Downunderwonder

I had a rattle like that. I was sure it was the cabinet. It turned out to be the kitchen cabinet instead. The sound you hear first has a tendency to appear to be the only source even when the 2nd sound is louder. If it is indeed the cab a rattle can sometimes be found by sitting on each side in turn to see if it can be killed.

I can read that both ways. Moderately ample and want something nice. Moderately measured only spending the minimum necessary. Used gear is always the best bargain. I am not familiar with your Lainey. Some older gear gets mighty loud with a number on the front that would almost get another zero on it today. I exaggerate but you get my drift. A bigger number than 60 would not go amiss. Rumble 100 is a mystery to me. When I got to use one I had my highpass filter in front of it and it got stupid loud. The guy on before me was loud enough I was sure it was piped into front of house. It wasn't so I was more than a little nervous until I got up and running. Used Elf amps and 110 cabs are frequently in the classifieds. Your budget may stretch to a Barefaced cab.

A MD for a production offered me a fraction of my regular day's wages to be available all day for soundcheck/rehearsal and the gig, and two more evening rehearsals that eventuated into four or five. It was a very slow moving bullet that I dodged. The promoter made hundreds of thousands on the show. Some people have some hide.

You have it covered for the meantime but for future reference it's pretty easy to figure out what each cable is doing if you have a multimeter. The rough way would be plug in and see what the voltage is coming out the output. A power doubler will have the same as the input. A voltage doubler will have.... yup. More brain involvement way would be to check the continuities of the plugs at each end. Power doubler has everything in parallel at the input, centers and barrels. Voltage doubler puts the one up the other in series. The centre of one input side will be continuous with the barrel of the other side. The other two will be continuous with their respective output ends.

I believe a good tad more is usual with class D. Double was the rule for older solid state but this newfangled stuff is more like 66% @8 to 100% @4 so 160w thereabouts for your 250w amp. The other point that needs stressing is that we're talking about the clean power rating. Depending on the quality of the amp it may put out a clean enough thump if you send it. That thump could be most of the 500w briefly, and briefly is all it takes to shred a driver.

I only watched the first 5 or so minutes of the demo vid. They like to dime the low bass knob but they are only using a fraction of the available output. If they cranked up the volume it would likely turn to fart city unless there is an aggressive highpass filter in there. The Trace manual advises that the 30hz slider is red for a reason and should only be used for cutting not boosting. There's a lot of good info in the high pass filter thread in the effects forum. Generally cabs are rated only for their thermal capacity with a standard 1khz signal. Bass lows cause a different criterion to apply and it's caveat emptor all the way. Low frequency makes the speaker move very much further with each oscillation to get enough energy into it that it can be heard, as compared mids and treble. The speaker tends to break from over excursion. It is entirely logical, the speaker has to keep going for a longer time before turning around. If it wasn't moving with comparable speed it would hardly be as loud as the skinny string folk. Quid pro quo it has to travel further.

That's a dangerous assumption. Firstly we have no way of knowing how much low end the cab can really take. My 250w 4 ohm Trace amp could smash my 300w 8 ohm Trace cab no problem if too many lows were invoked. The manual even said so.

You are on the right track. Some heads indeed do colour things in the output section. Not many though and not any that I am aware of in the 250w arena. So, any number of 'right' heads up for selection. 130w @8ohm per 200w @4ohm head seems common. I wouldn't get too hung up on a few tens of watts. Speaker sensitivity is far more important when power is in limited supply. So long as your preamp gizmo isn't overdriving the ever loving pish out of the fx return you should get the very same signal upped in voltage out of the speakon. It would behoove you to include some high pass filtering in your preamp in case you have short circuited the one in the amp.

Not a great idea unless you can do it quietly as all that reverberation will play hell with the tuning of the guitars. Make sure your skinny stringers have intonated their guitars with themselves. Nothing worse than retuning a guitar to better suit another set of chords when it's the intonation that's out of whack in the first place.

Do you understand ohms? Then you should know that without some grounding in physics and mathematics it's a bit of a big deal. I certainly didn't understand cabinet ohms nearly as well before forums. I probably read the answer to someone else's 'please explain', or I might have been giving a half arsed answer and got corrected. I still don't understand how inductance of the coil plays into it. So have at it next time someone asks!

Give it a go. They will explain it another way that may well gel with you. Cab puts out sound waves. Low end energy travels out in all directions = omnidirectional. High frequencies get beamed by speakers toward the front. Very important concept. No reflective boundary = field ( of grass ). Walls reflect bass energy without absorbing much of it. ( The relative amount of bass that passes through compared with treble is a red herring) It's a lot easier to visualize sound as sines which plot pressure at a location over time. Overlay two sines that are identical but half a wavelength out of phase. Sum them at any point, you get zero. Ie they are cancelling one another out. A quarter wavelength is a distance. It is one quarter of the distance it takes a sound wave to complete compression and rarefraction before it is compressing again. V=fĹ Sound travelling two quarter wavelengths has travelled half a wavelength. A quarter wavelength cancellation is a thing you can look up also. It's past my bedtime. It would be well worth your time to get to grips with these concepts as you can head off problems before setting up in a new venue.

Give it a go. They will explain it another way that may well gel with you. Cab puts out sound waves. Low end energy travels out in all directions = omnidirectional. High frequencies get beamed by speakers toward the front. Very important concept. No reflective boundary = field ( of grass ). Walls reflect bass energy without absorbing much of it. ( The relative amount of bass that passes through compared with treble is a red herring) It's a lot easier to visualize sound as sines which plot pressure at a location over time. Overlay two sines that are identical but half a wavelength out of phase. Sum them at any point, you get zero. Ie they are cancelling one another out. A quarter wavelength is a distance. It is one quarter of the distance it takes a sound wave to complete compression and rarefraction before it is compressing again. V=fĹ Sound travelling two quarter wavelengths has travelled half a wavelength. A quarter wavelength cancellation is a thing you can look up also. It's past my bedtime. It would be well worth your time to get to grips with these concepts as you can head off problems before setting up in a new venue.

Give it a go. They will explain it another way that may well gel with you. Cab puts out sound waves. Low end energy travels out in all directions = omnidirectional. High frequencies get beamed by speakers toward the front. Very important concept. No reflective boundary = field ( of grass ). Walls reflect bass energy without absorbing much of it. ( The relative amount of bass that passes through compared with treble is a red herring) It's a lot easier to visualize sound as sines which plot pressure at a location over time. Overlay two sines that are identical but half a wavelength out of phase. Sum them at any point, you get zero. Ie they are cancelling one another out. A quarter wavelength is a distance. It is one quarter of the distance it takes a sound wave to complete compression and rarefraction before it is compressing again. V=fĹ Sound travelling two quarter wavelengths has travelled half a wavelength. A quarter wavelength cancellation is a thing you can look up also. It's past my bedtime. It would be well worth your time to get to grips with these concepts as you can head off problems before setting up in a new venue.

Not. Hence the irritation of the pregig announcements that have no value to the vast majority likewise unable to attend Podunk USA gigs in a thread for aftergig reports.

Jeez, I hope the maker doesn't get sued by that H joker that rhymes with ballbag. Good job keeping under the search bot radar.

That'll be one punchy mofo.

Sorry but your poker chip, as elegant as it is, gives the f hole conniptions and makes the chip uncomfortable. You could move it along a little and the symmetry would make both very happy.

Maple Road are playing at... on the ... of next month. Yeah, I'm booking flights right away.

And refuses to sing Sex is on Fire.

And if you turn down the input gain first before yanking the amp end out won't even get a pop.

Low frequencies are omnidirectional. When they hit walls they come back without losing much energy, so much so that we credit it with full energy. That return wave can be in phase well enough to reinforce the original wave when the source is close, or a half wavelength distant from the wall. But at 1/4 wavelength distance the return wave is fully out of phase and you get a cancellation. The original wave headed out from the speaker towards the wall and away from the wall. Having travelled 1/4 wavelength both ways, before rejoining the original, the reflection is half a wavelength delayed ie a cancellation. A bass cabinet in a corner gets all the bass energy focused into 1/2 the space of same cab set along a wall. Go outside and lose half your bass power to the catering area out the back. That's pretty dire! If you look up Allison Effect it will tell you more than you want to know.

'A' boom is tricky because it's right in the breadbox at 110hz but worth a crack. You probably have walls 6m apart, 2 wavelengths.

It's aluminum, which is heavy enough in that quantity.

Pull down 130hz in the PA to tame a boomy C.

"Feck, the feckin fecker's feckin fecked!". Shows it is in fact highly feckin versatile enough to cover exclamation adjective noun adverb and verb in the one sentence.