Chienmortbb

Having revied the graphs, I think the readings we took on Sunday are valid.

This is the Bugera Veyron 1001M measured at speaker output: THis is the response of the preamp only

This is the Ashdown RM500: Thjis is the Ashdown MiBass 550 The Ashdown RetroGlide 800 The AShdown Mibass 2.0, this was measured from input to line out, so preamp only:

This is the Warwick Gnome with all controls at 12 o'clock And with the controls set to achieve a flatish response. Ignore the red line, this is the response with the controls set in the pictutre above.

Please ignore the dB scale. I am still getting to grips with the software. Trace Elliot Elf

It was not in the PA, but I was thinking of using IEMs myself at that gig which would entail taking everything through the PA. That can be done. We usually use the singer's Behringer powered mixer, but I have a Soundcraft UI16 with up to 6 AUX buses. As there are 5 of us, we can have a mix each and one for luck.

This was my first thought.

I once accidentally followed a series wiring diagram for my DiMarzio P/J set (both humbuckers). The sound was so thin it was unusable for bass.

A thought occurred to me that there is terra firma at the side of the stage, so I might put my LFSys cab there and use a smaller amp/IEM for on-stage monitoring,

Has anyone a solution to boomy stages. I have thought of using some 50 mm foam, but will that solve it? I have another gig there on NYE.

It's crazy that this cab would not have been made that shape if it were not designed to go with my Combo.

It uses the Fane 8-225, A speaker I wanted to try and then one came up on here. I must say it worked out better than I thought. My need was for a matching can to the After Eight, although the cube shape is not ideal. I suspect @Phil Starrmay finesse the shape if he does an easy build.

To be fair, the development since the BC112 MK3 was all down to @stevie.

Thanks, I have changed it now.

I have had the cab for about two weeks, but was asked to keep quiet until the official launch at the South West Bass Bash. The cab is from Low Frequency Systems, the Silverstone, website https://LFSys.co.uk Low Frequency Systems is the new company set up by @stevie of this parish, and the Silverstone is a development of the Basschat BC112 MK3 that many of us built. Make no mistake, this is a significant improvement. So what is the difference? I could talk about the technical stuff, but I am sure others would do a far better job than me. So I will just write my impressions of the cabinet and field any questions I can. Firstly, the aesthetics of the cabinet are unique. The coloured baffle (British Racing Green) Seems to be an homage to a well known Dutch maker. However, that is where the similarity to any other cabinet ends. You can see the development from the original BC112 MK3. It is the same size and retains the large round handle at the top. The punched steel grille is fairly transparent, allowing a good view of the port, the horn and the 12” driver. The other five sides of the cabinet are beautifully finished in a unique shade of grey. I believe that was one of the hardest design choices, there being 49 other shades to choose from. We all know that looks are not everything, but then they are a major factor in any purchase. On to how it performs. Here I have to declare an interest, @stevie is a friend, I have had access to early versions of the Silverstone and have gigged the BC112 MK3 that I built for a good few years now. Like the BC112 MK3, the Silverstone is Full Range Flat Response (FRFR) so the tonal balance is very good, no lumps and bumps, peaks & troughs. Despite the fact that there is a high frequency driver, the usual fizz and tizz from a cheap Piezo is missing. As with its forebear, the horn that handles the high frequencies is mounted vertically, and the result is that the mid and treble frequencies are projected towards your ears, no need to tilt the cabinet. The horn has a wide angle in both directions, meaning that your bandmates will hear you clearly. My first outing with the cab was strange, we set up as normal, and I was too loud. So I adjusted the volume and was all set. However, when the singer went to the front of house during sound check, he could not hear me and asked me to turn up. The result was a good onstage sound and a happy band. I use mine with a Zoom b1Four and this is ideal for use with a Helix or other modelling multi-effects unit. There are lighter cabs out there, it was designed with sound as the number one priority and quality neodymium drivers are not feather-light, but it is an easy one hand lift for a 70-year-old. It is still a lightweight cabinet, though. The handle is big and comfortable, meaning you can carry it without bashing your leg. The protective cabinet corners are stackable in case you want to use two, although most people would be happy with just one. Now I have to start saving as there will be a 10" in the New Year. Glad to answer any questions.

A pleasure to do business with. Sid ordered a cable from me and it was an easy transaction.

To be honest the can adds as much to the sound as the amp so it is better to record directly and add the processing after. I use a Focusrite for recording or even my Soundcraft Mixer, never straight from the amp. It’s not what it is designed for.

I keep thinking that I will get one of Andy or Jabba’s and then I buy another amp or cab.,,,

I have contacted Aalin to compare notes, so hopefully we can get useful results going forward.

I need to re-evaluate my measurement techniques, but once I have done that I would be happy to check anyone's amp for them.

I have some responses for the Elf, Gnome, Ashdown Retroglide800, Ashdown RM500, Ashdown MiBass 550 as well as the Bugera Veyron 1001M. I will upload them later but the Ashdown all had a similar response, the Elf had , as @Phil Starrexplained the Elf had a typical smiley face EQ, Tge gnome went up and up and up and the EQ had to be tweaked heavily to obtain a near flat response. The Bugera was remarkably fiat with just a hint of an HPF. One reason probably that I have to use an aggressive HPF on the Zoom B1Four. I will use the Ashdown Retroglide at the next Gig/Rehearsal to see if it sounds wildly different.

This should have come first but massive thanks to the following, Firstly @scrumpymike and the Scrumpettes, how they stand the cachoohomy for 6 plus hours… they must love you Mike. @Andyjr1515who kindly fettled my nut slots ( ooh er missus) and made my Marcus Miller M2 really playable. To, @Phil Starrand @steviefor their help and support both at the bash and through the year. A lot of work and planning goes into those DIY designs and the best of luck with LFSys @stevie I only put the tablet holder into the raffle at the last minute but the pleasure it gave @Smanthwas heartwarming. To everyone else, thanks for making it a great day and forgive me for forgetting your names.