Chienmortbb

A 500W Amp is usually 500 into 4 ohms but 250 watts into 8 ohms. Should be fine providing the efficiency is ok

[quote name='danbowskill' timestamp='1486316521' post='3230836'] having owned a svt cl for a few years and having played some of the others (pf500,pro 5 and 3 ) the closest i ever got to emulating that sound was through a old peavey mark 6 xp amp using a tech 21 VT bass........i think any old muddy yet punchy amp with a VT is a good bet :-) Obviously absolutely nowt will ever truly sound as beautiful as an all tube svt ;-) but as a weight vs tone .............you can't beat the VT into any old loud amp [/quote]They sound better with Valves than Tubes!

What was the problem Stevie? Chuffing?

I think a flatter board helps chords but the strings have more impact on bending than neck radius.

[quote name='FinnDave' timestamp='1484408905' post='3215281'] I had two or more of these in the 80s and don't remember any neck dive. I would have noticed, as I was careful to avoid a re-learning the lesson of my Guild B301 which was VERY neck heavy. I bought a Thunder 1 on here 3 or 4 years ago for £100, kept it a few months then re-sold it for what I paid, nice enough basses in their day and when money was tight, but it wasn't up to the standard of the Fenders I use now. [/quote]I had a Thunder 1A for years and the neck was better than any Fender I have tried, except my current Aerodyne. I guess it is whatever floats your boat. For its time the pre-Amp was also great.

A DI with bass and treble controls for $1000? Do they sell snake oil too?

Sounds like a poorly designed pre amp to me.

[quote name='Jus Lukin' timestamp='1485624273' post='3225430'] I [i]think [/i] having all three controls is parametric, just frequency and gain/level is called semi-parametric. Pedantic I know! All the info above is correct though, basically a sweepable freqency control. Additionally, with the setup you have you may find it cuts in a narrow band and boosts in a wider one although you'd have to check the spec for that specific amp. [/quote]Correct!

I realise the compromises we took using Spruce, it was what I had in the garage. However I am surprised how much bracing is required. Birch is not twice as strong as Spruce or Poplar and going down to 12mm or even 9mm in some cases, I wonder how well commercial cabinets are braced*. The other problem you have is less surface area to glue to, especially when the panel edge, does not take adhesive as well as the face of the panel. I know Phil prefers to use battens on all panel joins for the extra strength. I wonder how much extra bracing would be needed with that approach? Also would plywood offcuts, the same size as the softwood, have the same effect? *The poplar we plan to use for the final design, although 15mm, is 9 ply so will be stronger that the spruce (18mm 6 ply).

SadlyI think some Soundmen/women would be terrified by the switch options on the Amp.

[quote name='Ghost_Bass' timestamp='1485945446' post='3227840'] I'm not surprised by your findings, it's what i would expect having owned a WT-550 and a Reidmar250 in the past but i wouldn't put it up to the class-D issue. Eden amps have a built-in colour that's very bottom heavy, mid-scooped and clear highs as the Reidmar is more open with lot's of mids and harsh highs. That's the reason i moved on from both those amps, i couldn't have a clear sound with the WT, it just muddy(ed?) the stage and i had no note-to-note definition. With the reidmar i could hear the notes being played but i found it too hissy and harsh. It's the nature of the beasts, i'm sure a lot of people will use them at great results achieving their desired tone and a good marriage with the rest of their gear. The reidmar got returned to the store 2 weeks after the purchase and replaced by a cab and the WT was replaced by a Thunderfunk andi found tone heaven! Now you've got me sellers remorse... i'm happy with the Shuttle9.2 but i wish i still had the Thunderfunk for outdoor gigs... anybody wants a trade for my rack with alembic f1x and 1000W poweramp? Oh, the GAS...... [/quote]You have nailed it. I am old enough to remember Solid State amps starting to come in and lots of people said they did not sound as good as valve amps. They carefully forgot the poor valve amps. Oh how I long for my linear concord http://www.chambonino.com/work/work1.html

[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?