Chienmortbb

[quote name='Dad3353' timestamp='1431257751' post='2769257'] Your guitarist has a point, up to a point, though. The higher the signal, the less gain needed afterwards; any added gain will increase extraneous noise, as well as the signal. Ideally, the signal sent should be adjusted to be the optimum required, neither too low nor too high. Obviously impractical most of the time, so it could be held to be best to send as much as possible (ie: full up...) unless that's too much, in which case turn it down until the overload is gone. In practical terms, I'd leave it full up unless asked to reduce; that's the 'fail-safe' option. The same applies to the instrument. If the bass is turned down, the increased 'gain' in the amp will bring up the level, but bring with it increased noise. The higher level from the instrument, the better, from that point of view. Just sayin'. [/quote]The higher the signal the better. A good desk will have mic and line inputs and most DIs on amps, even at full output, will be well below the max level for a line input. The headroom on a decent mixer preamp would be 20-30dB and that is massive. Most Amps take the cheap way out and output around -10dB so it makes no sense to reduce that level in any way as it reduces the signal to noise ratio on that chsnnel, If the mixer or sound man can't sort it out, you need a new mixer/sound man.

[quote name='stevie' timestamp='1430910860' post='2765784'] That's a perfect design, IMO. Rod is one of the few people posting on professional audio on the internet whose advice is solid. I'd prefer the second order crossover option for use with a midrange driver. Apart from that - bang-on. There are lots of good ideas in that article. I particularly liked his comments on valve amplifiers. [/quote]Stevie Rod has some good articles on valves and valve amps and links to some good resources. They are all worth a read. I think this is an excellent project. Has given me a few ideas although I am trying to resist feature creep, Now back to my project.

Maybe it shows that us Darzet Dumplings know that all that shiny yellow stuff may not be gold.

I will probably my regret asking this but by why would anyone want a valve front end these days? If there is any magic in valves it comes from the output transformer and owner supply not the preamp.

It's been a while since I posted on here and many things have happened in my personal life. So apologies again for the delays. My computer crashed during a back up to my USB drive, It took out both the computer and the USB drive. I have been struggling for the last week trying to get a working computer. I lost all of the files I had created for the Amp, specifically front panel designs and block diagrams. In addition the boss is in hospital so it's not been a good few weeks for me. As a result little progress has been made with the amp. In the meantime, Rod Elliot on his ESP pages has posted a bells and whistles design for a bass amp. Part one is here: http://www.sound.westhost.com/project152-1.htm I would be interested in your comments.

That is almost certainly a choke from a crossover, if it has come adrift, then you should investigate why it came off before trying to repair it.

MAJ is really the only place for spares for HH but the cosmetic ones like the knobs, side panels and knurled nuts are all now finished. I did buy my new front panel from MAJ though.

[quote name='chris_b' timestamp='1427704914' post='2733118'] Merton is selling his Barefaced SC g3 cabs for the same reason. I wonder how many people are moving about on your (and his) side of the stage? How would your rig get knocked over? When I set up there's just me and access to the drum kit on my side. Also, how loud do you play? My bands are pretty loud and I had no trouble hearing my 2 112 cabs and that rig didn't even come up to my waist. I found no need to vertically stack my 112 cabs. Back in the day, we used to stack 2 412 cabs and a valve amp on some very iffy stages and I've never seen a stack come close to falling over. [/quote]what is the reason that Merton is selling his cabs?

[quote name='chris_b' timestamp='1427704914' post='2733118'] Merton is selling his Barefaced SC g3 cabs for the same reason. I wonder how many people are moving about on your (and his) side of the stage? How would your rig get knocked over? When I set up there's just me and access to the drum kit on my side. Also, how loud do you play? My bands are pretty loud and I had no trouble hearing my 2 112 cabs and that rig didn't even come up to my waist. I found no need to vertically stack my 112 cabs. Back in the day, we used to stack 2 412 cabs and a valve amp on some very iffy stages and I've never seen a stack come close to falling over. [/quote]what is the reason that Merton is selling his cabs?

I have a VS Bassamp. It is working but there are a number of issues ( all cosmetic ) with these amps. Firstly the knobs. These were chrome but dud not stand up to heavy use. I have the original knobs but am still searching for an economical way to re-chrome them. The Perspex front panel can crack. Mine has but I have a new one to fit. Some lose their large knurled thumb screws that hold on the side panel/handles and they are again possible to replace. Two of mine are missing but II also have an HH Bassamp 100 and wil move two from that to the VS. The side panel/handle can crack. I have had three HH amps and none of these have cracked although being 40+ years old there. are some "road wear" marks. If the power amp many modern power amo module can be fitted, even some class D. A class D amp will increase the power but do nothing for the weight. Clearly mine needs a little work done but as I am now building me own amp, I might be willing to sell, make he an offer but there will be a short wait while I refurbish it. I am not specifically putting this up for sale but It would be nice for it to find a good home.

I have installed a new firewall to protect from all the flames but,,, Try a Behringer XM2000S. They are prefered by BBC engineers for their neutral sound.

That was my feeling StevIe, that there was an encoding problem.

There is a strange sound on that recording. It sounds like an artefact of some kind and seems to follow each note. The basic tone of the amp sounds cleanish but it is hard to be objective with the after note noise. Headphones used - AKG K450 fed from IPhone 3G*, and Kindle Fire HD. One further point. The TH500 uses an ice power 250asx2 power amp. It is capable of 500W into 4 or 8 ohms depending how Aguilar have configured it. There are two power amps and if connected as two Single Ended amps (rather than a bridged amp) one feeding each speaker socket, the max power into 8 ohms from each outlet would be 125W. Not perhaps the power house you would expect if pushing for volume. *Has the best Analogue to Digital converter so the best phone for audio.

With regards to the TH500, any one run out of headroom or find it gets hit if driven moderately or hard. There just does not seem to be enough metal in there to keep a 500W (even a Class D) cool at those power levels.

The designs are early stage Charlie and I am the one that never goes to a blockbuster, and despite everyone's efforts never got Springsteen,so I will not use blue LEDs just because they are en vogue. Might try some purple ones though. It helps having you guys around though to keep me honest.Now where can I buy some HH electroluminescent strip.

Phil, I live in Poole and I would love to meet to checkout the Cabs especially with the amp I am building. Unfortunately I can't get out much due to my wife's illness. Perhaps we could arrange a Somerset/Devon/Dorset get together at the same time around June.

A good point about the jack sockets. I will look at that later and it may also help with the spacing about the knobs.

[quote name='LukeFRC' timestamp='1427064594' post='2725444'] text wise the 3rd one is better- but - keep the type all the same size/ weight and in line across the top. I also know why you've spaced them as you have, and it kinda makes sense but visually in 3d - and also in terms of the ergonomics of the thing I would space the knobs out equally to each other across the top. Colourwise I like the orange one - (but not the type choice for can'd heat) . No mute button? [/quote] Good points. The typeface for the controls will changed to a uniform style and size. The control spacing will be equal too, I just need to play around with the control names a bit as the longer names screw with the spacing. The Can'd Heat' is an abreviation of the place I live and I thought it fun in a Lynyrd Skynyrd kind of way. If I keep it, the font will change. As for the mute switch, you have caught me out. Front panel mute is part of the design but I forgot to include it on the drawings. I like all three colours in different ways and will try the black one first as my laser printer is monochrome. However I can get the red and orange printed at Staples for about £1

I have mocked up three options for the front panel and would appreciate comments. There is a black, red and orange option. I tried other colours but none of the worked. They are rough and ready and all need some tarting up but you get the idea So which one is more rock and roll?<p>

Great I just did not want to waste anyone's time. I will be designing the front panel soon and may put a couple of designs up to guage opinion.

I am just wondering whether anyone is still following this other than Passinwind. I will keep posting but it would be nice to know.

[quote name='Passinwind' timestamp='1426692775' post='2720884'] <p> Being able to do the graphics in stages is a great reason to go with your method. I've done inkjet printing on sticky-backed plastic sheets a few times, but those decals look a lot nicer. [/quote] I have to say that I am very impressed with them. I got 5 A4 sheets ( three sheets leae and 2 sheets white) for £9 or approx $14 and so far have used half a sheet.

I have enough space to do the pot/switch on either panel and the Decals are so thin that I can add the graphics to the rear later. I should have mentioned that there are 6 or 7 coats of acrylic lacquer over those decals to protect them. I am so pleased with the decals that initially I will use them for the front panel too. Once I have finalised the design I may add an acrylic (Perspex/plexiglass) panel. A couple of words on using the decals. I made few mistakes so I will add my advice for using them. Once the decals start to dry, don't move them unless absolutely necessary, I did that on the speaker decal and if you look carefully you can see the problem. Do not drill holes then attempt to line up the decals. It is really difficult. Put the decals on first. Leave them to dry for 24 hours. Cut the decals smaller than the panel. This allows the lacquer to seal the edge of the decal. Spray 2-3 layers of lacquer before you drill holes. Once you have cleaned the holes apply 2-3 more coats of lacquer to seal the fresh edges. Leave the lacquer for 24 hours before working on the panel again.

So progress has been slow but progress has been made. The rear panel is now complete although I am waiting for a second Speakon/Jack combo socket to be delivered. Despite my dislike of the use of Jack Sockets for speaker connection, the Combo sockets are rated at 15 amps (about 900 watts into 4 ohms). To get a Jack and a speakon in the same package, the length is about 6mm longer than a standard Speakon socket. The extra length is in front of the chassis ensuring that the length inside the chassis us the same. You can see the ewffwct of this on the second angled picture, The graphics on the panel were designed on a computer and printed onto Waterslide Decal Paper. This works like the decals in an Airfix or Revell kit.

[quote name='DeeC16' timestamp='1423681639' post='2687932'] Thanks Chris, I might just stump up the 9 quid. I'll check with a few other muso types I know to see what they might have lying around. [/quote]if you let me know what the problem is I might be able to repair it for you. It it the socket that is faulty?