Chienmortbb

I was going to put this on the other thread but it is now too long and unwieldy. The term FRFR means Full Range Flat Response (as a HiFi speaker should be for perfect reproduction of sound). However it seems to have been purloined to mean an active/powered cabinet with Full Range Flat Response. It is worth saying that it is possible to design a FRFR cabinet that works with existing amplifiers . This was the design goal of the Basschat 1x12 and probably a number of commercial boutique cabinets. Many bass amps do have a particular sound (often called voicing) but this is usually in the pre-amp section and that can often be bypassed by using the power amp in or EFX return input on an SS head. So the FRFR system for you may already be close at hand but be aware that cabinets are also "voiced". It there is not tweeter or small driver in the cabinet, it will not be FRFR and many brands just chuck a nasty tweeter with no real crossover in a cab and hope it sounds good. So if you can only afford a Helix (other modelling units are avaialble) try you existing setup. it just may be what you need. For me a nice head and cabinet just feels right although I would not be upset if offered an RCF, Yamaha or QSC active PA cab as my backline at some time.

What are these funny lbs things? If only Barefaced could make it 15Kgs... ( I will get my coat).

Bill. my point was that if all other things are equal then a bigger cone will output more low end than a smaller one. If we look at tyhree drivers form the same series, i.e. Eminence Delta, We can clearly see that the 15" (Red line) goes lower than the 12" (blue) and the 12' goes lower than the 10". Of course that does not take into account the enclosure size and in this case thye 15" enclosure is 600 litres the 12" is 100 litres and the 10" is 15 litres. The fact is though that the Eminence Delta 10 can never go as low as the Delta 15 in an idealised enclosure. Clearly the Delta series are not state of the art when it comes to low frequency drivers. Cone area is one of the parameters that decide the performance of a low frequency driver but it is not the only one.

It is hard not to get technical but cone size does matter. It is just that it is one of a number of things that matter.

Me too there seems to be plenty of volume, more than I will ever need.

They use ICEPower ASX modules the 350 uses the 125, the 500 uses the 250 and they seem to have used the ASX700. It is a really good module and used by Mesa amongst others..

TC Active Power Management ios either compression, limiting or a mixture of both. Lots of amps have those and don't inflate the power ratings. However to be fair to TC and other manufacturers they just use our gullibility in their marketing. Sell an XYZ-250, XYZ-500, XYZ-450 and we will all think the numbers = watts. Of course much of that beloved Valve Sound is partly due to the natural compression that is inherent in many valve amp designs, so dialled in compression may not be a bad thing especially if you are trying to emulate a valve sound. The slight of hand is then claiming that you have gained power over a similar SS amp that does not have dialled in compression.

One word or warning here. You need to check both your cone excursion and air velocity. However first use the max power graph as although the frequemcy response (Transfer Function in Win ISD) looks good you may have severe dip in maximum power at some frequency.

Funnily enough I worked for Panasonic and we had to bail out JVC ( eventually took them over) when the cost of developing VHS just about bankrupted them. They wer know in house as the Junk Video Corporation or the Junior Video Corporation. As for the power output? I will measure it but quite it is not although bothy the Bugera and the Genz Benz might struggle to keep up with the noise of a JVC fan.

I totally agree about manuactures spurious claims and when the Veyrons first came out. I dismissed them. One thing I will dissolute is that Behringer always clone other people’s designs. The Veyron takes its cosmetic cues from the Genz Benz but inside it clearly uses proprietary electronics. I would also prefer a passing nod to The Genz Benz than say the Aguilar Tonehammer amps. in terms of looks.

The TC 250 probably puts out about 130 watts with compression into 8 ohms. The MiBass outputs 100W into 8 ohms without compression. The CTM will also put out 140 watts but the extra cab will make more noise due to mutual coupling. The RH450 is much more powerful than the other amps and with two cabs will have the added advantage of mutual coupling. I

We did some testing on the Basschat 1x12 design. One large port versus four small ones. There was no contest, the four port design was making noises way before the single large port.I believe that there is less friction on the larger port and that makes for less turbulence. Real estate is a problem though as a 5" port takes up a lot of the area of a front panel. One of the reasons people rear port. Other ports are chosen to aid cabinet strength. Corner/triangular or slot ports port also act as bracing and are efficient users of space when paired with circular drivers. However they (triangular) are the worst in terms of friction. One large round driver has less surface area than any other design. Every speaker design is a compromise. It is like squeezing a balloon. A gain in one area raises problems elsewhere.

12 mS seems a lot of latency. it is 1.5 times longer than the SmoothHound in its normal state and 2.4 times longer in minimum latency

I think you know the answer. The difference between 175 Watts and 250 Watts is negligible to your ears assuming you are using the same speaker. I suspect you would be happy with the Ashdown Original but I would probably suggest something with a bit more power. After all Volume controls go down as well as up. If I started were in your position (and this is only my opinion) I would try the Ashdown RM500 EVO II.

Stevie and I had our cabs cut to size from 15mm Italian Poplar Ply although we did change the bracing as Stevie found resonances in testing. There is no reason why there could not be a flat pack version. I cut the holes for the woofer with a router and Stevie had a circular hole saw for the port.. The horn is a slightly odd shape but not too hard to do. We used Timbmet for the wood/cutting and they do have branches all over the country. They also offer a CNC service which may, or may not be worth using but would give accurate hole cutting. However as Stevie says, lets wait for the final design first then we can research the options.

You need to check the output at 8 ohms. The output of SS amps is usually stated at 4 Ohms and it may well be that a 500Watts amp can output 300 watt and more in to 8ohms. However That would be unusual as generally the 8 ohm output is half the 4 ohm output. Boring techie stuff. The power output of an amplifier is usually constrained by both the amplifier design and the power supply design. If we look atb the power supply it will have both current and voltage limitations. Given that you are likely to be driving 4 or 8 ohms, the maths are simple. The power output into 4 Ohms is double that into 8 ohms. However IF for some reason the power supply cannot supply enough current into 4 ohms, then the power output will be restricted and the 8 ohm power would be greater than half the 4 ohm power. Most manufacturers would not design this way as it adds cost to the amp without improving the headline power output. An example of this is the Ampeg PF350. It outputs 350W into 4 ohms and 250 into 8 ohms.

I hate you Stevie. Just when I am close to cabinet Nirvana you tell me there IS an Eight Heaven. Just off to get my Ruler calibrated to that plot.

The DIY build is almost complete but I blew the power amp when testing it. If I cannot get it fixed, I will have to redesign mechanically to take a new power module. My own stupid fault. I bought the Bugera on a whim and I am glad I did so far.

Under 12Kgs is light. Our Basschat 1x12s come in at about 13 Kg with a crossover and compression driver using a neo. It is also rivalling the ultralight Barefaceds

Don't trust leter codes for the pot law (taper) The UK standard was A linear B Log. The US standard was A Log (or audio) B Linear. Different manufacturers use different codes though.

Not the finest soldering I have seen.

There is a separate thread on that one

Excellent advice. I recently made up a box for a 100V line transformer and put the input on an NLF2/2way socket and the output (100V Line) on an NLF4/4way socket wired 2+2- as recommended by Neutrik).

Best string I ever played were the original Picato Halfwounds. (i think that was the name). They were a good no-compromise compromise between flats and roundwounds. sadly since the Welsh factory closed down, they are no longer available. The current Picato Flats are pretty good too but not as bright.

Being the one of the guilty ones here that pushed the 12" Cab Diary project forward I can say we are still working on it and may publish some updates at some point.