B.Flat

[quote name='SubsonicSimpleton' timestamp='1402591440' post='2475135'] Is your cab is like the one pictured here [url="http://www.wikizic.org/Cerwin-Vega-V-35/gallery-2.htm"]http://www.wikizic.o...5/gallery-2.htm[/url] Bit hard to tell from a photo, but that looks to me like the cab is a bass reflex enclosure with horn coupling for the woofer rather than a folded horn arrangement - have you confirmed the cabs internal construction details by removing the drivers and access panels so you can get a good look inside? If I'm right, then you should have the correct port dimensions and cab volume right there, and providing you can work out the capacity of the awkward shaped voids around the horn it should shrink down to a nice neat ported box. [/quote] Hi SubSonSimp, yes that is the one (with the red horn) and you are absolutely right about the configuration, my mistake to call it a folded horn. I had started to do exactly what you suggest but took the chance that someone might have access to the T.S. parameters or have a CV bass cab.. I shall now have corage in someone elses convictions (yours) and carry on with what I should have done in the first place ! By the way is the photo you linked to your cab? Probably not but though I live in sunny France I notice you are in sunny Yorkshire and I originally had two V35's and sold the other in Yorkshire ! Rock n'Roll Mamma On A Saturday Night

[b][quote name='Phil Starr' timestamp='1402519516' post='2474442'] Don't worry too much, it's very likely that you will end up building a cab that is smaller than that needed to get the very best out of this speaker. Building a small cab is going to have two effects, it will raise the lower cutoff for the speaker and may create a bass 'hump' in output around the 100Hz mark. On the plus side too small a cab improves power handling. Before we had T/S we just used to tune the cab to the speakers resonant frequency. You can find this if you have a signal generator (they have these on-line) and a multimeter as the impedance of the speaker rises to a maximum at resonance. Alternatively you can just tune the cab to 40-50Hz and it will probably work, albeit at less than optimum. If you can get the data or find an original cab then all well and good, if not try finding a cab as near as possible in size to the one you remember copy the dimensions and tune it to 40Hz. WinISD will cough up the port dimensions for this. I wouldn't advise this for a new driver but you don't have a lot to lose. Be careful about how much power you put through it and use a bass filter like the thumpinator if you have one and the speaker should be fine. [/quote][/b] [b]Thanks for that Phil, I will take your advice and see what happens.[/b]

Hi. I have an elderly (nay, VERY elderly) CERWIN VEGA V35 cab. With my Stingray it has always come up with the sound I like (I only use the 18" woofer, not the HF horn or piezos). The cab is now too big for me to manage easily and I have moved to 4 X 10 Deltalite 2510 + 2 X 8 LA8-CNMB which is OK and manageable. However the old CVega has a quality of its own. Though the original cabinet is a folded horn design, I remember the same driver ( in a CV vented cab) being used by a lot of bass players who liked deep fundamental bass. Instead of throwing the driver away I would like to put it in a vented cab, but Thiele-Small parameters are impossible to find for this driver. Can anyone suggest how I could go about designing a cab (not neccessarily ported, sealed would do) which would allow me to use it again without endangering the driver & hopefully getting somewhere near its potential performance. On the very off-chance that someone out there DOES have the parameters for this driver, I do have the Winsd design prog. Or maybe some old duffer like me has the CV ported bass cab & could send me some details and dimensions. I will be grateful for any help offered. Brian Flat Rock n'roll Mama, On A Saturday Night

Hi, I am in need of advice. I have a bass with standard 2 band MM eq board. I am trying to mod the bass to have the Stingray pickup/ 2 band set up + a standard passive P.bass set-up. As I want to use the original three knob control plate I am using stacked pots for the Stingray tone and the P.bass vol/tone. I need to add that both circuits are totally independant and isolated. I have wired up the plate with a Danelectro 1meg/100k pot for the Stingray tones and a CTS 250k log pot for the volume.. I have made up a 2 band eq board from the BAJAMAN circuit, observing all the correct values. The problem is this. The bass had a 2004 EBMM 2eq board and separate pots before and sounded A1+. Now, with the same pickup the bass control is "boomy" and seems to achieve full effect abruptly and in less than a quarter turn of the pot. The trebble pot is slightly better but in the last small segment of travel jumps abruptly from increasing trebble to Stingray "sizzle", though through its entire travel does not have the "clean" sounding trebble of the EBMM circuit. In short, the tone controls, not being smooth, leave a lot to be desired from the original EBMM setup. So...............is it the Danelectro pot, or the BAJAMAN board ? Any ideas how I could rectify this? I do not want to put the EB board back in this bass if I can avoid it. One final thought. I know that the original bass pot was a "reverse" pot. Can I wire this pot in reverse by changing over the wiper/track terminals or wiring track wire to the opposite track terminal? I would be grateful for any advice, help or comments. Brian Flat

[font=lucida sans unicode, lucida grande, sans-serif]The penny has just dropped (if that expression means anything in Southwest Missouri! If not substitute "I’ve seen the light"!)[/font] [font=lucida sans unicode, lucida grande, sans-serif]I only want this configuration in one bass to save having two. (A little known or understood affliction called "reverse G.A.S, or RGAS, as it is known to the medical profession.)[/font] [font=lucida sans unicode, lucida grande, sans-serif]Ergo your two output jacks suggestion. Perfect, all I have to do is plug into the gig-appropriate socket, Q.E.D.[/font] [i][font=lucida sans unicode, lucida grande, sans-serif]Oh what a twisted web we weave.[/font][/i] [font=lucida sans unicode, lucida grande, sans-serif]Thanks iiipopes,[/font] [font=lucida sans unicode, lucida grande, sans-serif]Rock n'Roll Mamma On A Saturday Night![/font]

Thank you once again iiipopes, good advice & a bit more knowledge to store in my old grey matter! Can I ask you a final question? I have an S'ray 2 band preamp in my drawer. Do you think I would do better to use this with the MM pickup, use the SCPB3 with a Fender 250/500k tone/vol. concentric pot & just use a toggle (DPDT) to switch either (not both) to the output jack? I would be grateful for your thought on that set-up. B.F

Thanks iiipopes, that all makes good sense. However I never intended to use active/passive simultaneously. My objective was to wire a bass with active Stingray-style sounds, switchable to a completely passive '51 P.Bass set-up. I had the STC2P in the drawer, and a Fender Vol/Tone stacked pot. So the idea was to use an SD SBM4a for the stingray side of things and the SCPB3 for the Pbass side. However, as the STC2P has a balance control I thought a third alternative would be to use both pickups with the active circuit, then, if I could sort out the wiring, use a switch to completely remove the active circuit & the SBM4a, simultaneously switching the SCPB3 to the passive pots and the output socket (the active circuit being disconnected from the output socket) Obviously this is all achievable but the question is could the switching be achieved a lever switch or would a rotary be required to perform all the making & breaking of different circuits? Still open to advice. Brian

Thanks LukeFRC, BigRedX & iKay for your replies, especially to you iKay for the measurements. I don't soppose anyone out there with a '51 PB single coil could tell me if my estimate of 250mm from twelfth fret centre to pole piece centre is correct? Still interested in ideas for wiring to remove STC-2P from circuit. B.Flat

Hi everybody. I suppose I am living up to the male stereotype by admitting I can't find the sweet spot! That aside, when positioning a pickup, where is the "sweet spot" ? it under a node of the vibrating string (harmonic) where the string movement is the least, or is it between nodes where the string movement is at its maximum ? I am aiming to fix a Seymour Duncan SCPB-3 to my bass. I have located the harmonic nodes equivalent to those found on frets 31/3, 4 & 5. What advice does anyone have on this? All advice gratefully received but if I don't get any replies I am going to ring RELATE and SAMARITANS, in that order ! Whilst on the subject of my project could anyone provide me with a wiring schematic to allow the use of two passive pickups with the Seymour Duncan STC-2P preamp but then switchable to just one of the pickups in passive mode (i.e.the preamp removed from circuit). Hope that makes sense. All suggestions gratefully received. Brian Flat

[b]Well thanks for that Jimryan, that has answered my question perfectly, I am greatly obliged.[/b] [b]Keep on brewin' ![/b]

Hi everybody. I am posting this because though I have emailed Seymour Duncan with the query so far I have not received an answer. The question is: Can I use their SCPB 3 single coil passive and their SMB4A ( A= active or alnico?) with their STC-2P (passive) preamp? I cannot decipher if the SMB4A is active or passive. My crumbs of knowledge suggest that if the SMB4A is a low impedance it may not work with the passive model preamp. Any help on this will be greatly appreciated, especially by anyone who has used this configuration. I look forward to any advice on this. Brian Flat Rock n'roll mamma on a Saturday Night!

[quote name='B.Flat' timestamp='1319362631' post='1412977'] I have just read all 11 pages of this thread and would like to add my 2p. It is a simple anecdote. Many years ago whilst in a residency in the south of England I went into London on my day off and went to Ronnie Scotts club in the evening. One of the bands featured that evening had an electric bassist that I particularly wanted to hear after reading reviws of his work. When the band commenced their set I was set back by what, to me, was the awful tone of the bass! Within a few minutes I was transported to a wonderful place by the melodic lines and musical ideas the bassist was creating. And, guess what, by then I thought the bass sounded great, which came as a great surprise to me and was something of a lesson learnt. A great idea is a great idea regardless of tone and a dull idea is dull no matter what equipment you have. So ends the first reading, let us pray. [/quote] I am not a great contributor to BC forums, but I do read them with interest. Imagine my surprise to find an anecdote almost itentical to one I have been telling people since 1973 ( and probably boring the pants off them too!) I also had an eight month residency in the south of England, I also went into London on my day off to go to Ronnie Scotts, to see a favourite band Mongo Santamaria & his orchestra. Supporting were another UK band I will not name with a featured guitarist making a name for himself in both jazz and rock at that time. I also was apalled at his guitar tone but, guess what?, after ten minutes or less of wonderful inventive and melodic lines I was enthralled, and yes, his guitar tone was fantastic! Let me agree with the contributor above, ideas are all, everything else is.............(fill in phrase of your choice indicating disdain!) I even started to try to play with the most excruciating tones I could produce to check if the phenomenon worked for me. Unfortunately I do not have the same fluidity of thought that the guitarist at Ronnies had/has so my improvising leaves a little to be desired, but the lesson was learnt, we are not listening to the musicians equipment, we are listening to the musicians soul. Here endeth the second lesson, we will now sing the hymn "Oh What a Friend We Have In Jaco" omitting verses 75, 81 & 93

I have just read all 11 pages of this thread and would like to add my 2p. It is a simple anecdote. Many years ago whilst in a residency in the south of England I went into London on my day off and went to Ronnie Scotts club in the evening. One of the bands featured that evening had an electric bassist that I particularly wanted to hear after reading reviws of his work. When the band commenced their set I was set back by what, to me, was the awful tone of the bass! Within a few minutes I was transported to a wonderful place by the melodic lines and musical ideas the bassist was creating. And, guess what, by then I thought the bass sounded great, which came as a great surprise to me and was something of a lesson learnt. A great idea is a great idea regardless of tone and a dull idea is dull no matter what equipment you have. So ends the first reading, let us pray.

Hi everybody, I am looking for a bit of advice about Spector NS 2JA R. As I am sureSpector buffs will know this was the NS2 re-issue, of which I understand there were only 83 each of black, white and natural. Mine is a natural with a really nice thick flamed maple cap, I would say top AA, lower AAA. EMG pickups ( jazz s/c) Vol & active tone for each p/u and a Leo Quan Badass bridge. I got it in a deal on some amps and, though I like it very much I like my Warwick Streamer better. Question is, what is the Spector worth in the current market? I am not really in touch with prices as I am not really into equipment that much, I find the notes more exciting ! So I know that it is what you can get someone to pay but what ball park does anyone think. I would be glad to hear what other BC ers think. Like Prince Charles I am all ears!

Hi Phil, thanks for that. Actually I do mind a little fiddling ! I am now in my late 60's and don't have the pazazz ( or workshop facilites) that I once had. The reason for this query is that I have gone the neodymium/digital route because I don't have the strength or motivation to haull heavy gear any more. So, I have a choice of three digital/programmable amps and four neo cabs to cater from 250watts up to 1400watts. The most powerful amp is a CROWN XTi which, thanks to the internal DSP, I can insert filters so no problem. The other two amps I can use in tandem and programme one for Hi end & the other for low end, so again no prob. The problem, if there be one, arises in the middle amp, 1000 watts (2 x 500 watts), which is the amp of choice for medium size rooms, where I have to use the two 1 X 10" subs and the 2 x 10" ( all Deltalite 11 2510's) but with no filtering or xover facilities. I am hoping that by closing the ports or reducing the internal volume of the 2 X 10" I will take the drivers out of harms way. Having said that I do like the sound of the 33 litre open port option. I have absorbed all the forgoing advice and it seems the "trust your ears" is the way to initially see which way the wind is blowing. WinISD says the box tuning of 33litres with the 4Omm X 19mm port is 51.14 hz. Is there any indicator in the WinISD programme which will tell me how this should handle 250 watts, if that is an intelligent question? Again I take the point that my ears should tell me if anything is going seriously wrong, but I do like to "muck about" on WinISD to try to improve my limited knowledge. Again, all replies very gratefully received. B.Flat

Thank you for the speedy response to my query, you guys. Excellent ! If I could trouble you one more time, would you give the same answer if the cabinet was not hi-passed, and received the same signal as the subs? I have not tried this but I can forsee a situation where I may want to./ Thanks again B.Flat

Hi, I wonder if anybody can throw a little light on the following query? I have, as part of my rig, a 2 X 10" cabinet, designed with the WinISD programme. It is actually two 1 X 10"s as the enclosure is divided into two, 33 litres each side. I have ported each of the two sections with a 40mm dia. Port, 19mm long. These two ports can be sealed, giving the option of closed or vented. The drivers are two Eminence Basslite 2010’s, 150 watts each. The cab works well to my ears. However, for reasons, which need not be detailed, I wish to replace the 2010’s with a pair of Deltalite 2510’s. 250 watts. Looking at the Eminence spec. sheet the recommended cab volume is a maximum of 17 litres and 39.6 litres closed & vented respectively. As an experiment I have reduced the volume of one side, with the aid of polystyrene blocks, to 23 litres, and left the other side at 33 litres. As each driver is on a separate connector I have been able to listen to the various options now available. That is:- 23 litres vented ( port 40mm dia. X 19 mm) or closed. The result is fairly tight mids with good highs, but not too bright, and a rolled off bass response with the port closed, better bass and more volume (apparently) port open. With the 33 litre side roughly the same but deeper bass response and more apparent volume. So, if you have had enough interest to read this far, my query is this. I am driving these speakers fairly hard, sometimes up to their max. I know that the ports are nowhere near the WinISD calculations, but to my aged ears the cabinet does not sound bad. It is supported by two subs, so bass response is not critical. However, am I putting the speakers at risk with either, a) too-large a box volume as in the 33 litre closed version, or with the wrong port dimensions in both cases? Anybody who can help will be eternally blessed by me, as my elderly brain cannot get round some of the performance graphs on the WinISD programme !!!!! Thanks for reading, B.Flat