agedhorse

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.

Another ridiculous urban myth that I’ve never seen at a pro gig ever.

No way to accurately predict the outcome.

What’s difficult about his question or the information that was provided? Often, a seemingly simple question doesn’t have a simple accurate answer and since the wrong answer (of an answer that’s out of context) can be dangerous, the additional information is in fact important.

Ok, if the problem returns, Surrey Amps is handling Genz Benz and Mesa repairs for the UK.

My understanding is that T is the designator for time lag or time delay or timed opening fuses. Looking at the IEC standards, there are T, TT (even slower opening), F and FF (even faster opening) but the TT and FF are specialty products that we won't see in the MI industry. These only apply to the 5mm x 20mm fuse type, the 6.3mm x 32mm fuses use different designators.

That's what the regulations say, I am not sure of the date of this data though. .75mm^2 is equivalent to our 19 AWG, and our 18 AWG (slightly larger) cordsets are permitted to be used on 20A branch circuits. This is specifically to prevent fire due to a fault in the cordset, it's not best practice for sizing to a load. In our industry, this is addressed under the safety regulations by providing an equipment located fuse or breaker (called an overcurrent protection device) that is sized in conjunction with the specified IEC cordset size. Since most equipment that we are talking about here is typically protected by a T6.3A or smaller fuse, and will work plenty fine (and safely) with a 75 mm^2 cordset. There are a lot of quirky elements to this topic as you can see. Other countries and regions are even more convoluted.

Not necessarily. Using the Subway 115 and 215 as examples, the 8 ohm 115 is rated at 400 watts RMS, the 4 ohm 215 is rated at 800 warts RMS, when driven from the 2 ohm tap (switch position) each DRIVER receives 1/3 of the ~800 watt rated power or about 260 watts which is well below the rated power handling of the driver in those cabinets. Perfectly safe, perfectly good power match as well. Here's the handy table from the owner's manual, and why I strongly recommend reading the owner's manuals for our products:

There are two DIFFERENT fuses for 2 DIFFERENT reasons. I have to deal with this stuff whenever submitting products for international/CB certification testing. The first (in the UK) is the fuse in the "13A" (BS-1363) plug cap, also referred to colloquially as a kettle cord. This fuse is sized based on the wire size in the mains lead wire. This is because of the unique 30A ring circuit in the UK (and some UK colonized locations) where each receptacle is fed from 2 circuits simultaneously configured in a ring type distribution. This is an efficient way (less copper) to deliver power, but inconvenient for protecting because of the higher available fault current. The UK approved fuse style is BS-1362 which has specific opening and clearing characteristics to comply with the regulations. The second is the equipment protection fuse that is used to protect user, the equipment and external wiring from overload and fire in the event of a fault within the equipment. If it's and external fuse that is intended for user replacement, the fuse value must be printed in a specific format on the back of the equipment (the type, voltage and current... like T3A/250V) which says that it's a 5mm x 20mm time delay fuse, 3 amps, suitable for up to 250 volt operation). There may also be an L or H which signifies low or high clearing capacity. If L or H is not present, either L or H rated fuses may be used. The lowest approved plug cap fuse that I have seen is 3A

It may be that the valve is not seated properly, but it could be other things as well. Where are you located?

It's an astable equilibrium, doesn't take much to push it out of equilibrium which is why class AB was used... it forces the issue to the better side of the compromise.

If you believe all the marketing crap, sure. There are plenty of examples of class B amps that have less distortion than class AB amps, but it's also part of the definition of class B which in practice is impossible to attain, therefore all class B amps are technically either class C (slightly less than 180 degrees conduction angle) or class AB greater than 180 degrees). To achieve exactly 180 degrees is like balancing a marble on the top of a ball. Class AB, B and C are all greater efficiency though, and class C can be rather dreadful at low volumes in particular.

You have a fault within the amp. This can be repaired under the factory service program. If you message me here or on TalkBass, I will send you the service program information.

Except for the fact that it's a class AB power amp. The class A description is with regards to a specific preamp gain stage.