Chienmortbb

That is how it felt for me. The more you use it the more you will want to use it and other cabs sound odd. Of course you could use the cab as a PA speaker. It is flatter than almost any commercial PA Cabinet.

I am almost certain that they started in 2003. I found the import paperwork and I did a personal import for my Jazz from Japan in 2006. My serial number starts with a R which is said to be 2004/2005. I am no expert but I believe the neck determines whether it is Names a P or J.

If you stand in front of that port you with feel trouser flapping like you have never felt before. I suspect that it is the tuning of the lower braces that reflect the usually wasted stuff that falls to the bottom (removed tongue from cheek).

Sounds like me when I went to the main dealer with my car cos the window was stuck open. The mechanic showed me where I had accidently hit the button that stops the elctric windows being opened or closed. DOH!

Have you tried the Behringer on stage? Some of their amps are quite good if you take the power ratings with a pinch of salt.

I will second that.

Good looking cab that.

I suspect there will be more than enough room for the handle.

Sounds like a good buy.

The main difference between the Smoothound and some cheaper wireless systems is that the Smoothound is good at seeking free channels. Two low cost systems used by my guitarist wipe out the connection between the digital mixer and the control computer/tablet. Of course those may not be working on the 2.4GHz band

I have not had time to photograph it yet but here is the link to it on Reverb. Yamaha Rbx 375 https://reverb.com/item/29613107-yamaha-rbx-375?utm_source=ios-app&utm_medium=share The pictures below are how I received it! I was looking at going BEAD on a 4 but decided to get a 5 instead. I have just finish assembling it (sent completely disassembled) and despite a few “laughter lines” it seems to play well. The strings look like a cheap set and I would like a B with more tension but that is easily fixed. The action is ridiculously high, has probably been used for slapping. It is odd playing a flatter neck, my Aerodyne is a 7.5” radius but I think I will be fine with it. So shall I be brave and take it to open mic tomorrow? Maybe if I can get it set up to my liking. I bought my first 5 about 18 years ago and could not get on with it but now I am back to try again. I don’t plan to play 5s exclusively as I love my Aerodyne too much.

Maybe that is why they changed to a matt escutcheon on the RM500 Evo Mk2.

Having just modelled the Beyma 12CVM2 in a 55 litre box tuned to 50Hz. The plots for Transfer Function (frequency response) and Cone Excursion are shown below. HPFs are set for 24dB per octave. The plots are: No HPF Green Trace HPF 27Hz Blue Trace HPF 30Hz Red Trace Apologies for the poor annotation.

Don’t get me wrong. Their is nothing wrong with the design of the Thumpinator. My point is that you can go higher without really affecting the speaker response. Remember that few speakers have any great output below 40Hz but going to 35Hz at -3dB does not affect your sound but does significantly reduce the sub-sonic movement.

27Hz is probably correct. In my opinion that is too low and 30-35Hz is better for bass.

Don't panic, you have grasped it perfectly. The primary purpose of an HPF is to stop erroneous low frequencies from reaching the amp and especially the speaker. This is exactly what Thumpinator was designed for and it helps clean up your sound and increases the real life headroom of both amp and speaker. However in the event that you have an unruly room (not talking about the punters now) you can use a variable HPF* to help tame the room resonance. One of my old practice haunts had a horrible resonance at 44Hz. Yes I could use the bass control but the slope of a bass control is usually much less severe than that of an HPF**. So I could take out some of the 44Hz (low E) but not alter my sound too much. *Thumpinator is a fixed frequency HPF ** in technical terms most bass controls will have a slope of 6-12dB per octave whereas a good HPF should have 24dB per octave.

I would put it before the input but it won't hurt to try both to see what gives tyhe best result.

I am not sure what thread I got the original image from but here is a plot of what the Thumpinator does. It does seem to infer that the cut-off frequency is at or just below 30Hz. As the plot was unclear I have added an hatched triangle showing the effect of the Thumpinator.

I agree with Phil. I had a Mag 300 combo as my second amp and only let it go when I stopped gigging for a while.

Check the polarity of the two pedals.There are some pedals out there that have Centre positive , the way theY should all be. Sadly Boss choose Centre negative and it became the de facto standard.

I know it’s not about the looks but Acoustic really look the business. The Ampeg aesthetics in contrast look like they were knocked up by a college kid. IMHO

Ironically I epoxied the T nuts on the MK2 and they are as solid as a rock. I think you are right, there is no prefect solution.

One of the inserts I used instead of T nuts came out yesterday as I re-fitted the Faital Pro. I decided to use one of those self-threading inserts. Big mistake! The insert stated to pull the plywood laminators aprt rather than screw in. Copious amount of wood glue and a lot of pressure patience and the original insert has now been installed.

This could be very interesting.

Oh dear Yes can feel another cab build coming on!