Chienmortbb

[quote name='sratas' timestamp='1482059210' post='3197225'] Markbass uses a HPF in its line of amps, a gentle slope if 6 db/octave at a frequency well below 40 hz...the vast majority of manufacturers use HPFs, some don't. I'm not sure, but I guess some old fashioned tube amp may not use it, think about svt, bassman of old, maybe even contemporary [/quote]6dB per octave below 40 Hz is as much use as a trap door in a canoe. As for the old (thermionic) valve amps, the output transformer cost and size rises almost exponentially with low frequency response. The transformer itself will limit low frequency output, and the inherent compression of a valve output stage will also help. As for a previous comment about guitar speakers, this has almost become thing of the past as the old 25W speakers used in the 60s have been replaced by higher powered speakers. I could build a shed from the chassis log Goodmans, Celestion, Fane and Jenson speakers I have replaced in my early days as a guitard.

My old Peavey P bass copy is plywood and it is why I was eventually convinced that the wood of the body does not affect the tone much (hardly at all). The Peavey has a great necl and I was gong to build a new body but I might try this instead.

[quote name='Myth_103' timestamp='1481919110' post='3196352'] The cloth itself moves when I play a low B. I'm pretty sure it's the cloth moving against the wooden frame that's making the noise. I'm using Mojotone's "Mojoweave" grill cloth. People build their grill cloth frames where the only place touching is just on the outside edges (1/8" ish strips around the front edges)? I supposed that may eliminate buzzing against the frame, but wouldn't it be more prone to loosening over time this way? [/quote]you could also try refitting the cloth after warming it with a hairdryer first. As it closed it will tighten on the frame.

[quote name='Downdown' timestamp='1481918748' post='3196349'] Fair enough, but without going into the techie stuff, is it a real problem with ported cabs and if so why are there no warnings about it in the manuals - or have I missed them over the years? Perhaps only some cabs are susceptible, but even so, I'd have thought that the ones that are would have a pretty clear warranty disclaimer in their manuals, as they do regarding power handling limits. I doubt I could return a cab under warranty if I'd blown a driver with too much power so why should blowing one by driving with too-low frequencies be any different? [/quote]The problem is there are many problems associated with the super low frequencies. Phil has outlined the most extreme. That is where the speaker/cabinet combination is no longer under the control of the amplifier. It may be only in very extreme conditions that this is a real problem but it is a problem nonetheless. The other issues are, subsonics that steal you amplifier headroom, and a room boominess that you cannot dial out with EQ (although neither of these (except maybe excessive use of EQ) are damaging to the speaker).

[quote name='Bill Fitzmaurice' timestamp='1481925481' post='3196418'] For you to approach xlim with most drivers they'd sound really bad. It's ignoring the warnings of impending doom that often result in it. [/quote]Bill at some gig volumes the death clank of the voice coil is lost amongst the general cacophony.

[quote name='Passinwind' timestamp='1481902298' post='3196148'] Yep. And as usual, there's no free lunch. [/quote]Designing speaker cabinets is what I call squeezing a balloon. You squeeze out something you don't want and something else squeezes out somewhere else. Charlie (passinwind) has designed an HPF and we have had many happy hours emailing back and forth about it. The real issue with speakers like anything else in life is that whatever you do, the laws of physics apply. Any designer or manufacturer that says otherwise is either kidding himself, you or having his balloons squeezed by the Marketing department. As for the HPFs built into most amps, they are not right for bass. Most PA amps have the HPF set too high and the HPF needs to have a very sharp slope to avoid affecting your bottom end. Let hope everything we open this Christmas is not like this thread (a can of worms).

[quote name='Basszilla' timestamp='1481799755' post='3195205'] Yes I use a very thick slice of foam under my Matamp gt200. All valve so I use that and then power it via a power conditioner. The vibrations hammer the power valves over time so it's best practice for me 👌 [/quote]why do you need a power conditioner?

That spec sounds like the ICEPoweer ASC 700 module is used. To get the most out of any Class D amp you need god heat management, that means weight. 3.5KG sounds like they have done it properly.

[quote name='LukeFRC' timestamp='1481364269' post='3191741'] I can kinda see Blue Arran's response - someone buys a driver, bolts it into a home-made box and then uses an unknown (to them) amplifier with unknown compression or effects added to make live bass guitar noise and an unknown number of gigs and load-in and load outs..... there are so many variables there that I can understand their reticence to make it their problem. Just a wee question - the driver is rated for 350w, and from reading the bass cab build thread the cabs built with it have a flat response and a surprising amount of low end. In a gig situation IME, unless you have brilliant sound tech, and good stage noise dicipline, that flat response and bottom end gets lost a bit. From the sound desk turning up a mid freq to let the bass cut through, cutting bottom on keys, and guitars and making sure the kick and bass arn't compete in is how I would solve it. But from the bass players position it makes sense to not be able to hear yourself and turn up a bit. If you respond by turning up you make the mush worse and work your speakers harder. How much power do you think you've been putting into the speakers? Stevie says you can put 350w through without problem. Reason I ask is looking up the spec sheet of the amp module in your amp it's rated for 8ohms at 500w @ 1%THD+N typical. With class D would we expect the burst power figures to be higher than that? If the amplifier is loud enough to start distorting it puts out typical 630w [font=Flama]@ 10%THD+N. Now that [/font][font=Flama]doesn't tell us what limiting Fender have added and I don't claim to fully understand spec sheets - but is it possible you were just putting too much power into it? [/font] [/quote]Good points and Stevie is right, the Beyma will be within its XMax figure over most of the frequency spectrum even at 350 watts. However if you are driving it hard, power compression will start to limit the power and if you start to put more power in, it gets hotter, the power compression gets worse and you are in an upward spiral. Gradually the speaker is working harder and harder. Add the cone unloading at frequencies below tuning and it is easy to see how the speaker could start complaining. Having worked in the After Sales dept of a major manufacturer, I know that many times we got stuff back for repair that worked to spec. As I see it the problem Blue Aran have is that, rather than ask for more info and telling JohnDaBass that they had found no fault, they went on the attack. No way to keep customers happy. JohnDaBass, as BA say the driver is working, can you ask them to do a specification spec? Also have you contacted Beyma about this. Finally, and this is a note to everyone. JohnDaBass has bought an HPT, The Thumpinator. It has tightened up his sound and is protecting his speakers. Please use a High Pass Filter. There are several available, the Thumpinator is a UK one, on the Other Place, FDeck makes a few different ones that have variable filters. These stop low frequency rubbish getting to the driver, give you much more headroom, a better sound and protect your speakers. I have no commercial interest and in either product I just know they are a great idea.

Interesting. I played a US Standard and a MIM P at Absolute Music last week and was shocked at the difference. The US was a lovely sound, the MIM had the worst sound of any P type I had ever heard. Thin sounding, my Peavey Milestone P is miles better. I don't subscribe to body wood affecting the sound to any degree, although the neck may have some influence. So is it just the pickups? I suspect it is.

[quote name='visog' timestamp='1481055440' post='3189404'] Which version of the Bassbone have you got as the V2s have a similar high-pass filter as the Thumpinator - selectable to 80Hz or 150Hz (or off). Maybe the Thumpinator has better thresholds for 5-string at the low-B which is ~31Hz? [/quote]80Hz is a bit high and will limit the low end. Also you need a very steep HPF to avoid seriously curtailing the bottom end.

Re Blue Aran, they are not the UK distributor. The distributor is LMC http://www.lmcaudio.co.uk.

The problem is that your amp is putting DC through to your speaker as the power supply collapses. It may or may not be a fault and probably won't hurt your speaker but it is not nice.

It's a thought, I might get a quote.

Black Gloss Nsil Carnish for me and an added benefit is I get to be s goth (with short grey hair?). Thank you.

After 10 years with hardly any wear, I clipped my Aerodyne on a mic stand and a chunk of lacquer flew off, exposing bear wood. The home is the size of a pea but I would like to seal it. I realise that I cannot get an invisible repair and am happy to make a feature out of it. Has anyone any ideas?

Ibanez basses usually have quiet preamps. Why not see if you can get a replacement before going passive?

[quote name='Phil Starr' timestamp='1480492225' post='3184738'] You are going back to a time when 25W was a high power speaker and 50W was pretty exotic. Speaker coils were wound onto paper and stuck down with very simple adhesives. At any higher power the paper singes and the glue melted letting the coil distort and rub against the magnet. A 100W amp cost several weeks wages. I remember Goodmans bringing out what was the first affordable 50W 15" speaker in this country. If you wanted a 100W speaker until then a 4xsomething was the only way. It also raised efficiency to the level where 100W was enough to fill a large auditorium. You are also going back to a time when speaker theory was pretty much unknown. Thiele re-published the theory we all use in 1971 and it took a while after that to be widely adopted by music speaker designers. Partly that's why there are so many bonkers designs from back then, no real theory. Basically the reason we don't use 4x15's is better glue [/quote]some of those old Goodmans speakers were insanely efficient. The Audium and Axiom ranges if I remember rightly. There was a 6 watt model made for HiFi that could deafen you at a couple of watts.

I do not know your particular combo but most 15" tweeter combinations have a dip in the response, either side of the crossover frequency. I recently had the pleasure of hearing a 12 with tweeter, properly crossed over and it revealed how much I am missing. I have a Gallien Kruger MB115.

[quote name='yorks5stringer' timestamp='1480160664' post='3182083'] With the exception of the Alain Caron 121 Lite combo which is slightly different: Top-level sounding combo designed with bass legend Alain Caron, the COMBO 121 LITE is a powerful bi-amp combo, now updated with a 300W power amp for the new compression driver, and 500W power amp for the 12” speaker with maximum fidelity, headroom and dynamics! Alain Caron is known for his high standards, and the components in this combo were carefully chosen to reach those standards. This is the best-sounding bass combo ever! [/quote]That must be some compression driver that needs a 300W amp. Compression drivers tend to peak at about 110 watts and have very high sensitivity. 300W is either severe overkill or MBS (marketing bovine excrement).

All right of course but the AC30 just has something. As does a Marshall stack. The Who at Glastonbury is a case in point. Townsend was using a wall of Fender Combos, think Brian May's AC30 wall. It sounded thin and wispy washy on the broadcast coverage, in contrast to the usual Townsend Marshall sound and May's AC30 sound. As for the little 15/17 watt combos, most sound like strangled budgies.

I also thought that there was a connection between Trace and Ashdown. The power sections were a similar design mosfet design the early days to the from memory. Of course they were also situated in the same area.

Really pleased for you. I too had a great redhead but I assume yours is an SWR and not a wife?

Phil is right. The Beyma looks by far the best bang (or should that be boom) for buck for bass in a 12" driver.

[quote name='josie' timestamp='1479254165' post='3175187'] My 1992 Jazz Aerodyne has a big deeply scratched patch in the middle of the back - some previous owner obviously played it a lot wearing a big sharp belt buckle. I guess s/he didn't care because nobody else could see it. It makes me sad, but I accept it as part of the guitar's history. I would never let that happen to any of mine though, even if I normally wore flashy belts, which I don't. [/quote]I have one from new and new and it was stored for a while in an area that was prone to condensation. The bridge, knobs and a little of the machine heads were tarnished and I was gutted at first. I took them all off to replace them then needed the bass fast for a gig. Put them back on and they have stayed on ever since. I love my Aerodyne.