bremen

I've never heard a system involving piezos that hasn't had that dreaded tizz and boom quality, redolent of village hall discos, karaoke and cheap lager. Apparently it can be done though, I think BFM knows the secret...

Can I just interrupt our scheduled etc,etc to recommend Switch Electronics. They have a lot of the stock that we usually go to Tayda for, (eddystone cases, pots, connectors, semis, passives, non-sh1tty stripboard, loads of goodies, all with data sheets) almost as cheap and next-day delivery for 3 quid, free over 30 quid. Great customer service too, a parcel got misdelivered and there was a replacement in the post the same day. Www.switchelectronics.co.uk

The excursion would have been huge below 65Hz with more than a few watts, easy to kill a driver that way. (I've learned from my mistakes and can repeat them perfectly)

Forget Round Ireland With a Fridge, seems I can do Free Lodgings Round Britain With a Bass Cab. It's the Experience that airbnb has yet to monetise

Put me up for a weekend and I'll build one and deliver it 😉

It'll be the best thing since the NME got Mark E Smith, Nick Cave and Shane McGowan together in a bar with a bottomless tab

A list of non-twâts, notoriously prone to twâttish behavior, with whom I'd gladly have shared a stage/studio: Ian Dury Mark E Smith Miles Davis Keith Moon Morrissey...oh hang on, I said non-twâts...

Sometimes my exaggeration for comic effect misses the mark. Happens a million times every day.

Well, I've let the drummer hear the singer's material and he likes it. So...onward! To be clear, neither drummer nor singer is a twât - both are strong personalities. One's fire, one's ice; it's the bass player's job to be luke warm water.

"Life's for living!" "Well it's hard to know what else to do with it" -Noel Coward

I'm the opposite. Used to bother me but I'm getting a lot better at shrugging.

My thoughts exactly, all of you,thanks.

Might be a good name for my new band, but that only occurred to me once I'd typed it. I'm playing in a new band, looking for a singer. I know someone I'd like to introduce to the drummer and guitarist; I've worked with him before and really enjoyed his performances and his company. However, both he and the drummer are very...wilful might be the word. As in horses that resist being "broken" or toddlers that throw their toys at their siblings. They are almost certain to fight. Possibly to the death. My question for you, dear agony aunts is: should I risk it? Apart from the risk of bloodshed and involvement of law enforcement agencies, what's the worst that could happen? I've been in bands where the female singer is in a relationship with other band member(s). Surely if I can deal with that I can deal with the occasional trip to A&E? I wonder what Roger Daltrey or Steve Hanley would advise.

If you can get a schematic, I'd be happy to do a new board. Might even be able to do it from photos of each side of the board; pm me.

Sounds comfy 😉

A year later... ...cabs still look great. Thanks for the various top tips.

Update on my JJB-300. Loving it even more than when it was new.

I'd like to see that, can you link?

You haven't heard Live at Leeds, have you? 😉

Beedster: I waant it, I waant it, I waant it All: Caaant havvit!!!

First album I ever bought (Who's Next shortly after) and by Timothy was it magical and visceral to an impressionable adolescent.

Live at Leeds was the FrankenP (a Precision rebirthed from the wreckage of Precisions that Keith or Pete had had arguments with), I'm led to believe, no Gibson parts were used.

As shown though, it's not a notch-T filter. It's a 1st order high pass. I suspect the kit you have is based on a schematic that's missed a few bits. Easily done. Anyway. Build it, see if the mid control does as it should, if not we can look at what might be missing.

I mentioned in Bert's original thread that, having looked at the schematic, I couldn't fathom how the mid control was anything other than a bass cut. Here's the relevant section: With the mid control anticlockwise, C7, C8, R9 and the subsequent circuitry form a high pass filter. Turning it clockwise progressively bypasses this, so bass is restored. Now here's the "CL" circuit from the Ampeg SVP-CL (essentially a mid-cut "scoop") C18, R33 and C17 are the HPF here. But parallel to that we have R37, C16 and R36, a low pass filter. I think that by adding a circuit like R37, C16 and R36 (but with different values (the following stage of the Ampeg has a high input impedance) across the middle pot in the Traynor-a-like, the mid control would become a variable 'scoop' rather than a bass cut. Or, as Neepheid might say: a meringue?