agedhorse

I've seen it before, specially with rough DIY repair handling. If lucky, it can be pushed back onto the rivet with a little 2 part epoxy to keep it there. I would compensate him for the damage rather than spending at least that much for the cost of the return shipping plus eating the initial shipping charges too. It's the least of the evils IME, and you will come out way ahead.

You better be sure that whatever solution you choose actually achieves the necessary cooling. I see a fair number of DIY solutions that fall far short of this goal, sometimes with costly consequences.

That would be a nominal 4 ohm driver not an 8 ohm driver, by any definition of nominal impedance. 8 ohm nominal would average greate r then 8 ohm’s impedance, with less than 20% of the bandwidth dropping below 8 ohms and dropping no more than 20% below 8 ohms when measured in the cabinet. The cabinet affects the impedance below about 250Hz. This is a good rule of thumb IME as an amp and speaker designer. There are 2 different mechanisms that need to be respected for an amp to work reliably, maximum peak current and power dissipation. Average and minimum impedance affects both mechanisms.

I know we sent a bunch of bass amps to Europe, it’s possible that some retailers are still filling backorders. I don’t have access to any of that.

This American bashing stuff gets really old, and it's ironic in this case because the SpeakOn was a European design that was horribly flawed when first introduced. Everybody seems to forget the ridiculously unreliable locking ring that was changed in short order to various versions of the thumb latch... and the lack of the metal insert was part of the original Neutrik design for at least 5 years! Since Alec posted a rant thread on TalkBass which I answered, in the spirit of accuracy and honesty I provided the following information to set the record straight for those who think they know more about this subject than they actually do. ---------------------------------------- The original Neutrik part did NOT have the metal insert, they didn't start using metal inserts until a little later. Our replacement part was developed at a time when Neutrik was so backed up that they couldn't ship the NL4MP part for over 1 year when they were struggling with regulatory compliance for flame spread and their original jack series was non-compliant to the necessary safety standard under the 60065 edition 8 fire enclosure regulations (which specifically applies to amps, but using 2 different parts for amps and speakers (if we could even get the old part) made no sense. This was actually a licensed Neutrik part manufactured Neutrik's Rean division using a different glass filled Nylon (PA-66) compound that had lower flame spread. Ironically, they had to do another update to comply with the flame spread requirements for IEC 62368, where the punched opening in the sheet metal was close enough to a PIS that the part needed a lower flame spread rating, it's due to the (much) more compact nature of the newer amps. Below is the original Neutrik branded part that we used at that time, it suffered from exactly the same wear issues as well, every pro audio manufacturer of that time dealt with the same thing. You have to remember that your speaker is between 15 and 20 years old, technology and regulations change through over time. If you had really understood what you were talking about, you might have chosen your words more correctly and diplomatically. Also, you may not know this either, but the Genz Benz factory service program is still "a thing". Factory support for the products exists throughout the US, Canada, and much of Europe, Australia, New Zealand and Japan. --- Follow-up: The glass filled PA-66 material that's used on the jacks is about the same wear as the original material, but the flame spread rating is higher on the updated part in order to comply with the newer safety standard. The metal insert was introduced by Neutrik and Rean at the same time because of wear issues, it's unrelated to perceived "quality" differences. Perhaps you are unaware, but Rean is owned by Neutrik AG and handles much of the OEM development of connectors as well as the manufacturing of Neutrik, Rean and OEM branded components and connectors for products and assemblies built in Asia and some markets in North & South America. OEM's often use customized versions of connectors for the purposes of regulatory compliance, cosmetics (color, logo, cosmetics), and in some cases to achieve things that can't be done with stock off the shelf components (like for example bonding modifications for pin 1 terminal on XLR jacks) in high volume applications. The models with R in front are marketed through the Rean channels but are identical in performance and share the same ETL safety listing certificate because they are in fact the same company:

The half-rack concept never caught on by itself, therefore most manufacturers that originally signed onto the concept dropped it (except for side by side applications into a standard 19” rack. There are 2 official EIA rack standards, 19” and 24”. 19” is what we use in the MI and pro audio industry.

Not necessarily, if your cabinet is high sensitivity and you have reasonable expectations.

Or essential...

Your post above: "Totally, its a lot of power. but really what it is, and what we were after is a lot of headroom, at ANY volume."

This kind of goes against all the mythical BS about an amp needing a big transformer and filter caps to sound “hefty”. There’s an awful lot of attributing cause and effect in the fade of multiple examples contrary to the premise.

Note that the definition of headroom is available power that is NOT used. Once you use that power, it's no longer considered headroom.

Yes, lower THD without the preamp, the output stage emulation algorithms are different than the gain stage algorithms. It also depends on the amp model, for example the TT-800 uses different algorithms than say the D-800 or 800+. It also depends on how hard the gain stage(s) and the output are driven, the character and distortion harmonics change with both level and frequency.

The detailed specs are located in the back of each owner’s manual. We specify the rated power at THD less that 10% because much of the harmonics are added in the preamp and power amp tube emulation circuits in addition to the tube preamps themselves (WD and TT) when driven hard. It’s similar in concept to say the SVT which uses 5% THD, or the Darkglass amps that use ~20% THD (presumably because their drive circuits are the basis of their fundamental tone).

Yeah, that would turn an electric bass into a tuba at those velocities

With OEM drivers, you can't assume that it has anywhere near the same TS parameters even if it looks "identical". The differences can be huge, thus impacting any modeling accuracy you hope to achieve.

Correct, that’s exactly why I differentiated between the LF section and the mid-hi frequency sections as Bill also clarified.

Correct. They are designed to work stacked vertically, not side by side. The mid coverage pattern is defined by the mid element’s vertical orientation of the mid-high frequency array.

That's a tough market to earn a living in as a sound guy...

Yes, often (or usually at the level I work at) you can. The breakup in guitar speakers is quite different, and the cones/surrounds are designed differently in order to enhance the desired characteristics for different guitar styles. You won’t find the same types of cones and surrounds intended for breakup in bass speakers. The side effects are generally detrimental to what most bass players are looking for.

Only if you choose the wrong FOH guys...

Just note that there were some reliability issues, and I don't think that they support them anymore. This should factor into your decision.

Understood, I was responding to the question about what a "pro" is. I should also extend my response to those players who go out of their way to ACT like a pro, and to note that there are pros who don't act this way also. It really depends, sometimes micing a cabinet works very well and sometimes a DI is better, which is why when I mic a cabinet I also like to have a DI so that if needed I have options. Guitar is a very different beast. First of all we don't have to worry about the bottom octave which for bass is the hardest to mic accurately or successfully. The second reason is that the natural low pass effect of the speaker is used in combination with any distortion that may be used and it very much part of translating the electrical signal to an acoustic signal. This is why IR's are so much more common and useful (now) in the guitar world but not as useful in the bass world. Different sources require different tools for greater success.

A pro gig is gigs by pro musicians (who earn a substantial portion of their living in the music industry) and pro sound guys make their living providing sound to mostly professional acts. There is a HUGE difference between real pros and those who think they are pros. Unfortunately you often discover the difference between pros and non-pros after it's too late to do anything about it.

Different music styles, speakers and basses make this feature desired and useful to some players.

Sure it’s entirely possible. The real challenges is the cost of development, testing and global safety/EMC certification for a component that’s very low production volume.