6v6

[quote name='3below' timestamp='1364427665' post='2026521'] I would analyse the sound and extract the fundamental (or possibly main harmonic) sine wave (or whatever function it is). Next stage would be add the distinctive harmonic content and envelope that each bass creates to the raw function. Latency etc. - yes this might be a problem with current CPU power, however CPU processing rates are only going one way This must be possible, Line 6 Variax started it. [/quote] This is true, it is already possible as proven by the Variax, and having tried one I have to say the Variax is a very impressive thing (although the actual instruments on the early models were pretty uninspiring) The problem IMO is that modelling the sound accurately (of any instrument not just a Wal) only gives you a fraction of the experience of playing the real thing. Different instruments feel different, and the way they feel makes affects your playing style, and that is impossible to model via DSP.

Great job - build looks pretty complex, makes my attempt at a simple ported box look very basic! Like the tolex and finishing, looks very good!

Bit more progress today, after looking at a few more shelf-ported designs, I figured out that the port should be flush with the front of the cab, not the baffle as I was originally intending, so I recalculated the port lengths and fitted a fixed port for a tuning of 50Hz, with an additional extension which takes the tuning down to ~42Hz, so I can easily experiment with the port but still glue the main section and divider in, providing a bit more strength.

If you do go for a NOS or used vintage valve, don't restrict yourself to Mullard - they're amongst the most expensive because everyone knows they are good, but there are loads of good alternatives which also sound really great (Phillips, Brimar, Mazda for example)

Re glue - I went with PVA in the end since I'm familiar with how to work with it, and I want something with plenty of assembly time, I guess it doesn't really make much differnce what I use, I will run a silicone bead round the inside to ensure things are airtight. Some pics below - got a sheet of 15mm birch ply, cut to size at the timber merchant since I don't have access to a table saw and I wanted accurate, square cuts (to save time flush-trimming everything square with the router). Decided to go with glue/screw butt joints, but with some biscuits added which will hopefully add some strength but also should make the assembly much easier too. Was thinking about just biscuits/glue, but don't really have enough clamps so will need the screws to hold everything tight while the glue goes off. My dilemmas now before gluing it all up: - Do I make the baffle/port removable? Was thinking of adding a batten/cleat to mount both to (as in pics below), then (securely) screwing them in place, then adding glue when I'm sure everything is OK with the tuning etc. The alternative is to add some more biscuits now and just glue it all up, but I'm thinking the removable idea should work provided I ensure things won't vibrate loose and are sealed up (more mastic!) - Do I radius the entry/exit of the shelf port? Was planning to use a rounding-over bit on all external cab edges, so thinking I should also round over the port at each end, to potentially allow smoother air flow? Next jobs (hopefully tomorrow): - Cut baffle hole and input jack-plate hole - Glue/screw box together - Order some damping material, tolex, grill-cloth and hardware Pics: (edit - removed cut-list pic since I've since realized the baffle/port dimensions are wrong and will need adjusting slightly since the port needs to be flush with the front of the cab not the baffle)

[quote name='Beedster' timestamp='1364337361' post='2025221'] Thanks all. As ever, my brain is wandering......... Is it worth me spending the extra and getting a rack-mount pre with multiple channels such as the RME Firewire 800 [url="http://www.ebay.co.uk/itm/RME-Fireface-800-Firewire-Audio-Interface-NEW-/310635049939?pt=UK_Musical_AudioMIDI_Interfaces&hash=item48534ab3d3?"]http://www.ebay.co.u...item48534ab3d3?[/url] I really want quality pres with both economy of space and ease of use (which for mean means a rack-mount unit that sits under my iMac with as much as is possible being done on the screen). Whilst i doubt I'll be recording multiple instruments often, the option to do so without having to compromise on quality does appeal. By that I mean that if I have a two channel unit and want to record 4 instruments live I'm necessarily limited? [/quote] With the babyface you're not limited to two inputs, it has ADAT, so you can add another 8 inputs by using an 8-channel pre/A-D unit or ADAT equipped mixer - so the limit is really 10 inputs.

[quote name='paul_5' timestamp='1364204780' post='2023014'] shame there's nothing like that for mac. [/quote] You can run it on a Mac using either Windows/Linux dual-boot, a windows (or Linux) Virtual Machine, or using a windows emulator such as Wine (I run win ISD pro alpha under wine on Fedora, a Linux distribution, it works fine) http://www.winehq.org/ http://www.codeweavers.com/ http://winebottler.kronenberg.org/ http://wiki.winehq.org/MacOSX (appears to be down atm) http://www.davidbaumgold.com/tutorials/wine-mac/ http://fedoraproject.org/

[quote name='mrtcat' timestamp='1364154525' post='2022648'] Use an expanding polyurethane adhesive on joints like [url="http://www.thegluepeople.co.uk/index.php?main_page=product_info&cPath=6_10&products_id=32&zenid=eb476bfa4277441aac98b88311df3aa5"]http://www.thegluepe...c98b88311df3aa5[/url] It will fill any gaps so not only will it allow for slight imperfections in cutting it will also leave the cab airtight. You'll find its stronger than the ply when it's set too. I've built 100s of cabs this way. As long as you don't use inferior ply with a thin veneer layer even butt joints will be really strong. If it helps you can use screws to hold parts in place while adhesive sets. Once set remove the screws and use more adhesive to fill holes leaving them airtight. Good luck with the build. I look forward to seeing the end result. [/quote] Thanks for this - I was planning to use some good quality PVA, but this looks like a good alternative. Planning to use butt joints reinforced with hardwood biscuits (I already have a biscuit joint attachment for my router), clamped and/or screwed tight, hopefully should end up pretty strong and much quicker to build than proper finger/dovetail joints (I have a dovetail jig but it's too small for this cab size)

[quote name='shaneybaby' timestamp='1364159117' post='2022748'] fair play for being able to use WIN ISD. the most confusing program ever concieved [/quote] Really? I'd never used it before, and (apart from entering the driver parameters, which definitely was confusing due to all the auto-calculated fields) I've found it pretty easy - just enter the box volume, tuning frequency and vent dimensions, play with the numbers until you're happy with the plot. Admittedly I still only have a fairly vague idea what constitutes a "good" plot, and I've only really considered frequency response and power handling graphs, but overall I've encountered much more confusing programs (LTSpice springs immediately to mind..)

[quote name='Phil Starr' timestamp='1364151740' post='2022587'] this all looks fine to me. Hope it sounds good to you, I can't wait to hear what you think of the result. [/quote] I can't wait to hear the end result! Thanks for all the assistance getting to this point, hopefully have it put together in the next week or so!

Plot and proposed final dimensions, any comments before I get the saw out?

The LMT has an FX loop doesn't it? So an alternative if you just want to be able to run the master higher would be to stick a pedal with a level control (compressor, graphic eq or whatever) in the FX loop, and turn the level down (and adjust the "effect" settings to not affect the tone) - then you'd get the preamp drive you want, but be able to limit the preamp level going into the poweramp I guess this is effectively the same as running the master at a low setting, but if your aim is to run the master at a bigger number without actually being any louder, and get more granular control of the output level, this would be a way to do it without getting a smaller cab?

[quote name='brensabre79' timestamp='1363357464' post='2011756'] I don't have WinISD because I'm Mac based. [/quote] There are several ways around this - I run Linux (Fedora) and WinISD works fine under wine (an open-source windows emulator, which also works on Mac by the looks of it): http://wiki.winehq.org/MacOSX You could also install a windows VM and run WinISD inside that, but then you'd need a windows licence, so I prefer to use wine wherever possible.

I think you should decide if you're after a casino or a 335 - they are pretty different (the ES330 would be a better comparison IMO) I have a 1984 Epiphone MIJ casino, it's really great - I've had it a long time so not sure what they go for nowadays, but I'd guess you could probably find one within your budget. Other options to consider, used guild starfire or gibson es135, gordon smith also make great instruments (I have a GS2) and they have a variety of nice semis in their range.

As others have mentioned, a power soak is typically used with an amp that has a tube output stage, where you wish to push the power amp into saturation at lower volumes (to get an overdriven sound), more a guitar than bass thing I guess, but all it will do with your solid-state amp is make it get hot and be more likely to blow up since it's pushing more power than you need it to.

[quote name='Phil Starr' timestamp='1363165254' post='2009341'] Any news of your Beyma yet? [/quote] Sorry, been away for a few days so not got around to updating this thread yet! I now have the driver (great service from LMC audio, next-day delivery from stock!), and I think I've finalized the cab design (will post plots and my dimensions spreadsheet later) Found a local supplier of birch plywood, planning to get some in the next few days so I can build the cab. Currently trying to decide: - 15mm or 18mm ply? (I'm thinking 15mm should be fine for a 1x12 box?) - Biscuit joints or proper finger/dovetail (biscuit joints should be fine I think, and will be much much quicker to make)

+1 for ebuyer and novatech, used both many times without problems Also http://www.dabs.com/ are good I assume you've seen the 3xs stuff from scan? The prices on these are actually pretty good when you start adding up the cost of all the components, and consider that you're getting something which has been specifically optimized and tested for DAW use: http://3xs.scan.co.uk/Category.asp?SystemMasterCategoryID=2

Mackie - either TH12a or the SRM450 We use two SRM450s as mains and one TH12 for foldback - the TH12 doesn't sound as clean/clear as the SRMs, but it is lighter and quite a lot cheaper.

[quote name='gary mac' timestamp='1363766880' post='2017109'] My daughter uses an Ibanez, not sure of the model but lower end of the range. Anyway it's light and sounds good. Has precision and jazz type pickups. [/quote] +1 - I have an Ibanez SR500 and it is very light, any of the SR series would probably suit your requirements and budget - the playability on these is amazing for the money too

If budget is limited, you could consider a used Hartke kickback - they are very underrated as jam/small venue amps IMO - I got one for £80 in as new condition (Kickback 12, they are £400 new) I play small pub gigs (blues/rock/folk/country type stuff) with mine and the volume is ample - also it has an XLR DI out so you can hook into the PA for bigger venues easily. It's not as light as stuff like MarkBass which use neo speakers, but it's still an easy one-hand-carry from the car. For some reason Hartke stuff seems unpopular and goes cheap used, not really sure why. If you have a bigger budget then the Mark Bass combos are excellent, but they're way more expensive (and hold their value better making them less of a deal used)

[quote name='MiltyG565' timestamp='1362626527' post='2002424'] This would do what i want alright, wouldn't it? Would love to get that Apogee Duet, but got to balance the quality with the cost unfortunately [url="http://www.thomann.de/gb/motu_4_pre.htm"]http://www.thomann.d.../motu_4_pre.htm[/url] [/quote] That looks OK, but FWIW, I view 4 channel interfaces with no ADAT as the worst of both worlds - you have more preamps than you need for recording simple overdub-based demos, and not enough to ever consider recording a live band. At that sort of money, I'd buy the RME babyface and be prepared to buy an ADAT equipped 8 channel mic-pre/converter, so you'd have the possibility of expanding to 10 channels Alternatively, if you want more inputs now at around that sort of budget, I'd go for one of the various firewire interfaces with 8 mic pre's and ADAT connectivity - 8 channels is (just) enough to make a live recording of a small band, and with ADAT you can easily add more if/when you need them. E.g looking at MOTU, you could get the 8pre for a tiny bit more than the 4pre, and IMO it will be a much more versatile solution. http://www.soundonsound.com/sos/apr11/articles/rme-babyface.htm http://www.soundonsound.com/sos/apr07/articles/motu8pre.htm http://www.soundonsound.com/sos/dec07/articles/presonusfirestudio.htm http://www.soundonsound.com/sos/aug11/articles/mackie-onyx-blackbird.htm Some of those have been around for a while, but IMO they have a much better featureset, which will last you longer. If you really do only want 4 channels, I'd still buy the Babyface, and add an SPDIF equipped external mic-pre/channel-strip later

+1 for TI Jazz flats, but be aware they are much *lower* tension than many other strings - switching from the stock elixir's which came on my SR500 to TI's resulted in a much lower string tension - I had to slacken off the truss rod quite a bit, raise the action, and adjust my playing style to play nearer the bridge, otherwise you risk noise from the strings hitting the frets. Might go for something slightly higher tension next time, but they do sound and feel very nice.

+1 to the other responses - I'm not familiar with the stock speaker, but check the efficiency as mentioned - I got a really *huge* increase in headroom swapping from an alnico jensen reissue P12R to a Celestion Vintage 30 (different sound too, admittedly but efficiency really makes a huge difference) If you do decide to trade up and you like the Vox sound (and want something on a budget), keep an eye out for a used Laney VC30 combo - they are all valve so you can drive the power stages much harder and effectively get more volume, and if you're regularly playing at proper gig volumes you'll love playing through an all tube amp They go quite cheap used and sound really good.

[quote name='RockfordStone' timestamp='1362496083' post='2000172'] ive grown to hate my line 6 pod, way too fuzzy for me [/quote] I'm a total tube amp geek, and I previously tried (and hated) the Line6 pod, but the latest PC based emulations are much much better IMO - GuitarRig, Amplitube, even the stuff built into Cubase is absolutely fine for many applications. I still mic up an amp where possible, but for home (not studio/stage) recording, I'm not sure there's much point in annoying the neighbours anymore, certainly once in a mix, you'll not notice a lot of difference, particularly if the room, amp, mics or mic positioning is not 100%. I suspect for what the OP wants to achieve, they would probably be better spending their money on a good low-latency interface with a couple of reasonable mic-pre's, and a couple of good amp plugins, and one reasonable mic for vocals. Then they could focus on what I assume is important to them, ie the music/compositions, although given the content of this thread I'm not clear if they're aiming to compose some music or learn to engineer recordings - either is a worthy goal, but IME doing both at the same time is difficult, focussing too much on the technology normally kills any musical creativity for me.

[quote name='cytania' timestamp='1362229554' post='1997251'] What I don't understand is the difference between the Detroit bass and the Power bass. Both would appear to be Precision copies? [/quote] I'm also confused by this, been meaning to drop into the bass centre to try one and find out exactly what the differences are. From their website, it appears that the Detroit bass is a Power bass with the addition of chrome covers and flats. I've played a Jive bass owned by a mate recently, and they are good for the money IMO - certainly comparable with any Squiers or MIM Fenders I've tried.