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I'm sure I remember seeing specific cautions about running dissimilar speakers in series. I don't recall what the precise issue was, but it would seem to be a quite complex situation with the impedance curves of the different speakers interacting and likely quite hard to anticipate how it will behave.

Bootsy's Rubber Hand

The cartoon says it all. Logically, the genuine road wear ( the scratch) should add more value than the fake ( Sandberg applied ) wear. Meanwhile on Wal and Warwick forums the question is "if I get my bass refinished to look like new, will it be more valuable" to which the answer is generally yes. Equally dumb as it's the sound that counts.

This has become relevant again as I've finally got my old Awai cassette deck out of storage and it no longer works. It makes a horrible grinding noise when powered up and although fast forward and reverse work, it won't play. The solenoids for the heads and pinch wheel seem to engage and then immediately disengage again. Therefore I've been looking at what is available and it's a load of over-priced crap. The two Teac decks in the above link don't even have proper Dolby NR. One has something that simulates Dolby B, but no Dolby C or S. Support for Metal tapes is limited. I suspect that the transport will be flimsy plastic rather than a decent machined metal shell. All in all they appear to be little more than the most basic of mechanisms in a "HiFi" separates case. At the moment I'm looking for someone who can repair my Awai, but it not looking good. It is possible to replicate Dolby B and C NR encoding and decoding in software, so instead I'm thinking of buying something that will simply play back the audio into my computer where I can apply these treatments to it. I've got over 100 local band demo cassettes from the 80s and 90s that I'd like to preserve.

Bit late to this, sorry. What is the actual difference in scale length between the two basses? A friend of mine tours internationally and when she can't take her instrument she has to make do with whatever the venue or promoter has managed to hire for her gigs. This means she adjusts to different string lengths and D/ Eb necks with very little time to practice with an instrument. She has a little leather patch with double sided tape that she sticks on the neck at the D position as physical marker for her thumb on Eb necks. Works brilliantly. As you own both these basses you could make a wooden block to a similar shape curve to D neck and hide glue it on to the Eb neck. Easily removed if you wanted to sell the bass. That's what I'd be inclined to do. Carving the new nut is definitely the only way to make them have the same scale length without commiting to a neck graft. As itgers have said, please Don't shift the bridge. It shouldn't be expensive and if you are handy is not an especially difficult DIY project, certainly to test the waters at least. You don't need to use ebony. As others have said the aesthetics may put you off, but I was close to buying a bass with an extended nut which had a C extension so it all ended up looking pretty good indeed! Let us know what you decided to do. Good luck

We Are Family - Sister Sledge

My Father Loves Nikita Khrushchev - The Clancy Brothers

Loving the colourway!

Yeah, I got my Dingwall Combustion as an engagement present from my wife when she got her ring. Huuuuuuuge sentimental value. Then after a difficult few years mental health wise after our daughter was born, we thought we'd get eternity presents now we're all doing better. She got a ring, I got my Spector Icon 😅 It does feel a bit like cheating on my Combustion. And then that feels a bit like cheating on my Mustang which I'm now even considering selling...

I Lost My Heart to a Starship Trooper - Sarah Brightman

and they made it left handed for him, which was unusual. He also started playing bass in Germany I think, when Stuart left

I've seen her using a Status and a JayDee in the past

Over Double the weight. But the pulse XL has a Xmax of 8mm Better? https://celestion.com/product/pulse-xl-10-20/

So perhaps 2 ports? The 100w limit at 70hz I guess will make a quiet spot in the range of the cab? Not the worst then. Ill see if I can find some different drivers with a better vmax Thank you

Using a series&parallel setup I can get 8 ohm overall. So the two cabs will br wired differently with a cable which makes this happen between them. This head has only 1 output. I'll need to rewire if I go to the bigger head later.

As a life long John Taylor fan I simply had to get myself one of these Dingwalls. I don't really do more than one pickup and volume, tone knob. This was b stock from Thomann. It had been used in their photos and has a slight ding on the back An amazing set up, action as low as Ive ever played and the pre-amp is amazing too. If only I had some gigs booked that weren't tribute gigs. Fanned frets. My word, just don't look at them. It does sound quite P bass like on the neck pickup I'll bring the Ampeg into my music room over the christmas break and see how it really sounds

I'm in love with a German film star - The Passions

I think that they all come with 5v USB A & C as well, although not in the best position for getting knocked about unless you got a right angled cable and taped it on to secure it

That's a great question and what your measurements have uncovered is one of the problems that have cursed speaker design generally and crossover design in particular since they were invented. If not really a secret it is something buried inside any speaker with different speakers handling different parts of the frequency spectrum. It's approaching impossible to have the two speakers in phase at the crossover point and it is practically extremely difficult with a passive crossover to get the roll off of each speaker to be symmetrical. Inductors and capacitors induce their own phase shifts too so time alignment of two speakers at crossover is still really difficult. https://www.learnabout-electronics.org/ac_theory/ac_ccts_51.php Bill has pointed you to the Altec "Voice Of The Theatre" A7 which is a really interesting design. Large installed systems of the time frequently had horns mounted on a sled. Active crossovers and DSP allow delay to be brought into the crossovers hence the rash of 'Firphase' into PA speakers, this is the problem it is addressing. Practically then you can pretty much always see a frequency anomoly at crossover. the designer has the choice of a blip or a dip and crossover distortion is audible in critical listening tests. Usually it shows up quite clearly and affects female voices in particular. We are really sensitive to any change in voices and the frequency of crssover is usually well within the range of female voices. Practically a dip at crossover is usually less obtrusive than a blip. Try reversing the wiring and you should see a change in your measurements and hear differences in voices and instruments in that area. Acoustic guitar often changes too but I use classical music for testing this sort of thing. Even tiny changes in a crossover can make an instrument pop out in a recording. You can choose your distortion mostly I prefer the dip. @stevie is the expert in this and the detail he goes into with his crossovers is extraordinary. It's really worth getting hold of a copy of the Loudspeaker Design Cookbook by Vance Dickason if you want to read up on all this, and much more.

I'd say there was little random about it. He needed a bass, one not too awkward for a lefty and it had to be cheap. Doubt he had much choice back in 1961.

Having a HPF [high pass filter] in your preamp chain makes handling low B a lot easier. Cutting out the pesky low fundamentals allows your amp eq to work on the juicy stuff.

The other consideration is the impedance load you put on your amp. Two 8 ohm 10's is an unlikely pairing with a single 15 so I am wondering what you are up to.

A must have for those with broken eyetrometers.