url]http://www.charistalbotphotography.co.uk/[/url][/size]

[quote name='LawrenceH' timestamp='1337558035' post='1662073'] This raises a related issue which people often seem to overlook in more conventional cabs, the 'ideal' driver for say a 1x10 or 2x10 would have a very different freq profile to that for an 8x10, for a given goal. I personally really don't like the low mid hump that an Ampeg fridge develops because of this and would favour a high sensitivity upper mid-biased driver in that application, that on its own would sound thin. [/quote] Which SVT driver are you thinking of? They've used loads, but the original CTS and the Eminence B810 that is supposed to cop its tone are the ones that made the mark, with plenty of quitary top. There nasty low mids and nothing else period I have noted somewhere where they used high power handling drivers with no top. I was going to do 2x10s that were a single section of the 8x10, but then I realised I'd just invented the guitar cab.

Point is where it sounds good, the issue with the whole thing is that the sound varies according to where you are in relation to the cabs, and where everyone else that has to hear it is in relation to them and you.

Someone should probably snag that Carlsbro that comes up in the 'you also might like' list.

I just did my usual bid when I know what I want to bid and dude cancelled it.

Have to rejig things because with half the speakers doing midrange, they need to be doing it twice as loud as before they were split on axis, but its more consistent as you head off axis, needs a whole redesign to get a flat cab, or eqing to suit.

[quote name='dood' timestamp='1337546005' post='1661835'] Looking at Barefaced, the '69er cabinet seems to address those phase problems. I'd assume that with the right sort of crossover, it'd be possible to *improve* the situation with a 4x10's vertical speaker arrangement? [/quote] That does it by not having mids go to half the speakers down one side, and only having highs go to one. So you get all siz doing bass, three in a row doing mids, and one doing highs. Or something like that.

[quote name='BigRedX' timestamp='1337537595' post='1661608'] OK let me get this straight: 1. Two (or more) speakers will always interact with each other. It's just if they are only stacked vertically you'll only notice if you move up and down. 2. Interactions between the speakers and the boundary of the floor are not ideal, and the further off the ground they are the less this interaction will be. However: 1. On a lot of stages where my band plays there isn't much room to move around, so while stacking my drivers vertically will be good for the audience (provided that the bass is being supplied mainly from my rig and not the PA), because I tend to have an "energetic" on-stage presence, if I can't move from side to side I will do a lot of up and down movements, so from my PoV I'll still be getting issues with the sound. 2. Again on small stages my rig is likely to very close to one of the side walls so while the speakers further up my rig won't be interacting with the floor they may well be interacting with the wall. (At what distance does the boundary effect become negligible?) So: Taking this to it's logical conclusion, the ideal bass rig for purity of sound would be a single driver mounted at head height and placed on stage so that it was at least as far from the side walls as it was from the floor. How am I doing? [/quote] Bit too simplified, because everything is frequency/wavelength dependent. Being close to the floor/ceiling/corner is good for lows, its less air around the speaker for it to excite/the reflections are in phase which reinforces the bass, as long as its close enough. The problem bit is in the higher frequencies, where the reflection from the boundaries can be out of phase with the source and cancel out. Speakers close enough together couple in the lows and act as one, as they aren't a large portion of a wavelength apart. Its in the higher bits when the distances are far enough that the waves go out of phase that problems start. If your speaker is at floor level, you could be stood in a bit where there is a cancellation from the ceiling reflection that puts a 6db notch in your sound, which you eq back in to make it sound 'right to your ears, but the microphone or DI is not in that area and gets a 6db boost for nothing, messing up your out front sound. Add to that you are pitching from the mids, but your rig also makes bass, so there is a different deal with monitoring vs providing the lows from your rig, and if there are lows from the subs as well as your rig, they can make the comb filtering issues happen. If you ahve PA support and rig for monitor, you want to be where there is maximum mids so you can hear yourself, which is going to be with a speaker facing directly at you, but the smaller the source of the mids, the further off axis you can be before it matters. Additional complication which is the bit that makes all this stuff not that obvious to notice until you understand and look for it is that all your sense and brain interact, so you instinctively compensate for room dynamics and suchlike because you are aware of the walls and such, which is why bootlegs often sound much more rubbish than when you were there.

Seems like a good deal: http://www.ebay.co.uk/itm/HARTKE-LH500-BASS-HEAD-/290715734787?pt=UK_MusicalInstr_Amplifiers_RL&hash=item43b0021303

[quote name='discreet' timestamp='1337534086' post='1661536'] If you have a road crew and a tech, get an Ampeg rig. [/quote] Think main advantage is if you are touring and need to hire the same gear wherever you go, or are endorsed and need to sue that gear wherever you go, Ampeg has the broadest network.

[quote name='BigRedX' timestamp='1337514591' post='1661124'] Yes but stacking speakers vertically you still get the "it's not round anymore" phenomenon, just in the vertical plane instead of the horizontal one. And taking that idea one stage further surely having 4 speakers arranged in a square (like a 4x10) cab will start to get the pattern back to being circular? [/quote] Cancellation in the vertical range is happier, because you don't move around vertically, and you don't want sound reaching the ceiling, whereas you and audience distribution goes across, so you generally want the better spread that way.

[quote] Due to wavelength, drivers of different diameters beam (become unpleasantly directional) at various frequencies. Here's a table of various driver sizes and the frequencies where their pistonic movement causes beaming: speaker beaming limit ------- ------------- 18" 903 Hz 15" 1052 Hz 12" 1335 Hz 10" 1658 Hz 8" 2105 Hz 6" 2672 Hz 5" 3316 Hz 2" 6840 Hz 1" 13680 Hz [/quote] Then when you add side by side speakers close enough to couple in the relevant frequency, you add the total width (stops being diameter because not round any more). Also worth noting that in real life speakers don't act pistonically because of some flex in the cone and such.

[quote name='BigRedX' timestamp='1337509578' post='1661010'] I still don't understand why vertical stacking is better. I've read the Barefaced link (which was posted last time I asked this question) loads of times now and I'm still none the wiser plus it also seems to be incomplete. I thought dannybouy might have got an explanation, but according to Mr.Foxen the horizontal speakers need to be further apart for this to be an issue. I don't understand why the floor and ceiling should be an issue when the left and right hand walls apparently are not - most of the venues I play at the difference between the height of the venue is not much different to the width. Finally, it's a long time since I took physics at school but my understanding was that the speakers radiated the sound forward in all directions so whatever bad things are happening to the sound between two speakers horizontally next to each other is still going to happen between two speakers vertically. Why is this not an issue? [/quote] The slits experiment isn't actually the one that shows why you should stack, that one shows why you shouldn't split subs/low end sources. Peoples ears are arranged on a horizontal plane, which is why the ceiling matters more than the walls, and usually the walls are more broken up by stuff on them and people/stuff in between. The cancellation from the bouncing off the ceiling is going to be about the same for everyone, except you up on the stage. As you go up in frequency/wider in radiating plane, out to the sides the far speaker edge appears, for sound purposes, down to the slow speed, to be going in the opposite direction to the nearest one, and thus cancelling the sound out, result being you can hear higher stuff better in front than off to the side. Guitar 4x12s are probably worst commonly used example, stand in front of one playing and bring your head down to being in front of the speaker and you can hear the difference, and not just because closer is louder. You might like the sound of the reduced highs off axis, but the mic is still going to be on axis, as will some audience members, and will get an extra trebley rendition. Edit: changed around some terms Edit 2: Note I use a guitar 4x12 because it is directional, as this means I can be really trebley and go off axis if I want to change the way my bass is feeding back.

[quote name='Truckstop' timestamp='1337509324' post='1661000'] Next, an Orange Isobaric 2x10 is plenty loud enough and IS the most compact 2x10 you'll find anywhere [/quote] For all actual purposes its a 1x10 though, with a double powered/weight motor.

It definitely matters, the variable part is whether or not people actually like being able to hear their playing.

[quote name='basshead56' timestamp='1337492728' post='1660720'] It hums and sort of pops loudly when you touch the pole pieces. you reckon I should have a go at swapping the wire around then? [/quote] Definitely try.

Also, reverse the bridge one tot he neck one.

I really like them, very defined, without the thin thing from a bridge J pickup alone.

http://www.ebay.co.uk/itm/Black-Sabbaths-Integrity-/251065729573

http://www.gumtree.com/p/for-sale/vintage-1970s-traynor-mark-iii-valve-amp/102726907 [quote]A set of Phillips bulbs. This amp was America's answer to the Fender amp. A replica of the english 1970's Fender valve amps.[/quote]

[quote name='MacDaddy' timestamp='1198873632' post='110333'] Not sure if this will throw a spanner in the works, but I'd be grateful for some advice. This is my rig, it's a 2x10 combo on top, and a 2x12 cab underneath. Thing is in both, the speakers are wrapped, so one is at the front, and the other is angled behind it. Would the same advice still hold for this arrangement? [/quote] The sideways speakers don't count for the midrange, because they are acoustically bandpassed, so they just add lows. So for midrange purposes, its a 1x12 and a 1x12, but there's a tweeter there, you want to stack in such a way that the tweeter alone is high, and it there is two, they are close together and in a vertical line. I think that puts your knobs sideways. Also I notice BFM gives much more detailed and informative answers when everyone is discussing sensibly, and that's better for learning.