Chienmortbb

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.

Phil, I have bought spares for Behringer quickly and at a reasonable price form Electronic Music Services https://www.electronicmusicservices.co.uk/

I am getting used to the clip light now. Here are some pictures of the inside. It is well built and the power module is physically bigger and more substantial than many OEM designs. The Heatsink goes from the top to the bottom, also acting as a Faraday cage and a channel for the airflow from the inlet (a grille under the handle) to the fan. As the inlet is under that handle, it almost ensures that the inlet can never be blocked or covered.

I was surmising that once prices fall. stock is low and the expected date does out to months rather than weeks, a product has ceased manufacture. However I have no proof.

Great Stuff. Let us know how it performs in a live situation when you can.

I think you will find they are discontinued.

If you want one made let me know.

I have one of the Palmer ones and I felt is was better made amnd thought out than the usual suspects. I ahve no affiliation with the shop but https://www.absolutemusic.co.uk/guitar-department/effects-pedals/guitar-fx-accessories?filterbrand_ams_f=Palmer&filtercondition_ams_f=New&followSearch=9870

Same with the Veyron. Maybe there is some new stuff coming out?

You can have valve amps that are Class A, Class B. Class AB and Class D (they can also be Class C but that would be a radio transmitter). As for Ashdown, never had a problem with either their amps or the company ,and they do make fine amps. ( I did own a Mag 300 15" combo for many years and have used other amps at various times). Any switching device (Valves,Transistors and FETS) can be used for all classes o]power amplifiers but some work better in some classes than others.

One of the big bugbears with discussing audio of any sort is the use of subjective words. Sterile is one such word. You could also add warm, heft, creamy and a thousand more. Of course a well designed valve bass amp will incorporate some of the inherent characteristics of thermionic valves/tubes. One of the drawbacks is that the "Tone" people love from a valve amp comes from it being driven hard. You cannot get that from either a valve amp being used well under its rated power or from any solid state amp that does not have some form of signal processing applied to it. That is why many prefer to use an SS amp of some type with some sort of preamp (Sansamp etc) to mimic the valve sound.

I think a lot of what you write makes sense but received wisdom is that it is the power section of a valve amp that gives it the character. In that case a hybrid with solid state preamp and valve power amp is the sensible compromise. But of course all the weight is in the power section so they do it the "wrong" way round and sell it on its valve preamp. Of course the preamp valves do alter to the sound. Matrix a,ps have a switch mode power supply (like most Class D amps) and a MOSFET Class A/B power amp.