stevie

I wonder if a Chinese company will snap it up. It wouldn't be the first time.

Ashdown made a claim and proceeded to provide proof of that claim. Such transparency has to be applauded. It is a fact that many high profile musicians (or at least their managers) expect to get their gear free in return for being seen with it. None of the companies ever mention that, do they?

This is a great video and an excellent demonstration of how easy it can be to assemble your own cabinet.

I'm not sure that someone who can't tell an invoice from a bank payment advice should really be calling people nerds with no ACTUAL knowledge.

That's too simplistic a calculation. Manufacturing and distribution efficiency has increased in leaps and bounds since 1965.

I've got a Beyerdynamic Opus 69 that I like. I'm also a fan of the Sennheiser dynamics and (for the price) the cheap Behringer Shure copies. My experience of the 58s is that they are a bit muddy and a bit "raspy". Same goes for the Audio Technica dynamics.

It's perhaps not fair to single out Aguilar. How can anyone justify the cost of a US Precision Bass? Or over £100 for a "boutique" pickup that costs less than a tenner to make? Two grand for a Rickenbacker? £1500 for a single-pickup Stingray? Come on!

Although the R&D effort involved in specifying an OEM driver is usually miniscule; almost all the work is done by the driver manufacturer anyway. Don't let anyone tell you different. So it wouldn't really cost Aguilar any more to spec an OEM version of whatever they're using. There is such a huge range of loudspeaker chassis available on the market that specifying an OEM version is often more of a commercial decision than a technical one. Markbass, with its yellow cones, is a good example. I get the impression that Apple spends more money on tax lawyers than it does on R&D.

The same place that they make the Apple iPhone X - a snip at just £1,149. Aguilar's prices, like Apple's, are probably more to do with profit margins than labour costs. As long as they can persuade people to pay those prices, they'll get away with it. That's business.

The files on page 1 with "text" in the file name are descriptive. The files with "score" in them contain the notation. These open with a regular PDF viewer.

When you click on the name of the PDF file, a box should popup asking you whether you want to open or save the file. Your PDF viewer should then do the rest when you click in the box. They're there - I've just checked. Try the Foxit reader, available from here: <https://www.foxitsoftware.com/pdf-reader/>

Quite how we've gone from FRFR cabs to Trappist breweries is a mystery to me - but that's the beauty of Basschat!

And those cu. ft. thingies. Aren't they something to to with Henry VIII's feet?

There's definitely no market for Gregorian chant cover bands in the pubs down our way. And we all know you can't buck the market.

We have no wish to sully our art with something as trivial as chanting, thank you.

I have to admit, the demand for Vivaldi tribute bands is not what it was.....

t's not going to happen. I'm still trying to get the band to play songs that were written this century. I don't think any of them know what in-ears are.

With a 12" main driver, the ideal crossover point is between 1.2 and 1.5kHz, which is where the driver rolls off off-axis. Anything up to 2kHz will be useable, but above that and you get a dip off axis because of the way the bass driver beams at higher frequencies.

Please bear in mind, guys, that we don't all have 10kW PAs with sound engineers. Some of us gig mainly in places where our bass rig is not only our monitor but also our audience sound. The monitors in my band are mainly so that we can hear the singer.l

I wouldn't call a cab FRFR that crosses a 12" driver over to a compression driver at 3.5kHz (according to the spec). As soon as you step to the side, you'll lose all your upper mids.

It's an observation that those asking for advice about equipment would do well to bear in mind. The "I own one therefore it must be good" response it fairly commonplace around these parts. On the passive/active question, I'd say it is perfectly possible to engineer a passive flat response cab that performs as well as an active one with DSP. But you need to start out with very good components and not stint on the passive crossover/shaping circuitry. Nowadays, it's a lot easier, and probably less expensive, to do it with DSP.

Voice coil size is just one way of seeing through the exaggerated claims made by manufacturers of audio gear. As the technology currently stands, a 2" coil should handle up to 200W, a 2.5" coil up to 300W and a 3" coil between 350 and 500W. There are other factors involved apart from voice coil diameter, but I wouldn't be confident using anything smaller than 2.5" (unless it's in multiples) for bass backline. Your TKS 112 has a 2.5" coil, by the way, Funkshui. (I'm talking bass drivers here, not compression drivers)

This isn't WAV, but it's very good quality nonetheless:

Sorry to hear that. Looking on the bright side, you may have learned one of the great life lessons: "know your limitations".