VTypeV4

Can we have some more pix, please?

Super duper basschatter / trader! I sold my Ashton valve amp to Dave, he paid very quickly and we put the deal together in record time. Excellent, safe and no-nonesense.

Hisys-1 which is a 12" and a 1".. It's the later version with the ferro-cooled RX compression driver as well as the Black Widow low frequency component. Not a bad sounding box and they're pretty tough although I'd have said £300 was a little steep, if you could get him down to £200 - £250 that would be more like it. They often have a light bulb to protect the HF component too. It can help save you if something gets wild and squeals as an automotive bulb is cheaper than a new diaphragm. Don't worry too much about the EQ switch, just use it how you prefer the sound. Hope that helps.

[quote name='EBS_freak' timestamp='1429231303' post='2749583'] VTypeV4 - ha, just noticed your the soundguy at the Rigger! [/quote] Guilty as charged.. I'm guessing I mixed you at some point? Trying to recall an EBS user.. I'm still happy with my 'oldskool' digital boards, I'm reasonably sure I could use the 328XD blindfolded. Less so with the 02R, as much as I love it, it's quite capable of being a jackass - much like an LS-9! It's that Yamaha lineage! I never used a GLD but the Qu was simple enough and very user friendly. I loved the Digico SD8 too, that was a winner.. As mentioned above, the price, the features and the simplicity of the Mackie make it a winner..

Hope you find one, they're lesser spotted these days.. Great amp tho! Good luck.

I've done a couple of shows on a 1608 and other than the psychological barrier of no physical controls, it worked really well. It doesn't have the comprehension (complication!?) of something like an LS-9 (I always come back to these don't I?) but as a straight forward and convenient mixing setup, I have very few complaints. The reverb as mentioned isn't the best out there but with a bit of manipulation it can be made useable and less boxy / toilet bowl / bathroom like. I got a reasonable short delay effect out of th second FX unit also. Manual head amps on the 1608 (gain controls) aren't an issue for me, all my consoles are the same so it's no different. The 32 has recallable head-amps which is very handy and a step forward. Apparently the 32 does more too with additional FX units, multi-track recording as well as a host of other bells and whistles. Whether you need the additional channels and a total recall facility only you can decide and being honest, I've never used a 32 so can't comment on it's operation. In a nutshell, the 1608 works very well indeed. In my opinion at least!

The 1525 isn't an awesome spec driver (it's quite average to be fair) although I have one in 'normal' sized 1x15 which is tuned to around 45Hz. It works well enough despite a modest 2.5mm Xmax, doesn't seem bottom out at volume and has a pleasing tonal character. I know the tech says you can probably improve the cab with correct driver loading and using venting to control the response of the low-end and as mentioned, there's certainly better spec drivers but as you've broken all the rules already.. I think this is a full on mad-man project and will be interested to see the finished thing although I never want to be within a couple of hundred yards of it. A potential mid band SPL approaching 140dB!? No thanks! Ha!

The old AH1000-12 (not the current one available) was configured with 2x 250w and one 500w power stage which was designed to partner with the BFC. Neither are entirely conventional so to use the cab with a 'normal' amplifier like yours will require modification of the cab / connector panel or use of a different amp setup. To make it simpler, really you need to think of the BFC as three separate cabs rather than a big single one. Think of how you would drive two 2x10s and one 1x15. Impedance (amplifier loading) must be considered so as not to damage your amp. To answer your questiions: Bi-amp: Using different ampliers operating individual speakers over a specific frequency range. This is commonly adopted in PA systems by using a crossover to split the full-range sound into 2, 3 or more bands. An example being the three-way system of subs, mids and tops. Each band has it's own amp and speaker. BFC: No, it will not simply distribute the power the way you want it. 1kW: You'll have to reconfigure the cab. The AH1000 is the only amp specifically designed for this cab however you could buy two power amplifiers, a pre-amp and an active crossover to use it in a stereo / bi-amp config. I can't help but think the BFC isn't what you're looking or you haven't checked the spec / compatability with your Warwick amp. In a nutshell: It can be made to work but you can't simply 'plug and play' Hope that helps.

I'd have another SMX if the opportunity arose.. I reckon the 400 / 350 is the pick of the bunch

Not meaning to de-rail the thread but.. Ben, how do you find the SD8? I've only done one show one but found it very friendly, intuitive and inviting to use. I loved the touch screen, the assignable fader banks, the simplicity of the fader groups and how 'graphical' in the interface was.. Sadly one show isn't really enough to get to know a desk thoroughly but the Digico made a very positive impression. [URL=http://s778.photobucket.com/user/VTypeV4/media/DSC_0034_zpsuvgfaevi.jpg.html][IMG]http://i778.photobucket.com/albums/yy70/VTypeV4/DSC_0034_zpsuvgfaevi.jpg[/IMG][/URL] [URL=http://s778.photobucket.com/user/VTypeV4/media/DSC_0033_zpsfayooaqa.jpg.html][IMG]http://i778.photobucket.com/albums/yy70/VTypeV4/DSC_0033_zpsfayooaqa.jpg[/IMG][/URL] A show I did at the Victoria Hall last year..

I'm a lover of all valve amplifiers for bass guitar and whilst I'm not a fan of terms such as 'bounce' or 'heft', I will concede there is a certain 'something' about the way they feel and sound. With regards to the O/P question about transformers, didn't the original transistor amplifiers of the '60s require coupling / output transformers to better match the load?

Monckyman: If you were to ever play The Rigger (or indeed any show I was mixing), rest assured you'd have a great sound and would be well looked after. It's a little sadening to know other local venues aren't so dilligent especially considering our local scene isn't too bouyant. And yes, the LS9 is a love / hate relationship. Which side of the fence do I sit with it? After a few years using them, I'm still unsure! Chedatom: Love you man! Spacey: Bad form.. Such attitude, rudeness and short sightedness would be inexcusable. And I consider myself to be one of the 'nice' ones.

I never went lightweight although the SWR cabs are the lightest cabs I've ever owned.. Amp wise, I like iron and glass. Nothing against lightweight amps, just prefer the V-Type.. PA wise I largely use Macrotech Series Crown power amps (a lead / iron / concrete hybrid amp) but time with Lab Gruppen 3400 and 6400s has shown they're comparable. And expensive!

[URL=http://s778.photobucket.com/user/VTypeV4/media/FullSizeRender4_zps01cca32b.jpg.html][IMG]http://i778.photobucket.com/albums/yy70/VTypeV4/FullSizeRender4_zps01cca32b.jpg[/IMG][/URL] Although I did quite enjoy using the 02R as FOH. I might replace the 328 monitor desk wiith an 02R as the Aux send on faders was very quick and convenient..

[quote name='Monckyman' timestamp='1427321895' post='2729001'] all getting a bit snarky. My advice is, if any of you are interested enough in live sound to have a negative opinion about everybody else's efforts, perhaps some dedicated study of the real problems facing sound engineers, often mixing bands who's stage sound is awful, through an unbalanced rig, in 10 minutes, so they can do the other 4 bands who insist on "our check, man". It really is invigorating. Then you can move on to moaning about the onstage sound, the lack of mics on the bass amps, the predominance of guitar amps in FOH and singers who barely breathe into their mic and deal with that. Happily, I don't do much of that anymore, but you're welcome to, seeing as it's so easy : ) [/quote] I said I wasn't going to bite this time... And I'm not, but... The above is perfect and I whole-heartedly agree! Except I still work most nights, lucky enough to have an acceptable rig and adequate room damping! I've found those interested are willing to learn and quickly share the enthusiasm in understanding the job and doing it well. On the other hand, those who criticise and make sweeping statements often have little understanding of mixing / system and room limitations. When offered the console (digital or otherwise!) to do a 'better job' very quickly baulk. I like the wife of the singer in the middle aged rock covers bands best! And just a little note on digital consoles. Used properly, they make life better and more effiicient for the engineer AND musician. The Soundcraft consoles I use do not have 'Vocal EQ' or 'Kick drum gate' presets (the Yamaha does but I don't need them and don't often use it for FOH) so when you start from flat, you start from flat and the only 'saves' in their memories are the ones I have put in using my ears and experience. They conveniently remember everything except input gain and hpf in / out which is very helpful for multi-band events. Personally, I'd hate to have to go back to an analogue console with no memory, a giant rack full of gates, compressors, FX units and EQs. All week at a festival with 40 shows and no support? I'd even rather use an LS9!

+1 SM57..

I rather like the cream / black combination.. It looks smooth an means business IMO.

Every thread on these goes bang doesn't it..

I too have been following this so please, keep posting..

Loving that old 250! I've never tried one but I did have a dabble on a 350X once and that was a monster too..