Chienmortbb

[quote name='BigRedX' timestamp='1484843585' post='3219030'] Two problems with this approach: 1. You can't fix what is mostly a time domain problem (bad room acoustics) with a frequency domain solution (EQ). 2. And if you could, then every time you make an EQ adjustment on your bass, you are potentially negating the correction you've applied at your amp. [/quote]Of course everything is a compromise and your EQ cannot solve for all frequencies at all locations in a room. If you could see all the nodes it would terrify you. However setting my amp first, and using the active EQ on my bass works for me.

One of the things about this process is that it is a design project. As with the original design process, where the slot port caused a couple of problems, I expect other issues will be thrown up that make us question the way speaker cabinets are often built. Going back to the start of the thread. Try Stevie's finger test on your own cabinets and see if any of the panels resonate at particular frequencies or notes. Also let us have the results on here by naming and shaming.

The centre of the fan will have details of its voltage and current rating. I would take the makers name and model number , check the specs of the fan then fit the best one of a similar spec and size that you can find> If you post a picture of the fan with the details showing I will investigate for you.

[quote name='Ghost_Bass' timestamp='1485944432' post='3227829'] How do they mix the band's sound? Does each one only worries about being able to listen to his own instrument? Not very professional, especially if they're being payed for the gig... IMO and IME most punters will judge a band for it's sound, if the sound is bad the band is bad and not worth staying in the pub to listen to them. [/quote]The worst two I have seem recentlyused IEMs for monitoring, no backline (except the bass). They both seemed happy once the IEM mix was OK

[quote name='Ghost_Bass' timestamp='1485777482' post='3226535'] Everytime i play a gig with hired PA company i make sure that the techs know about how my amp's DI work, i let them know that it has a switch for mic or line level, another for pre or post EQ and also the ground lift and let them set it the way they want. For me it's great not being in control, takes my mind of the overal sound and just focus on playing with the band. In pub gigs i generally get stuck with the mixer as i can step in front of the PA to listen the band's mix and correct anything needed. I would prefer to not bother with that. [/quote]It is amazing how many bands don't go FOH to check the sound in a pub gig.

[quote name='Bill Fitzmaurice' timestamp='1483722451' post='3209605'] An 8 ohm 110 would keep the same power in all three drivers. If you were going to a 112 or 115 it would probably be better for that to be 4 ohm. [/quote]Bill is quite right here but there are no easy answers. I have rewritten this answer several times as it is complex. [size=4]In my opinion the best way forward is for you to find a second identical cabinet OR find two other identical cabinets whether 4 or 8 Ohm. The reasons are complex (as are the impedances but unless you want a physics lesson we will leave that alone).[/size] Most Class D heads have a tuned circuit on the output that takes into account the speaker impedance. The speaker is part of the amp's output circuit. Change the speaker impedance and the amp behaves differently. I suspect that the Yamaha amp is optimised for 4 ohms so two 8R cabs would work well. Two identical 4R cabs will also work well although I don't like running at 2R. The reason is that amplifiers with short circuit or current limiting protection (most class D and class A/B, solid state amps have this) can get confused with 2R operation as it is getting close to zero ohms. So in a nutshell either get a second identical 4R [color=#282828][font=Arial, sans-serif]Yamaha BBT210S[/font][/color] or buy two identical 4R or 8R cabs.

Good call although the vibration sensors in your fingers work pretty well. I suspect we may try a seismometer on the Poplar prototype when we build it.

[quote name='Phil Starr' timestamp='1485876760' post='3227423'] Sorry about that, life really has thrown the kitchen sink at me in the last few months and is continuing to do so, the cost of elderly parents not to mention that my kids don't still have their moments. So yes I have the detailed instructions in draft form and some photo's of the construction process but just haven't got round to typing it all out and investigating why my ancient computer doesn't seem to want to upload photo's If anyone want's to build the original version I'm happy to email a word file and a link to photobucket or similar. PM me if you are interested And all the dimensions are on the original thread so you should be able to build it from that, well people already had. John you used the h**t word! [/quote]Just seeing if anyone would b*te!

[quote name='Andyjr1515' timestamp='1483893056' post='3210910'] Thanks, HowieBass OK - while Nic's Mouradian-style is letting the grain fill cure, I set about attacking Harry's Harley Benton I am VERY impressed with this bass. Let us now dispense with the proviso of 'at this price point' - it's irrelevant. Metal control plate with good quality knobs reveals a clean and screw-connector-fitted loom and pots: And before you all jump on me, I KNOW there are two levels of CTS pots, but pretty certain these are CTS pots nonetheless: Tip for those who might want to take theirs to pieces and haven't done it before - don't lever out tuner bushes, pop a socket or similar as a drift and gently tap them out: And in the time it's taken Tottenham and Aston Villa to get going in their first half, we have one disassembled bass, ready for all the bits to be bagged safely : Thanks for looking, folks [/quote]Sometimes people use things because they always have. CTS pots are an example as are the traditional Fender woods. CTS pots are OK but there are several at lesst as good, if not better, in the US alone. Don't get me started on orange drop caps. BTW there is no implied criticism of the control panel assembly. It is probably THE nicest of the aftermarket ones I have seen.

How did you find the Wilkinsion bridge Andy. I have had trouble with other bridges without grooves/guides for the grub screw and although I have been tempted by the Wilks, something always held me back.

This is Stevie's thread and I don't want to hijack it but I thought a little background might be useful. I originally contacted Stevie and Phil as I had bought an SM212 and was planning to build the original design. However it was mentioned that the spec for the SM212 had changed and I did not want to build a cabinet that was not optimal. I took the speaker over to Stevie's Den and we measured its main parameters ( Thiele Small parameters amongst others). It seems that Beyma changed the spec because the units being produced were consistently better than the original spec. Our measurements were almost identical to the ones for Phil's driver, purchased when the older spec was current. While I was there, I heard the original prototype of the 1x12 and was impressed with it, especially the low end, it had plenty of h***. Then I heard another cab of similar dimensions, equipped with a 12 plus a tweeter with a proper crossover. That cab had an OEM Eminence as the woofer. It's low end was nowhere near as extended as the BC 1x12 but the extra dispersion from the tweeter/crossover combination was an ear opener. I could hear detail standing directly in ffrot of the cab. At 6ft 2in that is impressive (me not the cabinet). This was how we started out on this leg of the 1x12 design. The beauty of having both Stevie and Phil contributing is that they come at things with a different perspective. Rather than causing conflict this means each stage is scrutinised and challenged. I am learning an awful lot and hopefully others will too.

The pounds fall is the direct result of Brexit, Snyone that has a car will know that.

Hopefully I can reply to your last question. It is our intention to publish the design on here once it has been finalised as with the original 1x12 Cab Design Diary.

Well this thread has just turned 3 years old. Maybe time for a sibling?

[quote name='wateroftyne' timestamp='1481616958' post='3193663'] I finally got around to doing a video review of the R-400.. [url="http://basschat.co.uk/topic/296805-handbox-r-400-bass-amplifier-video-review"]watch it here[/url]. [/quote]A good review, you have a good easygoing style.

[quote name='discreet' timestamp='1484686619' post='3217572'] Slightly OT here, apologies - quick question - I know that valve watts are subjectively 'louder' than SS watts, but did you find the PF50T quieter overall than the PF500? Were you able to play the same gigs with the 50T that you did with the PF500? [/quote]No he is is just vacuum trolling. On a serious side the answer is still no.

[quote name='Rich' timestamp='1484922852' post='3219765'] There's an old saying: [i]If you make it idiot-proof, someone will build a better idiot.[/i] [/quote] I am in charge of that project Rich!

If the specs are to be believed, the Elf should output more than the MB200. As far as I know the MB200 uses the ICEPower 50ASX2 module in Bridge mode (BTL). It outputs 100 watts at 8R and 170 at 4R according to the ICEOower specs, http://icepower.dk/en/solutions/speaker/ASX_SERIES

[quote name='TrevorR' timestamp='1484613942' post='3216927'] Personally I love active basses. All my basses have been active or very soon became active. Why? Well, I personally like to have the ability to drive my tone from the bass and a smooth pickup pan facility. I love Jazz basses but can't get on with the two volume set up. Pan pot every time. And I change batteries regularly enough that sudden battery death isn't an overriding worry. And my approach is the opposite of this. My amp is adjusted at sound check (simply any necessary room based tweaks to a largely flat EQ setting) and then tonal changes all come from the bass - from changes in pickup pan, EQ or plucking style and position. Horses, courses etc. Neither approach is right or wrong. [/quote]I think your way is right. Adjust your amp for the room, set and forget. Use the EQ on your bass to make changes per song.

[quote name='Downdown' timestamp='1484777224' post='3218438'] Will there be the usual deafening slap-fest demos this year? Will probably give my ears a rest this year. [/quote]I hope not. If ut us it will be the first and last I go to.

I am in

Does Mag suggest a phono input?

[quote name='Bill Fitzmaurice' timestamp='1484658293' post='3217213'] Even if they did there's another consideration. Going beyond xmax doesn't cause damage, reaching xlim/xmech does. The Beta 10 has 3mm xmax, with 8.6mm xlim, so there's a lot of room for overshoot. The BP102 with 6.2mm xmax will go a lot louder than the Beta 10, but with 10mm xlim there's a lot less overshoot capability, so despite the higher output capabilty of the BP102 you're far more likely to see them creased than Beta 10s. A minimum 2:1 xlim to xmax ratio is prudent. If that much is not available then it's wise to not only high pass but to limit the maximum voltage applied to the driver as well. That's seldom seen with electric bass rigs, but in high end PA it's SOP. [/quote]Bill the drivers in the example were chosen at random and I quite agree that exceeding Xmax is not a problem. XLim is the damaging area. However once you exceed XMax your driver is operating outside of the control of your amplifier and in a very non linear fashion, under only the the control exerted by the suspension of the driver and the "spring" in the cabinet.

Cooking up a storm I see. I have heard a older Barefaced but never played through one and I have never heard a Berg. However I know of enough people that have experience of both, on both sides of the pond to know they both make great cabinets. To say one is better than the other is silly. Better for whom? As for using the for sale section as in indicator of satisfaction, all that tells us is that more Barefaced Cabinets are sold second hand, on Basschat than Bergantinos. That is all, there is no evidence for anything else. It would be useful though if some of those that have sold both brands on here said why. I have no figures to prove it but I think Molan! Another dig at Barefaced, no evidence, just innuendo. I am an enginneer but spent a great deal of my time in marketing. I soon learnt that if you criticise your competitors you soon lose credibility with those customers that have had good experience with them. Your "basic integrity" is compromised and you will lose peoples trust. Now I am not going to buy either brand soon, I am going to build my own so have no axe to grind . However I hope someone will tell me what dealer you own or work for, as you have blown your credibility with me.

This goes back to the old problem of watts versus acoustic output and frequency. Our ears are highly attuned to the frequencies put out by electric guitars. a very large part of the bandwidth is the same as the human voice whereas out ears do not hear bass so well. Guitar speakers are efficient in getting those tones to us many giving well over 100dB 1w/1M in the area that guitars work. Most bass speakers are very inefficient so need a lot more power than guitars to sound loud. Lets look at two examples, The Fane Ascension F70 guitar speaker and the Eminence Legend B122. Thye Fane hase a sensitivity of 100dB in its useable response for guitar. The Eminence has a quoted 94dB sensitivity but its sensitivity at 50Hz is approx 85dB. Even at the published spec, of 100 and 94.1, The Bass speaker would need three times the power to give the same power at low mid frequencies. As we go away from the dusty end of the fret board and get down to low E our sensitivity is 82 dB and at Low B about 77dB. So to compete, sorry, blend wth a 20 watt guitar amp with the Fane, you need 60 watts. Oh but there is another guitar so you now need 120 watts add a drummer-240 watts, noisy drummer 480 watts, loud vocals? You can see where this is going. Of course you can buy a huge PA and put most of you sound through that. It needs to be huge though as PA speakers are not usually as efficient as guitar speakers and even our little guitar band would need thousands of watts to replace or just reproduce those electric instruments and mic up the drums. Now of course you also have to remember that the old bass cabinets were really guitar cabs and did not really reproduce the low notes until brands like Ampeg, Acoustic and Trace started make cabinets designed for bass. If you want to gig with 50W, build one of Bill Fitzmaurice's Jack speakers. They are horn designs and incredibly efficient.