Stub Mandrel

Info for the 12" version: Prima staat. Meten beide 5,9 ohm. Hoogrendement 99 dB Fane 15inch classic 15/100c evt voor open baffle Gemeten Thiele-Small parameters: Fs = 36.61 Hz Re = 5.90 ohms[dc] Le = 288.69 uH L2 = 1063.39 uH R2 = 14.23 ohms Qt = 0.48 Qes = 0.51 Qms = 9.77 Mms = 42.14 grams Rms = 0.991723 kg/s Cms = 0.000449 m/N Vas = 407.46 liters Sd= 804.25 cm^2 Bl = 10.790596 Tm ETA = 3.78 % Lp(2.83V/1m) = 99.06 dB Added Mass Method: Added mass = 17.00 grams Diameter= 32.00 cm

Actually a 5" is slightly less cone area than a quarter of a 10", because the frame and surround are included in the diameter and as their widths are similar (to allow similar rigidity and excursion) the functional area of the cone is a smaller proportion of the overall area.

I usually go for 1 ½. Have never had an E-string slip.

I'm firmly anti-gua. I assume the name is wordplay on 'gua-no'

Spot the AI journalism...

Played a (PJ) Fender Mustang at a jam last Saturday (strictly the early hours of Sunday...) Flats, lots of foam at the bridge, but it played fine. The strap was very short so I felt like Mark King...

Thanks for reminding me... those holes add important mojo. Even better if the cover marks the body around the bridge.

Lol @Chienmortbb just cross posted exactly my point, more eloquently.

Some of those points occurred to me. I thought of how LFSYS came to be... they meet the requirements of a passive PA. Most people who make cabs do it out of curiosity and creativity, not to save money or even to achieve exceptional results. It's an extension to their hobby.

Last night Fractured Persona took a four song slot at a jam night. Squeezed in a tiny space. Lots of love for my Westone Thunder 1. Went very well and a big confidence boost for our less experienced members. A few fluffs, notably thinking we were at the end too soon, but...

I've never pushed my Orange Terror 500W up to full power. Admittedly, I have a very efficient speaker cab, but unless you have a very inefficient cab, 500W will always give you enough stage volume, and if it's not loud enough to fill the whole venue, why aren't you going through the PA?

There are plenty of songs defined by their basslines but the great unwashed don't recognise them as such.

All true, but that argument applies equally to bass cabs.

Curiosity, why are people who make their own excellent bass cabs buying ready made PA speakers?

The one PA we have uses a reference microphone and white noise through each, then both sides of the PA. Not perfect as it doesn't compensate for the place filling with punters, but it speeds everything up.

Well he was several years away from becoming famous!

Sone posh plugs have washers you loop the wire round. Plugs with little scews are better (if they are quality ones) because if they can be done up tight enough they cold weld like a crimp... you hear them creak or crack when undoing them.

You can soft solder to aluminium. You need to abrade off the oxide layer, cover it with light oil (not flux), use a powerful iron and scratch through the thin oxide layer that formed before you got the oil on. It is tricky. I've also got aluminium welding rods (alutite), used with a blowtorch- mechanical abrasion also important.

Funnily enough I just posted an explanation of why crimping is superior to soldering. The same goes for plugs. Done up tight the screw cold welds and unsoldered is more flexible, improving fatigue life.

Is that the one you had back in the 90s?

Run away!

Not the greatest, perhaps, but the three bass players I would most enjoy seeing interviewed: Leo Lyons - stepped up the virtuosity in blues rock bass from his jazz roots. Dave Pegg - transformed folk-rock bass from a gentle accompaniment to the equal of any other instrument. Jim Lea. Becoz.

Chatting to a friend the other day, back in the 70s his band needed a stand in bassist for a European tour. They auditioned Pino and turned him down. 🙄

Try Monkey Wrench. Foo Fighters basslines songs are deceptive, full of syncopation, space, unintuitive structure. Even their simplest songs will add a beat, drop a bar or stick in an unexpected rhythm change.