Chienmortbb

I have finished soldering the parts to the power supply board. Next on to the Input board. The PCB shown below has a space for a bridge rectifier and another large electrolytic capacitor on each rail but they are not needed with the ICEPower module’s dc aux power outputs. As there is more space,I have laid the caps down and fixed them with cable ties. I had to drill the holes for the cable ties but there was plenty of space on the PCB. Remember that this PCB is not needed with the 700AS1 module, only the 125ASX2 or even 250ASX2.

If you can get the 700AS1 module, the auxiliary outputs are already +\- 15V and the preamp power supply is not required. PCB 87A contains the circuits for two balanced line recievers. One will be used as desinged by Rod and the other will be modified as an instrument level input simiklar to that shown in the ESP Project 27. The outputs will be mixed and sent to both the line transmitters on the Project 87B PCB. The output of one will be fed to the two amplifiers in the ICEpower 125ASX2 power amplifier module this will "bridge" the amplifier giving about 450 Watts into 4 ohms but in excess of 270 watts into 8 ohms. This would give the meet original Baschat 1x12 spec of giving 120dB output to keep up with a noist drummer. . The preamp will be housed in a hammond 1590XX diecast aluminium enclosure the PCBs can be seen above here mounted to the lid of the enclosure. the connectors and controls will be mounted to the base of the enclosure. Now to stare loading (or stuffing as our friends across the pond say) the PCBs. starting with the power supply.

I have been awaiting some parts and the majority arrived today. As I have said before the preamp will be basic. As the design assumes the uses of a digital Multi-Effects unit as the main source, there is no EQ on board. Even low cost units such as Zoom B1 Four have easily accessible EQ so it would be a waste to fit more. Passive EQ reduces the signal level and active EQ is more complex. Both will increase the noise of the preamp (what electronic engineers call noise, we hear as hiss). I am using Elliott Sound Products printed circuit boards .There are three PCBs. The first is a power supply board Project 05. This will take the +/- 23V auxiliary rails from the Icepower module.

Catty lol.

I used black Tuff Cab on my pre CNC cab but I am considering covering it with this. https://www.profabrics.co.uk/products/heavy-duty-texturised-nylon?variant=8359083459 it is much tougher than any of the traditional cabinet covers, comes in a range of colours ( including a nice TE green),

Agreed. I think pickups should be buffered before the volume and/or blend pots then there is no interaction.

Your string height is way too high and you will never get that out with a truss rod. Also you should not adjust the truss rod by eye. The order should be: 1. Relief-Truss rod. 2. String Height 3. Intonation 4. Leave overnight 5. Repeat steps 1-3. 6. Play. Firstly your need to adjust the truss rod. Put a capo in front of the nut, behind the first fret. With your right hand fret the fret that is just above the start of the body. The gap between the bottom of the bottom e string and the top of the 8th fret should be about 0.3mm. It would be 0.35 on a long scale. If you don’t have a feeler gauge, a business card is about right. It should just about slide easily onset the string without moving the string. Remember that if you have to tighten the truss rod, loosen the strings first. If you have to loosen the truss rod, there is no need to loosen the strings although it may make it easier. Don’t forget to take the capo off when adjusting. Once the truss rod is about right, adjust the string height with the bridge saddles. It should be 4/64” or just over 1.5mm on the bass side ( low e and a) and about 3/64” or just under 1.5mm in the treble side(under d and g strings) both measured from the top of the 12th fret. If you cannot get the saddles low enough you will need to install a neck shim. Once the string height and relief are correct, adjust the intonation. You should then let the bass rest overnight and go through the process again the next day.

It is not about the conductivity, it is about the shielding effect.

i would like to hear one as it is technically all wrong. Also nowhere to put your head (or your amp).

Just about to oredr so your story is welcome.

Funny but I find the look of Fender amps in General look a bit naff except for the tweeds.

Probably the best option.

Before you do any thing, check the neck with the neck bolts loosened. Then see whether there is enough play to realign the neck. I had the same problem and had enough play to get the strings aligned.

True but I like driving the cable from an opamp directly. However yours is a good way. I may have a spare Bourns 250K Mn if it is useful.

Two points. Aluminium tape is better for screening but it cannot be soldered. Secondly even if the adhesive on the tape is said to be conductive, it is wise to solder the joins.

Yes I have one of those and a Bassamp,100. They are approaching 47 and 48 respectively.

Setting intonation at the 12th fret allows for very basic tuners. Nowadays tuners are more sophisticated but if still makes sense the inonate at 12. It is half way between the bridge and nut and assuming all the fret slots are cut accurately, setting intonation at fret 12 will be good up and down the fingerboard. What you are trying to do is make sure the length of string from Nut to fret 12 is the same length as fret 12 to bridge.

You will need to have a buffer for each pickup and then a mixer stage. That requires either two small or one large opamp packages.

I have two HH 100Watt bass heads that were made in the early 70s. They were extremely well designed, rated at 80 watts in to 8ohms and 120 into 4 ohms. They were built like brick shitehouses. The electroluminescent panels were a sight to behold, especially in the dark. iThe wiring was beautifully laced. Being solid state they did have PCBs but they really were engineered. Bloody heavy by today’s standpoint but still louder than most so called 200 watt amps today. Integtrated circuits of the time were much noisier than those of today and one day I will change the 741 for something a little quieter. The only problem today is they are Soooo wide. Over 2ft or 600mm so so they overhang every cabinet.

The only valve amp I have lusted after since my Sound City 100W was stolen in 1973. Of course I was a guitard then.

You are always mono out front. The sweet spot for stereo is so small it may as well not exist. In fact to get the best from a PA it is arguable that all the drivers should be at the same place rather than at each side like a home stereo.

Hard to tell about the Chinese and fakes. I did ask Icepower and they say there are fakes out there. However if you buy in quantity from IcePower, you could just about sell at the prices advertised on EBay but your margins would be small. The Profusion prices do seem excessive AND they will only sell IcePower to registered companies. I know that Ghent Audio, the Chinese’s maker of cable looms for icepower modules, also sells complete amps and has, on occasion, sold excess modules. Of course it may be the case that some ICEPower modules slip out the back door of some far eastern factory without ICEPower’s knowledge. Profusion do not even list the price of the 700AS1 module as it is more restricted than the ASX range. However it is a fine module and has been used by a number of manufactures. It is also on my good friend passinwind’s home brew Bass amp. As for the over temp indication, that is easy. I don’t envisage a problem with heat as the inside of the cabinet is a large volume and the size of the port should allow some airflow with the outside world. Although the driver will dissipate heat, I expect that under normal conditions the cabinet will not get too hot. If it does then a sealed plate amp type design would be needed.

There are some that say run it in and others that say just go for it. Stevie and Phil Starr may have more to say but I would not worry about it. Just use it it will run in by itself.

Normal PP3 batteries are nominally 9v although almosy no manufacturere publishes battery capacity. The Duracell Bunny test is the closest. It would be greta to use rechargeables but most are nominally 8.4V. There are now 9.6V recharcheables and I am thinking of trying some. Has anyone tried them? https://www.componentshop.co.uk/9-6v-220mah-nimh-pp3-battery.html or https://www.amazon.co.uk/Self-Discharge-Precharged-Rechargeable-Batteries-MHR9VP/dp/B01FV0U5WG/ref=sr_1_9?keywords=9.6V+PP3%23&qid=1560604944&s=gateway&sr=8-9

To be fair I play pubs and clubs, a real weekend warrior BUT I was product manager for Panasonic/RAMSA some years ago so I have a little knowledge (dangerous thing). I also had a 100W Sound City stack as a youth with 2 4x12s. I do not suffer from tinnutis despite 1000s of gigs and being 67. I don't agree with everything Joe Bonnamassa says in this artical but there is a grain of truth in what he says. Remember that your instrument is not just your guitar/bass, it is the whole signal chain: Bass Instrument Cable Amp Cable Speaker Room Listeners ears. Change any one and your sound changes. In my experience (YMMV) In-Ears give a rather unnatural sound. They tap into the sound at the cab I feel like I am in an isolation booth, I don't enjoy it and as I play music for enjoyment, they are self defeating for me. Amplifiers, especially guitar amps need to be pushed hard to get the sound, so get the right sized amp for the gig. For most pubs/clubs, 5-15 Watts is adequate .For bass, in general, the volume of the amp/cab does not contribute so much to the sound so again, in my opinio,n the power of the amps is not so relevant. Volume does not affect the sound of the bass anywhere near as much as it does the guitar. For the same pubs/clubs, FOH support is not needed and volume can, and should be, controlled. My band get more compliments when we play quieter. The best band I have ever seen in a pub are Chicago 9. Even the Harp player had his own amp and the PA? A tiny Peavey system, used only for the vocals. In-Ears have their place as does the Soundman or Woman (please don't call them engineers) but for most semi- pro bands the most important members of the band are volume controls. Finally one more issue with In-ears. The size of the driver compared to the volume of your ear canal is massive. There is great danger of ear damage if the volume it too high for too long. Smartphone makers don't put volume limiters on the headphone output for nothing. Volume controls go down as well as up and that is what will protect your ears from over-loud transducers of any size.