Chienmortbb

[quote name='51m0n' timestamp='1476188524' post='3152077'] The FR800 is square (well cuboid) and uses all the clever bracing tech that BF have spent years developing for their bass cabs, these are just as rigid. The FR800 is not a typical mid-top PA cabinet, it really is a full range cab, hence my comment about it being more like a super loud studio monitor than a typical PA cab of these dimensions. The LF800 doesn't extend the bottom end, because it already is full range, but it does effectively double it, since that is, as you say, where you really need more power for getting very very loud. Note BF are currently designing and testing a 1x18 sub, which will definitely add some whump... [/quote]Wheb I said square I meant a cube or cuboid. My point was that a properly braced wood cabinet will almost always, outperform a composite box that is fundamentally a trapezoid. I am not sure if my post was unclear but you are reinforcing my points while seeming to disagree. It is good to hear about the 18" sub in development but it is a bit off topic.

I have not heard the Barefaced but was product manager for Panasonic at one time. Our old square cabinets WS-A200 were great solid lumps but then trapezoidal replacement WS-AT200 were pants. The moulding of the complex shapes makes it difficult to make a solid, non flexing cabinet. Ironically the WS-AT200 used pine struts about 1" x1" (25mm x25mm) in an attempt to keep the cabinet from flexing. Remember we are talking very high pressure sound waves in side the cabinets. The typical Composite Top cabinets (yes I include the Mackie, RCF, Yamaha) are a vast improvement over those early composite cabinets but are still a design compromises. From what I have read the FR800 does not make those compromises. Now the Mackie, RCF, Yamaha etc have come a long way and are better than the early designs and should not be ruled out, however if you have the money, use the one month trial on the FR-800 and if you do not like them, save yourself a few hundred pounds and buy one of the Mackie, RCF, Yamaha that are often suggested. One thing that is interesting about the FR800 is that adding the subs (LF800) does not take the frequency response lower, from the Barefaced Blurb "[color=#333333] Note that the LF800 does not extend the bass response, it just increases output and headroom by sharing the load in the most demanding region of the spectrum." [/color]

Agree, whatever you pay out will not be recouped so just give it a clean an put it up for sale.

I have to say thank you to everyone that commented. I feel comfortable with the semi acoustic, whereas I might have spent a lot on an acoustic. It comes tomorrow (Wednesday 12th October). I will try it on Thursday's Open Mic. I will be interested to see the reaction as they are all expecting me to come in with an acoustic.#excited

[quote name='TrevorR' timestamp='1476134315' post='3151723'] I got a Faith Titan Neptune bass which sounds nice both unplugged at home and amped. A Feedback Buster soundhole plug keeps the feedback problems to a minimum. [/quote] If I could afford it I would have tried the Faith. Their 6 strings are some of the best on the market and although not cheap, way lower priced than the M**t*ns and T*yL*rs. Saying the my Washburn £200 job sounds and plays better than some overpriced orange boxes. OK the [color=#434649][font=Arial, Helvetica, sans-serif][size=4][b]Greg Bennett Royale RLB-3 is ordered so look out for n NBD post soon.[/b][/size][/font][/color]

OK I have taken in all you have said and decided on a hollow body. All three of my basses are P/J types and so I am looking at this http://www.gear4music.com/Guitar-and-Bass/Greg-Bennett-Royale-RLB-4-Bass-Guitar-Black/1BIZ It looks like a Les Paul ( secret guitard coming out) and it's active so should be able to go straight into the desk (hopefully) . Comments? Remember the main reason is for Open Mic and quiet practice at home.

I agree it is more for the aesthetics and also agree that they are of little use acoustically. However the Washburn Equis preamps are great if my acoustic 6 string is anything to go by. The PA at the OM is massive featuring 15" Mackie/RCF tops and subs and the ore-amp in the bass will DI nicely. Those acoustic musos get frit by a big bad black Fender bass. No need for my amp/cab and I can go on the bus and have two beers.

On the public-peace website they have both Maruszczyk and Mensinger, both Polish is there a connection? Also where are you guys ordering the custom instruments from?

A couple of questions. I need to get an acoustic for acoustic open mic nightS. I have tried Ibanez and Martin(could not afford that though) both had necks like. boat oars. It seems that Fender and Washburn make bases with necks like electric bass guitars so has anyone experience of either the Washburn AB5 or Fender CB-100CE. Also can anyone recommend good acoustic strings.

[quote name='Twigman' timestamp='1475592077' post='3147182'] Until this week I'd never owned a Fender I have a '83 Squier JV 64P - does that count? My other basses are bitsas from Warmoth bodies and Warmoth/Status necks...so while Fender shaped aren't Fenders. However this week I bought my first Fender badged bass....not a P, not a J either... It's a T-Bucket 300CE acoustic!! [/quote]How are you finding the T-Bucket? I am in the market for an Acoustic.

[quote name='Beedster' timestamp='1475521922' post='3146641'] Agreed Pete, but that's not the deal, the deal is that they are so f*****g good and SO cheap. These two beauties together cost me less than a used MIM Precision with enough change to buy a fair few sets of strings, and bot blow the socks off most MIAs This baby had without doubt the definite flatwound/pick tone I've ever come across [URL=http://s80.photobucket.com/user/Beedster/media/IMG_5526_zpsiliorfb5.jpg.html][IMG]http://i80.photobucket.com/albums/j199/Beedster/IMG_5526_zpsiliorfb5.jpg[/IMG][/URL] And this was likewise simply the best rock roundwound sound [URL=http://s80.photobucket.com/user/Beedster/media/IMG_2710_zps069130c7.jpg.html][IMG]http://i80.photobucket.com/albums/j199/Beedster/IMG_2710_zps069130c7.jpg[/IMG][/URL] [/quote]That. Second Yamue looks so like a Westone/Matsumoko

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.