Chienmortbb

The Matrix power amps are designed with modelled sounds in mind. As for the speakers? I will let other suggest that.

Stevie's point about power compression may be close to the mark. Beyma are or were the only major manufacturer to publish power compression curves and from memory even at 100W many of their drivers have 3dB compression, going up to almost 6dB at rated power. If you try to turn up to compensate and/or the driver is slightly out of spec.... Of course power compression happens with continuous power.

[quote name='stevie' timestamp='1475165972' post='3143683'] I'd say it's likely you drove the speaker past its limits, but you'd need a post mortem of the driver itself to know for sure. If you have it reconed (a good idea!), the reconer will be able to tell you. The port provides valuable support for the speaker around the tuning frequency. To tune a bass guitar cab for maximum power handling your tuning frequency should be around 50 Hz. There are times when you might want to tune lower, but I wouldn't ever tune higher. I've lost count of the number of times people on this site have said you can always hear a speaker complaining. I've never bought into that one. Anyway, you're welcome and please let us know what you find. [/quote]The problem is that the speaker complains when the voice coil bottoms. That is when the damage is done and there is no way back from there. Stevie is right that a well designed/tuned cabinet will protect the speaker from most abuse. Remember though that like all speakers, Power Compression is your enemy.

Fane can make 4R drivers and do for most models. The problem is that like most manufacturers, they only publish the specs for 8R and all the other parameters will change. 4R is usually a special run and whether anyone will do a run of four is debatable. However contact Fane and ask if they can, and do they have the TS secs for the 4R version. You might be surprised!

[quote name='stingrayPete1977' timestamp='1474706721' post='3139936'] What about the kick drum? [/quote]Din!t get me start ed on Kick Drums. A good kick drum will send you into next Tuesday without PA support. So why do so many Sound Tecs mic them up loud enough to send you into the following week. A good sound tech will work with the Backline, gently suggesting changes if she/he cannot get the mix right FOH. Taking the amp/cab off an electric guitar/bass is like knocking the body off an acoustic. Makes the Sound Techs job easy but if it were easy, everyone could do it (my dead granny could actually do better than some Sound Tecs I have worked with). You have to treat the Sound Tec as part of the band and he/she has an input and it is usually valid BUT..., their ears ( like mine) are often shot from years of amplified Kick Drum abuse.

[quote name='IanA' timestamp='1474396131' post='3137715'] The NV115 cab is an awesome piece of kit if you want a fat finger style tone. The midrange is extremely musical and for me is a much nicer option than a tweeter. The cab handles the low B really well despite what Ken on TB says, it is fat deep and punchy without being over extended and boomy. You will need a good amp to drive it due to its relatively low efficiency compared to many modern ported cabs. I run mine with a Magellan 800 at 8ohm and it is way louder than I will ever need. The only other thing to mention is the weight, it has a ceramic driver and good thick Birch cabinet, so it is no light weight... But it is worth it! [/quote]Again magnet material is not a good indicator of speaker weight. The Beyma SM212 used in the Bassachat 1x12 design is lighter than many Beyma 12" Neos.

Having been alive during the CBS debacle, I ran a mile from Fender until I found a Black Aerodyne in a Jaoanese music shop. It looked great and I did not want to put it down. I have had it some time, possible 15 years and I had a setup issue I could not fix. Took it to the tech at Absolute music and he said he loves to work on the Jap Fenders. They just work. Now Fendet Japan is no more, can any one tell me which company made them? On another note, my Peavey Milestone IV cost me £50 and was made in Indonesia. The neck is sublime for a "budget" instrument. There are companies around that will make custom basses for the price of a Fender. That is real custom shop. Why go Fender? Leo made the precision from easily available parts and materials. They were mass production units ( no shame in that) but others have perfected what Leo started ( including Leo). Use you ears and your eyes. Your wallet and your ears will thank you.

[quote name='largo' timestamp='1473868733' post='3133716'] Personally I'd be pushing the Gain until almost clipping & with most amps, that would be 1 or 2 'o clock. 9 'o clock seems awfully low. If you need punch I'd try dialling the bass or low mid to 2 or 3 'o clock. I know that all depends on the bass in question, preamp etc. [/quote]Gain what control is that? Oh is it a sort of Drive control? The Bass community is getting worse then the Audiofile community

Phil is right in what he says and what a joy it is, as an Electronics Engineer, to see the Phon quoted (no it is nothing to do with happy days dear). The thing to take from this is while the ear (or at least the young ear) has a fantastic dynamic range and can hear (with varying degrees of efficiency/success) 20Hz to 20KHz, it has no or at lest very little memory. The same room the same equipment on successive days will sound different. So the guys are right. If you want to compare, take your old gear along to A/B.

[quote name='JTUK' timestamp='1474384845' post='3137558'] Precisley..and neither might the band if they can't hear it well enough. If it sounds sh*** at source, chances are no one is rescuing that sound at any point..and do you know anyway..? I never trust a sound man I don't know..he might be blinding, he easily might not.. That is assuming you have a sound man. I have a list of engrs I wouldn't call again, and even if they freelance, (which they do) I would probably not like them on the gig. Far better to have a list of Engrs you know can do the job..even with their own gear or hired in. [/quote]Misuse of the word engineer? Sound man, sound tech maybe but an Engineer is a person qualified to degree level in their particular field of engineering. Sound mixing is an art. Whilst Engineers, can do art it is not engineering.

J'adore ale vrai.

Let me know when you are down and I'll buy you a beer.

[quote name='discreet' timestamp='1473687061' post='3132243'] I'm in the hole for six quid! The stakeholders will be furious! [/quote]I amor could be jealous. Just paid £10 for a Guitarman. It is accurate for four string, according to both my pedal tuner and the Peterson Strobe Tuner on the phone. Sorely tempted to try one of these though.

The problem with Class D is a marketing problem more than a real one. ICEPower modules come in all wattages and sizes as do most amplifier modules. The ratings are often based on hi fidelity. Having started my own build using a class D amp I can tell you that the specs are a nightmare to decipher but there is nothing inherently wrong with Class D. The module used in the Tonehammer 500 is rated at 500 watts but for m music reproduction. This is from the data sheet: "[font=Flama][size=1]The ICEpower250ASX2 module is designed for music reproduction, which means that the output power of the amplifier will never be continuous. Research has shown that the RMS level of any music signal does not normally exceed 1/8[/size][/font][font=Flama][size=1]th [/size][/font][font=Flama][size=1]of the peak value and the power supply is therefore designed for large short-term power handling and lower continuous power handling. If the average output power of the ICEpower250ASX2 exceeds 60W @ 4[/size][/font][font=Symbol][size=1]Ω [/size][/font][font=Flama][size=1](SE-mode with both channels driven) or 180W @ 8[/size][/font][font=Symbol][size=1]Ω [/size][/font][font=Flama][size=1](BTL-mode) for a long time at 25°C ambient temperature, the module will reach its maximum allowable temperature and the temperature protection will be activated. [/size][/font] " There are only two ways to get temperature down, more metal in the shape of a large additional heatsink and/or forced air cooling (fans). In my opinion, and it is only mine, there is not enough heat sinking to allow the fans to do their job properly on the TH500. In my own build of a non-ICEpower based amp, I have almost trebled the heatsinking area. This is because, like the ICEpower modules, the thermal calculations are based on music reproduction. For MI use, especially bass, you need more continuous power and that means more het dissipation and more attention to thermal design. In addition the Tonehammer has its own "sound" and that is in effect pre-dialled EQ. Anything off flat will limit what you can get access the range from an amp. class D modules are a too for the amp designer but they need to use the properly to get the most from the module. Below is my part built amp. the two silver lumps are extra heatsinks and the heatsinking on this module is already better, although unseen, than the ASX250 used by Aquilar. In addition there will be a fan that will switch on as heat rises to ensure the the amp runs cool, it is under the main model drawing cool air in and cannot be seen. Of course many people are more than satisfied by the TH500 and who am I to say they are wrong. Many renowned amps such as the Glockengangs use Class D modules and I have never seen complaint about those. In the end if you want a really lightweight amp, weighing a couple of kilos, or under 4.5 lbs, it may not fill your boots with warm silky bass. Finally if you feel you are not getting enough from your amp, it may be your cabs. Bill Fitzmaurice uses a fairly low powered Ashdown (sorry ~Bill `i forgot the model) with one of his very efficient Jack Speakers and he probably has more "heft" than you could shake a 35"scale bass neck at.

[quote name='JapanAxe' timestamp='1473623849' post='3131793'] Hmmm... If I wanted to restore punch I would replace the Jazz with a Precision. You can make a P sound nasal but it's much easier with a J! [/quote]Just what I was thinking. Jazz does not have the bottom end to give an amp a chance.

[quote name='JapanAxe' timestamp='1473623849' post='3131793'] Hmmm... If I wanted to restore punch I would replace the Jazz with a Precision. You can make a P sound nasal but it's much easier with a J! [/quote]Just what I was thinking. Jazz does not have the bottom end to give an amp a chance.

Thanks I think I have corrected it.

The three day Poole Blues Festival starts on Friday 16th September. Highlights of the weekend include sets by Blue Touch, The Red Crow. The festival kicks off with yours truly on bass with No Direction at All (The Old Gits Band) at the Kings Head, 6 High Street, Poole. Poole Blues Festival On Facebook or www.pooleluesfestival.co.uk

The second operas just as duccesful but other things have delayed the project. You may remember that I stated this thread when my wife was ill. She got progressively worse and I took on the role of full time carer. Sadly she died in June. I am still sorting out the many problems bereavement caused but I will be continuing the project soon.

[quote name='Phil Starr' timestamp='1473060453' post='3126385'] In that situation a piezo tweeter might be worth trying, they cost pennies and don't need a crossover. The down side is that they don't sound great but if they are just your personal monitor for the synth they might just give you enough to save you spending a fortune. There won't be a huge effect on your bass sound either. Power handling isn't great, they are usually rated in the maximum voltage they can handle 25-35V rms which equates to around 100W at 8 ohms, synth puts out a lot of power into the horns. The simple solution is to wire two in series ( I can hear Stevie and BFM flinching here as this is sooo wrong acoustically) It will work though I've got a box full of these in the loft , if you want to try and are happy to pay postage pm me and I'll send you a couple gratis. you can try them just resting on the cab and build a box after if you are happy with how they sound. [/quote]The old Motorola piezos sound great if you do use a crossover. The problem is most people bought Motorola's hype about not need if a crossover. Used correctly they have far less distortion than a typical compression horn. I will be building the 1x12 very soon and intend to put a piezo in it. If you are happy for me to try it and post my results in the 1x12 thread I am happy to do it. Sorry for the thread derail.

Be aware of 2 ohm stable amps. Many off them are not stable for long.

So the SW 2016 bassbash is...... Let's start a new thread and get one sorted'

Phil is convinced that the specs on that driver changed dramatically at some point. The 10-300 models well for a PA cab but Phil thinks it is lacking something as a bass speaker.