Chienmortbb

You know there is a postal strike, don't you? Seriously though. I was quite happy with my BC112 MK3, but having tried the Silverstone, it was clearly a next step development. I am really fickle, and it was the looks that made me think about the change first. Then? Everything clicked.

It us a long time ago since I had a valve head but in my experience a few seconds or even minutes should not be a problem. The old adage comes to mind, if it ain’t broke, don’t fix it.

In my experience, any moulded or sealed plug is a bad idea. If you can solder, use the Rean plugs listed above, if not I will make some for you. I stock the Rean ones.

Well done,

Many times.

PVA wood glues, including Evostik and Titebond don't fill gaps without some sort of filler, like sawdust. Some wood fillers are only designed for surface imperfections, the best, but hardest to work afterward are the two part fillers like Everbuild High performance Wood Filler.

No I wired parallel with the same colours together. Sounds great now.

@Phil Starris right, the greatest care was taken to ensure the integrity of the Amps under test. It has to be remembered that some high powered amps, especially those not using bridging techniques, are capable of over 250v peak-to-peak between the speaker terminals. It is also worth asking the question as to whether you need to use the power amp output to measure the frequency response of an instrument amp. The figures I got at the preamp output was so close to the response at the speaker terminals that it makes no sense checking the sharp end. It seems that, excepting @agedhorse’s patent, most designers content themselves with the preamp section and that sets the sound of the integrated amplifier. Incideny I would love to try one of @agedhorsedesigns and might just start saving up for one.

I am not sure it is a good idea to put third party comments on here about a manufacturer’s reliability. If you buy an Ashdown, and it goes wrong, that is fair game. Remember that staff in a music shop have”skin in the game”. They may be on a on some sort of sales incentive to sell one manufacturer’s products of just have that inbuilt bias that we all have. Sorry for the rant and good luck with your search.

If someone wants to pay postage both ways, I will happily sweep the Sansamp and mark the 500Hz point (or any other preferred frequency).

As usual I have to wait for someone else to put my thoughts into words. You have to have a reference, a starting point. When I first worked as a young apprentice my first job out of training g school was testing RF amplifiers. The equipment and probes we had were far from flat but at the start of each session, each morning and after lunch we would calibrate the special scopes and probes. This told us what flat looked like and we had a reference. That was a big lesson for me. The next realisation in music is that it’s not All About the Bass, or at least not the fundamental. The next thing, the thing we learn at many gigs is that the room is the box that affects your sound more than the little Barefaced, GK, Ashdown or even LFSys (my current squeeze). However if your amp or cab has a baked in sound that is similar to the acoustic qualities of a room, you are in trouble. That is why I like flat. I then use the amp eq, bass eq and multi effects to get, “my sound” but in the end I go into the auditorium and listen.

No,

My point could have been made better, but what I meant was that at practice volumes, our ears do not hear either the low or high-end very well.

I am puzzled (could be covid or my innate stupidity). Equal loudness curves show the way we hear things. So you, or at least I, would expect that a truly flat response in a PA would be the best option, then set the mix to sound good. So why do people recommend boosting the low end by 6-20dB? Is it just that the preponderance of bass heavy, computerised music in recent years. On a second point, the smiley face EQ or Shape with bass and treble boosted is much like the old Loudness controls on Hi-fi amps. These were there because the equal loudness curves change with Volume/SPL. Does this explain why smiley face EQ sounds great at home but rubbish on stage? There is an excellent piece on this, it's quite short, Is Sound an Illusion? © 2009, Les Acres, Rod Elliott

I just sold a Zoom B1ON, plastic cased and absolutely bulletproof. If anything, the newer models are even tougher.

Of course, even the Neutriks are now made in China

Hi Arigato

Magic fairy dust.

The new Zoom B6 gets a lot of love. I am sorely tempted.

New feet arrived today. Much better but still need to re-drill and spread them out.

That is a terrorscope not a telescope.

It’s a guitar cabinet! Seriously the PJB video has some good stuff in it but does not do what the title suggests, explain why lots of small speakers is better.

Yes but I need to drill some new wholes as the existing ones were not ideal😀 I have also order some slightly smaller ones.

I will let @stevieanswer the driver question but I asked the question about the handle last week. One of my amps has only about 4mm clearance. The answer was, and in hindsight I agree, that rebating the handle will create a dust trap as the handle is rounded over at the edge. Having used that handle now on my previous cab for 4 years or more, I can say that it is the easiest one hand lift handle I have used.