Chienmortbb

I would agree Klotz and Neutrik are good choices but for cable, Sommer and Mogami are also excellent. For plugs I use either Neutrik or Amphenol. Both have good cable support. Switchcaft have a good reputation but I don’t like there cable support. I would also steer clear of any cable that uses sealed plugs or where the plug is shrouded with heat shrink.

Easy on the boy Phil, reading both of those is like doing two marathons back to back.

One other thing to consider, where are you? Eminence are cheaper in the USA but expensive here in the UK. Beyma and Faital Pro are less expensive in the UK. I could not say with Celestion.

Phil may not say it but I believe the SM212 from Beyma would be his choice based on several years design and gigging experience. The new Faital Pro FR320 is Stevie’s choice. One trick with WINisd is to set the power ( in the signal section) to the rated power of the driver. Then look at the maximum power graph. You will see some interesting things.

I hope they improve the aesthetics, they probably are prototypes and they really look like it.

Quite a lot because whatever class of power amp or topology is used, the power supply has a great influence on performance.

Could also be the soundguy. When I got my amp I had the DI switched to line level, the sound guy at our weekly gig said TOO HOT. Switched it to mic level and all was fun for about 6 weeks. The he said, “I am getting almost nothing from your DI)”. Switched back to Line and all was right with the world. Three months later...,, you guessed it back to Line level. Oh and myold amp had only a line level. He said that was too hot. So I bought a DI that had mic level output. It is still on my pedal board and has been used only once...

I remember that from a thread a couple of years ago. It is a great idea, as tilting cabs does not make for a good platform for a head. However it does take up a lot of room on the floor ( I won’t say anything about the cabinets).

No I mean not saying the TH350 was poorly designed. Just that to achieve such a small package, there have to be some compromises. It may also be the case that Aguilar’s marketing wanted to differentiate between the TH350 and the TH500. They do use different power units, the TH500 uses the 250ASX2 while the TH350 uses the 125ASX2 modules, I am not sure whether the TH500 always had two fans, something in my head says it only had one at the start but don’t quote me on that as I might be confusing them with GK.

The TH350 uses the 125ASX2 module and that will will give 450+ watts into 4ohms IF cooled correctly. It will also give around 250 into 8R. I suspect it is derated by Aguilar as the box is too small for adequate cooling. That being said it should be loud enough power any of the cabinets mentioned.

That’s the one.

Of course, with the horn in either orientation, it can only direct the frequencies that are already there. I think the rotation of the horn vertical is the cherry on the cake.

I can see where you are coming from and with a decent PA and Sound-guy, I agree. However most of us weekend warriors don’t have the benefit of a good PA and good sound-guys are even rarer. Our drummer runs the PA and usually brings two Mackie Thump 15s. In my opinion these are inferior to my bass cab, an early version of the Basschat 1x12. In fact, and again it is my opinion, any PA Top on a pole used without a sub. Is inferior, especially if the “sound-guy” is also playing in the band. I see a lot of semi-pro bands and in general, those that use backline sound better to me than those that put everything through an inadequate PA.

This is exactly the problem that Stevie addresses with the BC 1x12 design. By using the horn vertically instead of horizontally you hear more of the mids even end standing in front of the cab. https://www.basschat.co.uk/topic/347017-stevie’s-12”-frfr-cab-build-thread-basschat-cab-v3/page/6/#comments

Phil is 100% correct. I think the other thing to stress is that an HPF helps with the headroom of an amp. Also slapping sounds better when used with a compressor. As for the amount of treble available from the cabinet, you will soon get used to it and miss it when you try other cabs. Those with a simple crossover to a piezoelectric tweeter will sound really harsh. That is not to say that Piezo’s sound harsh. It is often the way they are used.

Firstly this is general advice and not specifically aimed at this cab. Really low frequencies muddy the sound and use vast amounts of amplifier power as well as over exerting the bass driver. So Don't use any sort of low bass boost such as an octaver Don't use too much bass control on the amp. Don't use too much bass on any onboard pre-amp (does not apply to passive basses). The best way is to use an HPF. Some amps have an HPF built in but there are some good external ones available. In my opinion you need one the operates about 30-35Hz and with a 24dB per octave slope. One often mentioned is the Thumpinator. My only worry is that there are no specs on any of the models. However they do seem to work. FDeck on the other site, has a few designs and they are very versatile. Some multi effects units have them but the slope is usually too small. I think maybe I should do a separate thread on HPFs. As a rule of thumb, any needed frequencies will move the cone too fast for you to see. So if you see large s;ow come moveent, that is the stuff we want to avoid.

As Phil says, in a ported cabinet,below the tuning frequency the speaker is uncontrolled and will move a large amount for a few watts. Not only can this be dangerous, with the excursion approaching XLimit/XDamage but when the Voice coil is beyond the magnet, any signal has no effect on the cone, but still heats up the voice coil. So apart from potential causing damage to the driver, you could also be adding a lot of distortion to your sound. The extra heat may also contribute to power compression. As with most resistors, the voicecoil’s resistance rises as it heats up and it heats up with power. This could reduce the acoustic output by 3 dB or more. That has the effect of halving your output power.

The BLX range features a little used tuning system and not all speakers will benefit from it. I am sure someone on here will be able to tell you the correct speaker. I believe they used Celestion drivers from memory. There was an extension cabinet for the BLX130 but that was a conventional cabinet and did not feature the Slot port at all.

That is a powerful amp and it can clearly push the cabinet to and beyond its limits. However it must have been incredibly loud when you turned it up. I was testing my MK 2 once with the grille off. Heard a horrible noise when plaint Open E. The guitar cable had twisted and was testing on the cone! As for the 3012LF, the clue is in the LF. It is a low frequency driver with not much above 2kHz. In addition the peak above 1.5KHz is nasty. In not opinion it needs to cross over well before 1.5KHz.

On a tangential note (try playing one of those), how do you find the Roto Flats?

Why 15”?

I feel I should add my comments to this. The original 1x12 project was started by Lawrence, Phil Starr and Stevie and made an excellent single 12” cabinet. I came to the project late, and offered little ,but hopefully helped by building the first prototype for the Mk2. I then built one of two (Stevie built the other) Italian Poplar cabinets, mine loaded with the Beyma SM212 plus Celestion 1415 compression driver and P Audio horn. I gigged that Cabinet for two years until the lighter Faital Pro driver became available. While the road to the CNC Kit Mk3 looks smoother than the final cabinet’s frequency response, the road to getting here was far from smooth. There were many cold days spent in Stevie’s measurement room fine tuning various combinations of driver. There was also comparisons to many other drivers and commercial cabinets and I was present for only some of these sessions. Stevie did many on his own, often in the depth of Winter.The measurement room is in a cast concrete garage and whilst well fitted our for measuring cabinet response, it it not the warmest room in the depths of Winter. The big change from the MK1 was the single large port that proved to be less prone to chuffing than multiple ports. Like many of the improvements, the large port makes little difference at lower volumes and Phil had gigged his Mk 1 cabs with four ports for a couple of years without hearing chuffing, until under test conditions. However it allows the British Cycling have used the concept of marginal improvements to put Britain top of the cycling tree and Stevie did the same with the MK2/3. Tuning the response to a true FRFR response was only part of the story. The real genius for me was rotating the horn. Although it looks a little odd, it gives more of the mids to the player when standing directly in front of the cabinet. Compared to me Mk2 with the horn horizontal, The MK3 , with the vertical horn, allows you to hear yourself however close to the cab. At 30cm/1ft, the Mk3 is easier to hear than the MK2 at 4-5ft/120-150cm. This is ideal if you are on a tight stage. I look forward to Funkle’s input as he uses the cabinet but I will be surprised if he does not love it.

Best to go Top Left or bottom somewhere. Top right might interfere with the port.

It looks a lot like mine....... but a lot better. A for the T nuts, I think they must be glued as well as using the spikes. I think that eight wood screws would work well enough however as each screw would be expected to hold less than 0.5kg. Of course, as with clamping, there is no need to over-fasten the fasteners.

I like the look of that and I don’t want the weight of a steel grille. It looks similar to Torque grilles if my memory serves me correctly.