Chienmortbb

It is around the brightness range of many guitar amps. For pro sound it is a bad thing and Eminence have always been particularly poor at controlling those peaks. it would be interesting to see the specs that Emininence published at the same time as those Basslite plots above to see whether they changed the parameters of the driver or just “smoothed” the response.

Does the amount of feedback in a stage make a difference?

This is a very salient point. If your amp is too light you may pull it off the cabinet of wherever else you put it. Thank goodness those coiled leads are a thing of the past.

When these topics come up we all have to remind ourselves that some have tour grade PAs and others can barely support vocals through the FOH. I would take the RCF as a general backup (if someone gave me one) and could happily use it as a backup. It performs as well as many bass combos. However I would not use it instead of my amp and cab.I don't take a backup but i do take a DI with me although DI'ing through a PA, unless you have a really good PA, it's a waste of time. As a good PA will cost orders of magnitude more than a half decent rig, I will stick with my rig. If I want FRFR with a pedal, I go in via the FX return (or aux in) and my cab is both full range and flat. However after reading this thread I am now considering a small format amp to fit in my accessory box.

I have a Peavey Millenium Precision that is ply and if I had known that when I bought it I would not have (bought it). However when I took the pickguard off, I finallly realised that tonewood for solid bods was tosh. I have played this bass extensively and out of my five basses this would be the second last to go if I had to sell any.

It could be a number of things. The distortion could be due to toow much gain, it may also be the output coils saturating. The low cost Class D amps from Ebay/Aliexpress/Banggood etc often scrimp on comonents and that means capacitors and inductors are not up to scratch. Your preamp may also be oscillating and that could be the layout or the lack of an hf bypass cap in the feedback of the opamp. I assume you are using a single supply for the preamp? If the Opamp is a dual rail amp with the inputs biased to half rail (as with most onboard preamps and stomp boxes) you may need more decoupling (smoothing on the lower part from memory), The draw on the negative rail on many opamps is higher than the positive rail and as the rails collapse you can get some really weird noises before the amp finally falls silent.

Some of us used a UK supplier on EBay for the grilles for the BC112 Mk3 cabs and they were made ti size an quite reasonable. I will try to find the details, Here you go, you can get steel or aluminium. Alluminium is much lighter but does not take finish so well. https://www.ebay.co.uk/str/sgsmetals/Perforated-Sheet/_i.html?_storecat=7064986013

I have just fitted the DP123 Model J into the bridge position on my Aerodyne and I very pleased with it. It does seem to me to keep the Jazz sound and is also silent, no buzz or hum.

Unless one of the variants really cuts loose, we could hgave done it earlier but September seems the right time. Infections will be naturally lower and the vaccines should have really done their stuff by then.

Always best to use the right tool. It really is easy with the skinny blades. Incidently, I am not clever but when you make as many mistakes as I do, eventually you get to the right answer.

You might just make that one.

Hopefully this helps.

You are tempting me to add another 8" cab to the After Eighty.

I read about a study that Fender did regarding the 7th Fret deadspot and if I remember rightly, the result was that the deadspot was caused a a number of things. These included 4 inline machine heads on a long headstock, and bolt on necks, Not surprisingly the report was never actioned for obvious reasons. The conclusion was that the ideal bass had a set neck or neck though and headless. So Ned Steinberger got it right it seems.

Nice work.

The amount of work needed to get the design from conception to finish, is considerable and getting test samples just makes things a little easier. Although this is a simple design, weeks of thought have already gone into refining the design and cabinet build to make it easy for us to build. Phil "the wood" Starr is already thinking about how to rationalise his easy cab build even more. Once that is done, there will doubtless be several iterations of measuring and refining the crossover before @Stevie "the coil" is happy.

This is my point I have two active basses and two passive basses and while the active bass's tone's barely change with volume*, the two passive basses lose top end when the volume is rolled back. Now you could argue that passive basses are an anachronism and I would subscribe to that intellectually, but we are where we are. perhaps as BM says, we can fit the bypass capacitor but for some that means an unwanted trip to the guitar tech or "ruining" a classic instrument. So the attenuation in the effects loop is IMHO the best option. * any change is likley due to the amp/speaker combination rather than the onboard preamp.

If its a passive bass with a conventional Volume and Tone controls, turing down the bass volume will also affect the tone. Would you suggest a Pi or Tee attenuator?

Yes particularly the valve ones 😁

In those sort of venues you have to trust the sound person. One of the problems we have in here and probably on TB is that we have pros that play to large venues with a good PA and many, the weekend warriors, that play pubs, clubs and bars where PA support is either lacking or insufficient. It is then up to the musician to ensure that his FOH sound is optimum. The worst of all worlds is putting the bass through what is substantially a vocal PA.

I find the wireless system ideal for that with the added bonus that I don’t fall over so often. I go to my local club on a Saturday when not gigging and have given up telling the bassists that the room has a real bottom end boom and they need to back off the bass control. The only one that needed more bass was using a PJB rig.

My point was that it is a rap shoot for players to mix cabinets. There are a lot of manufactures that do know what they are doing.

As usual all true but to sum up, it's a crap shoot unless you know what you are doing (and players do not).

That was thr Jaguar X Type,