Phil Starr

This is an additional problem. The voice coil would be changed to achieve the change in target impedance; effectively the motor driving the cone has then been changed. In practice manufacturers often use a standard voice coil for any particular variation on a design, and since they sell almost exclusively 8ohm units the speaker is often optimised for that. To make a 4ohm coil you need either shorter or thicker wire in the coil and the tendency is to either shorten the voice coil or use fewer layers. This in turn changes the maximum excursion of the speaker and the efficiency as well as a number of other parameters. You can end up with a reduced maximum output from a 4 ohm speaker if excursion rather than amplifier power is the limiting factor. Each case will be different as each manufacturer will make different decisions about how to make a 4ohm version. You may well have heard a small change in the sound between the 4 and 8 ohm versions of the speaker for this reason. If the 4ohm coil was just a shorter version of the 8 then it may have raised the efficiency enough to hear on an A/B test. Loud sounds give the illusion of more bass. Subjective listening tests are never really definitive either. I do a lot of listening and still manage to make a fool of myself with the acoustic version of placebo effect

Welcome to bass and welcome to the world of cover bands. The glory is that you get to play lots of gigs and lots of songs but that is hard on your fingers as is getting a set list of 30 or so songs. You are allowed to use a pick for bass It actually works better for some songs so being able to do both is a useful skill.

I use a Warwick Gnome in my gigbag and a handheld 1x6 for this purpose. The 1x6 is about the size (but not the shape) of a briefcase but is home built. The design is here - BasschatHouse Jam Micro Cab I've also built a 1x8 for a friend which was remarkably competent. I could put that up as a design if you were interested

Honestly do you really need a 2x10 to do what you want, unless it is a dual purpose unit you will use for rehearsals and/or small gigs. I've got a 6" unit that will deafen not only me but the neighbours which sounds great in a smallish room. I also built a 1x8 for @Chienmortbb which goes louder and deeper. and is not much bigger than a bookshelf speaker. I'm currently using some 5" monitors (RCF Lyra, but there are plenty of other brands to choose from) for practicing at home, they are really completely at home with bass at volumes which are more than enough for home. The bass goes flat lower than any bass speaker I have used. There is a dearth of truly dedicated good sounding cabs for home practice but a good 1x10 should be plenty.

I think living with the OBC 112 for a while is a good idea, you'll soon enough know if it just isn't enough for you. I don't know that LaVoce driver they use but it looks to be a decent quality unit. It may just be a case of fiddling with your eq for a bit until you get a sound you really like. If a used OBC 112 comes up at a price you are happy with you could add it at any time. looks like Orange don't make the 2x10 any more and the only historic one I found was isobaric. Somebody else may make an old school 2x10 that sounds right to you or you might be able to track down one of the older 2x10's that you liked whilst the 112 does the job for you. The English language is bloody useless at describing sound so that warm, deep, punchy clean sound might just be the sound of an old 4x10, or not of course I'm good on the technical side of things but useless at brands. The best advice I can give is that if you have something usable there is no rush, take your time and listen to a lot of stuff and only buy the one that gives you all you want when you audition it. The other thing is that if portability and weight are the issue then go through the PA, if all your bass amp is doing is being an on-stage monitor for you and the band then you can have the sound you want behind you, the audience get the PA and the band are carrying the PA anyway. Happy days.

You seem confused. As far as I can see all the Orange 2x12 and 2x10's you mention are isobarics. None of those will be any louder than a 112 as the second speaker in an isobaric doesn't radiate into the air, it's frankly bonkers for a portable cab to be isobaric. you have all the weight and expense of a second driver with little or any advantage and crucially none in volume. There is also nothing very special about Orange speakers, they are well made and look distinctive but use some very ordinary drivers and generally old tech. If you like the sound and the looks then that's great. Did you like the 112 when you tried it? If so then go for that. The 115 is going to have a different sound and is going to weigh more, the driver is an Eminence Kappa which is OK but has a very strong peak in the upper response which is a bit marmite, you certainly need to have a listen before changing to that. If you go for a 112 and it does for 80% of your gigs your bandmates will thank you and if you do need a second cab get an identical one. If you aren't in a rush then you can look out for something used and if you do sell you'll get most of your money back.

New Mk3 Build @chyc is currently building a mk 3 over in build diaries if anyone is interested.

You can see by how many 'likes' this post has that this is the key to unlocking this design for most people. That crossover is a pretty scary thing for people who have never soldered before. This is a great sounding cab, beating pretty much any commercial 1x12T and if this gives a few more bassists access to the top level of equipment then that's a great thing to do,

You have made a great start. You are right about the difficulty of building this way, @stevie did produce a 'flatpack' kit for the first 10 or 20 people to build theirs and that's what all the pics show. All the parts were CNC routed. All the other BC designs have cabs I've deliberately designed to be 'easy build' in that they need no clamping or specialist tools other than a Jig saw. I always use a reinforced butt joint screwed and glued inside the cab, which is stronger and needs no clamping so is easier for people without woodworking skills. It was my intention to build a Mk3 using this technique and to publish the simpler cab but that never happened. If anyone wanted to there is no reason not to build this cab using any method they want so long as they keep the internal dimensions the same. Now he tells me

If you don't like soldering you could get one of these for £12 from Blue Aran, they also do a kit for £6 or sell the bits at a reasonable price.

I'm not sure that you have given a budget for this, no sense in recommending something you wouldn't want to afford. I've had the RCF Lyra 5" monitors going for a few days now and for my practice they are more than good enough. They certainly handle uncompressed and unfiltered bass for me at any volume I would use at home. I would imagine the 5" Rokit's would be just as good as would the 5" Yamahas and probably the 5" units from any of the well known brands. I've done the usual thing of turning them up to see how loud they will go and in this room it is uncomfortably loud. Even turned up there was no sign of distress and not a lot of cone flapping so I'm guessing there is some sensible low frequency filtering going on. I'd also imagine with any active speaker there will be protection programmed in so you won't be able to destroy your speakers. I've then turned them down quite a long way to get the levels I'm looking for. In my practice room I'm playing with a 3m lead so I'm between 1.5 and 2m from the speakers if that helps. Of course what constitutes 'plenty loud enough' and 'uncomfortably loud' is completely subjective but these things go way louder than most hi fi or television sound bars and in a room this size (8'x12') would be louder than you'd get at a cinema in the loudest bits. Unless you are practicing in a huge room I think 5" speakers would be plenty.

If they start sectioning vocalists there won't be too many bands left

Right Thumb. On the plus side I don't use a pick but I wished that day I had worked on a floating thumb. Fortunately it was a good gig and the adrenaline kicked in, best pain killer there is but driving home was no fun.

Our singer collapsed at our last gig so that was probably one step too far. I managed to put my thumb through the table saw two hours before a gig once. Put on a comedy sized bandage and managed to get through the gig on paracetamol and ibuprofen. After one gig where I had a few extra breaks I routinely carry Imodium in the car..

They do sound good don’t they. Well done. btw I also use a black pen for screw heads.and sometimes use plasterboard screws which come in black.

Wish this thread had started a couple of weeks earlier, I've been looking for a similar speaker for my study/practice room. I do most of my practice with my Zoom B1 and a set of Sennheiser HD595 headphones. Great for bass but I struggle with practicing my backing vocals and sometimes when everyone is out I want to make a real noise. Anyway I'd bought these just as this thread started RCF LYRA PRO5 with the Yamaha HS5's in contention. In truth they were a present brought by Santa I love Santa Just a quick review as they only arrived yesterday. The sound is everything I hoped for. My practice room is round 4m x 2.4m and they go more than loud enough and will handle bass aty like the sound I get through the room filling volumes without complaint of obvious distortion. The sound I'm hearing is very like the sound through the headphones and the few test songs I've tried have demonstrated how revealing these things are. Voices sound very separate in the mix and you can hear the effect of different miking in the recordings, all this with a cheap Alesis mixer in the chain and dowrticularly pleasing was nloaded off Spotify so not a clean source. The stereo image is great, lots of depth and separation with instruments nicely placed in space which would really help sitting them in the mix if I was recording and not just playing them back. Actually the lack of colour makes them really pleasant to listen to, I've a horrible feeling they'll give my very expensive hifi a run for its money. That's mad for two speakers costing no more than a decent soundbar. Particularly pleasing was using them as monitors for my backing vocals. I'm a pretty weak singer and only manage at all with decent monitors and these are better than anything I've tried so far. For bass they sound like my headphones and like my FRFR bass speakers (LFSys Silverstones) That's going to make setting up fx at home a whole lot easier. The only downside is that they are a bit bigger Than I'd hoped. I had measured up the space and they are of course exactly the size it says on the tin but the reality is that they are big and black and I'm going to have to tidy up my study to fit them in. On the plus side the bass is far more satisfying than I expected, they really don't sound stressed at all and it's a lovely clean sound. So @JPJ has his Rokit's which I also thought looked good, I'd love to hear how he get's on with them but I'm really happy with these Lyra's so far.

Sonically fine or sonically something you love? If you like the sound and just want something that looks right then just put the cab on it's side and buy a second to go on top. You will keep the sound and the two speakers will be aligned.

It's been a revelation to me watching the design process for this and the Silverstone cab. I've been lucky enough to have had the chance to do some critical listening at various stages and be party to many of the tweaks that have taken place since the first BassChat design. I've listened to a number of different compression (horn) drivers in @stevie shed and a lot of different horns. TBH I was surprised by how much difference the final horn flare made compared to some respectable competition. However the real revelation and the reason I think this cab is so successful was the care that went into the crossover design. Minute tweaks exactly matching the bass and treble drivers together, then completely recalculating when the horn flare was changed. He still measures every frequency dependent components in the crossovers before they go in. Crossover design remains a bit of a black art with the software only getting you so close followed by hours of tweaking and testing. All that careful alignment across the crossover area would be wasted if the cab had an HF horn control

Mine has been faultless so far. That's no help to you of course but it might be worth seeing if they will swap it for a working one.

A couple of observations because I'd advise anyone thinking of moving to in-ears to read the bible (the long thread in post 2.) Don't be scared of doing this and don't worry about it being somehow artificial or not properly rock'n'roll. I can promise you will make the adjustment and quicker than you think, you won't want to go back because your music/playing will be better. Hearing yourself better than the audience hears you puts you in control you will never be in one of those grotty venues where you can't hear yourself again. Try it at rehearsal first, you can wear a giant pair of over ear headphones and look like a Cyberman but there's no fiddly earbuds so you can get a decent sound first time. In the rehearsal room you don't need to worry about what you look like. Basically you don't have to be scared of change, you can take baby steps. My first experiment was using a Zoom portable recorder taped to my mic stand straight into my Sennheiser £20 buds I used with an iPod. I've tried taking a feed from my monitor speaker and from the front of house and i tried everything in rehearsal before trusting it on stage. Unless you play big stages don't worry about not hearing the drums, if they are anywhere near the vocal mics you'll hear them. The KZ ZS10 pro are great for bassists, I just paid £26 for a spare pair so the cost is really low, I find them not so great for vocals but you can always hear yourself and IEM's pretty much rule out any feedback Spend lot's of time on getting earbuds that fit; all our ears are different shapes and my right ear has a much smaller ear canal than my left, I had no idea until I tried getting in-ears to fit. That seal is going to get you the best bass sound possible and will be the thing that cuts out the noise from the drums/guitarist or anything that drowns out what you need to hear. You can get by with a FOH mix but a digital mixer will give you your own aux channel(s) and you can have 'more me' if that is your choice. Here's the final tip. I'm deaf in the ear that faces the drums with added tinnitus. Ears ringing after every gig is the death warrant for your hearing. Do this before it is too late

Good decision, those Fane's are really great sounding things for bass, I built a cab for a friend and I have to say it was surprisingly good especially with double bass as it turned out.

It won't but to be fair it's almost impossible to describe a sound exactly in words. A buzz could be something loose in the cab, check the speaker wires aren't rattling against anything. next thing to check are the speakers themselves: if they have been stored for a long time they may have deteriorated or may be damaged. Isolate them and try pushing them carefully back and forth, use a pint glass or similar to do this with even pressure and be gentle. Listen for any scratching sound when you do this. Examine the speakers carefully for anything that is torn or has become loose.

Not just me then

I have the Mk1 and can confirm it is a cracking little amp. It has been completely reliable and produces a really dynamic sound out of the box. The various push buttons all produce useful sounds if you like that sort of thing. The fact that it has an iPod symbol next to the aux in rather gives the game away that they haven't really changed anything other than the chicken head knobs. Is an iPod the new retro? The biggest downside is that fan, it is really noisy in a small practice room even if it is easily drowned out on a live stage.

I'm going to play devil's advocate for Bugera/Behringer/Music tribe here. I'm pretty sure the amplifier section of the Bugera is 'borrowed' from Behringer's class D PA amps, specifically the iNuke. I've got both here so I ought to take a look There was a lot of online 'debate' between Uli Behringer and the designers of the Peavey IPR series PA amps about copyright so it is a moot point about how original their design is but I think they will have simply stuck a bass pre-amp onto their existing power amp to create the Bugera. Behringer have form in recycling their own designs and I've come across their 300W class D/100W A/B combination in a range of different PA speakers and monitors. Again to be fair this is common across many manufacturers who use essentially the same power amp across a whole range of active speakers throttled back to match the drive units. I've also recently acquired a SansAmp to go alongside my Behringer BD121, there is a generic similarity in the sound but it just isn't the same. It's way easier to dial up a pleasing sound with the Behringer which also doesn't have the same range of adjustment the SansAmp has. I wouldn't say either is 'better' and one is definitely a tribute act to the other but it isn't a straight copy. Any commercial designer would be a fool not to look at what their competitors are doing. It would be a real arrogance not to monitor the world around them. The boutique speaker makers have stimulated the big makers to look at making their own lightweight speaker cabs and if GRBass start to take significant market share then expect a rash of 'me-too' plastic bass cabs. If I were chief designer for Behringer/Music Tribe I'd be pretty much doing the same thing, reverse engineering everything I could find, taking the best bits from everywhere then bringing them together in a design I'd hope to have maximum appeal to everyone. I'd imagine all the big manufacturers have had a look at the insides of all their competitors products and keeping a wary eye on what the market is doing. (OK maybe not Gibson ) Ultimately if we see further it is because we stand on the shoulders of giants and we all benefit from the copying of good ideas and the dropping of poor ones. There's a problem in plagiarism if it starves the means to continue to innovate but IP is a double edged sword if it retards the spread of good ideas. Where would all us covers bands would be if Mick Jagger had never heard the Beatles and thought 'I want a slice of that'