Downunderwonder

One time my vintage Trace 15 was plugged in with a BigBaby. The BB was inaudible so I am picking it gives up a fair mess of sensitivity to vintage stuff in order to go crazy loud with lots of watts. I imagine a super compact version of a BB isn't going to punch its way out of a wet paper bag without at least 200w up it. Every 3dB of sensitivity deficit you start with requires that you double the power to make it up. That's well and good when 1000w amps are cheap as chips. Not so much with 50 going on 100w. JBL E140 based cab is what you want. Mic that puppy into the PA and you will be envy of bassists around the world.

Over the other side of the pond there is a thread on a 110 coffeehouse cab made from a cheap prefab 10" subwoofer box. It just happened to have the exact right porting for the s2010 which is close enough to the 2510 that others threw those in instead and Bob came through. Others copied the box with a shelf port instead. I am pretty sure it wasn't as generously sized as Bill's optimal tune but big enough to not suffocate.

Lots of very cheap Trace amps in the classifieds at the moment. The trouble with some modern lightweight super high performance stuff is it actually needs a bit of wallop behind it to make it go. Try with you old iron before you buy.

Trying not to strain our collective grey matter too much here.... Stiffness of a panel is related to how well its ends are secured, the material, and its thickness. How much it flexes then depends on how hard you push on it and the span. If you put a brace in a panel you effectively halve its span. That's why braces are much more efficient than using thicker material.

So long as whatever I am plugged into will overdrive a little when I dig in I can do the rest with fingers most days. I would definitely like to be back doing effected improv before I die.

In NZ the speaker XLR stayed in use quite awhile. Loads of old domestic gear still using them. Having female plugs both ends of the leads at least reduces the chances of making a wrong connection.

An HPF will go a long way to ensuring 5 string happiness.

Your speakon outs of mixer go to your tops btw. Not sure it that was made clear already, just to be sure. Reading back, only one sub so I guess you are stuck with a mono mix.

Your master XLR outs go to your subs and you need some XLR to TRS leads to come back to the power amp inputs with the highpass from the subs. Balancing the tops to subs might mean turning them down at the sub amps. A little Heath Robinson but should work well enough.

Post some Dyna links. Pretty darn sure, from the last time I was sleuthing for someone, the main mix send to the sub can come back as a main mix insert all crossed over for you to speaker out to your passive tops. You just need some XLR cables.

Pretty sure you're good....

Keyword.

That stuff is basically Araldite with colouring afaik. Good luck drilling it. Same problem of not yielding to the Tnut flanges so using it as adhesive/filler at the same time as mounting the Tnut much better idea.

None of the 10" variety but Bill points out the 10" is a unique custom as well. Probably based on the super 10 Emimence sold for a little while a few years ago. No replacement for displacement. No free lunch either. I don't know what gets given up with the tens. The 12's don't go so high but having a nice compression driver horn takes care of that.

If the saddlea can't be adjusted to suit then there is an issue with something other than the neck relief. Screwed up neck. Neck/body incompatibility. Bridge incompatible. Or combination that someone tried to fix by installing new bridge.

Yep. One more time for OP. Setup: Adjust truss rod for relief in the centre when the strings are held to frets at both ends. 1 business card worth is common. Adjust saddles up and down so strings don't buzz... and in and out so intonation is optimized. Most people like the sounds of the 12th fret note and 12th fret harmonic to be an exact match.

Methinks you two have your high and low swapped because I am not following at all.

The others use off the shelf Beyma and Faital afaik and don't get into many details. BF uses a custom version of the 3012LF Eminence. They don't seem to blow up when pushed with 400 to 500w apiece by all accounts. 97dB broadband sensitivity claimed. That's 124dB at 1m. Pretty freaking loud. Tallies with the prodigious low B like I never heard, well highpassed. Afaik the only UK competition is BC dude LFsys (sp?).

So the overkill stack you have now may or may not be as loud as the overkill stack you had that probably would have gone louder. Got it. Ime I got a fright turning up a single BF12 too far once. In my estimation it would bury my 215 cab every which way except one. There's a pumped right up tone from the 215 with the right size amp in a big enough room with a loud enough band that I would struggle to get out of a PA style pixie dust model. As that Alex chap comes over as a straight arrow in everything else I am inclined to believe the marketing also.

You might be surprised how just a little bit of overdrive in your sound can do wonders for intelligibility. In the mix it still sounds clean. Regards cabinets. Quality wins. A big pile of blech won't sound like you want. It will just be a big rumble under the guitars.

Your pedant hat has a big hole in its crown letting in the rain. Watts only translates to loudness via sensitivity response and impedance. Power handling before compression blows your hat off.

A Prunes and Custard covers a lot of bases, while nailing only Prunes and Custard. 200 squid last I looked. Tuner and a Mooer envelope filter with leads and power supply to soak the remaining 100.

It probably has a few dings in. A new one gives that heartache all over again. It would be hard to top the satisfaction of a best of 30 in stock unless you spent some serious coin. Or maybe the shop only stocked dungers and yours was the least smelly.

Because turning down one pickup all the way sounds very different to turning it down just a little. Is what I meant and I am pretty sure you understood it the first time. What the hell?

Riddle me this. If padding down one pickup slightly isn't its own sound how come a Roscoe Jazz has a pull pot for that in the volume knob, and a three way pickup selector for both and either? Never mind the series parallel single switching.