stevie

Totally agree. Just watch the two trumpet players at the beginning. Not every one will agree, but for me it's just a self-indulgent pissing contest.

Surprising, perhaps, but a wooden PCB board doesn't represent a fire hazard in itself, although a fibreglass PCB is a much better solution from just about every point of view.

He named this new range after his age. How weird is that? Anyway, we still don't know what the so-called revolution is all about. What's the cabinet material? There's no info on the website, but the corners look like polypropylene.

Biodegradable plastic cabs?

Do we know what the revolution is yet?

This is quite likely, judging by the graphics and the blurb, but there are only so many ways to skin a cat. It will be interesting to see if they have some original thinking up their sleeve.

It looks like an Eminence APT-80 bullet tweeter from the pictures I've seen. Before buying a replacement, I'd check the internal wiring. You might be able to get to the crossover by unscrewing the rear input panel. I suspect it's fixed to the back of the panel. Look for charred or dislodged components and broken leads. The most likely cause - and this is pure guesswork - is the L-pad (the tweeter volume control). Check the rotary movement of the L-pad. If it's stiff and scrapes, it's likely to be faulty. If you haven't got one already, buy yourself a cheap Chinese multimeter from B&Q or The Range. You can use it to test continuity between connections. It will also test for a blown tweeter (open circuit). A quick call to Barefaced wouldn't harm, if only to get their price for a replacement tweeter, although they're normally available from the usual sources.

I've got a Casio CTS-1 on the way as we speak. I'd have loved a Roland DS but it was too expensive. The software solutions suggested were also excellent but a bit fiddly, although they could be an additional option with the Casio (as I did get as far as buying the Apple adapter lead). The reviews of the Casio are glowing, and it has a wide variety of high quality sounds. The only downside is that the keys aren't weighted and it's not built like a tank. We'll have to see how that goes.

Very neat!

There are two ways of designing a bass guitar cab. You either design them to be flat response or you design them to exaggerate particular frequencies. The second option is by far the easiest and cheapest, which is why almost everybody builds them that way. If you don’t like a cab with a baked-in response, it’s not always possible to eq out what you dislike. That’s because the peaks in the response are often due to cone break-up, which means that, even if you do notch out the peaks, you’re still left with the distortion component. So you’re faced with the task of finding a speaker whose ‘tone’ appeals to you, or one that fits with your desired sound, or matches your other equipment. Some players like cabs with pronounced mids while others prefer an exaggerated bass hump or mild upper midrange distortion – and choose their cabs accordingly. That’s fine. Given a decent eq, however, you can easily eq your tonal preferences into a flat response cab – and there’s always effects pedals and modellers. And – importantly IMO, you always know what your starting point is. Amplifying bass guitar isn’t the same as amplifying a 6-string guitar, where the speaker is an important part of creating the overall sound of the guitar. It has more in common with amplifying a double bass. The main reason I prefer to use a flat response cab is not so much for the on-axis response, as that’s only part of the story, but more for the off-axis response, i.e. the power response. I also find that I don’t need a modeller. In fact, the only eq I use in the vast majority of venues is the 3-band eq on my bass.

Thanks for the tip, Al. I've been looking at the Casio CTS-1, which is very similar, and that might just fit the bill.

I'm with @BigRedX on this one. Not everyone wants a coloured cab with peaks and dips at random frequencies. If I need colour, there are plenty of ways of adding it.

I don't think any of that video applies to bass guitar cabs, hi-fi cabs, PA cabs, studio monitors or most other speaker systems where the cabinet can make an appreciable difference.

I think the aim of the video was more to be entertaining than to be educational.

That was an interesting watch. I've no idea how long it took him, but it must have been ages. He's also a helluva country picker (see his other vids).

Jaydees have always been out of my price range, but it's heartening to know that a British boutique bass company is still alive and kicking. They've certainly been around for a while.

Congratulations on a job well done!

Glad to hear the problem's fixed. Wadding should always be held in place inside a cab. I'd recommend you staple it down (or used some spray adhesive) when you can find the time.

'Shamelessly copy' is a bit strong in this particular case, IMO. They've just taken a few style cues from another product. Every designer does that. Shameless copying is this:

Russ Andrews has been outed a few times in the press for his outrageous claims - I'm surprised he's still in business.

Well spotted.😃

It looks like somebody chancing his arm. The website needs a proofreader. Of course, the claims are ridiculous and I blame the hi-fi press for creating and perpetuating these myths.

Cabinet noises can be quite difficult to trace sometimes. I'd start by swapping the drivers in your cabs to eliminate the driver as the cause. In answer to one of the questions raised, yes, leaks can certainly cause the kind of noise you're hearing. I'd advise against using PU adhesive to fill the gaps, however. It's fine as an adhesive but structurally weak as a filler. Aradaldite would be better, or fibreglass body filler. Another tip: playing a recording of bass through the cabinet will make it much easier to locate the source of the noise.

You lost me at Ab, Chris. 🙃

Six flats! I don't even know what key that is.