Chienmortbb

One case where size really matters.

Singer, spend money? Never thought I would see those words in the same sentence.

When I auditioned for my current band, I walked in with my Class D Head and Basschat 112 speaker. "You will need more than that for a gig". Needd less to say that all the previous bassists had head height stacks, Anyway I got the job and have never had a complaint that I was too quiet.

Can you show some pics of the T Shirt design Mike, you never know I might buy another....

I am making a cable for the raffle and wondered how long people use. So I started a poll.......

Thanks I added that the half metre options.

That is a new one on me. ER usually were Electric Guitar amps with BR being the bass designation. In saying that I am sure the (warning SS content)ER40 and ER100 were designated Treble and Bass and my mate's band used them for Lead and Bass.

I am making a cable for the raffle at the SW Bass Bash. I said I would make it 6 metres long but then began to think that I woud not use a 6 metre cable, so can you help by telling me your preference.

That is why he needed an FRFR cabinet🤣

Gnome more Mr Brightside

Its a franchise, Episode 4 The Laughing Gnome.

Its a trilogy.

OOps 2 tHe Sequal

OOps

The thing about Class D amps is that they are very efficient and consume almost the same, whether barely on or running at full power. However, the higher the amp is rated, the more heat is generated, and a 600 watt amp would not be feasible in the volume of the Gnome.

There should be a few cabs around.

Firstly, the Gain control is often mislabelled. It can really be a Gain control, where the control actually varies the gain of one stage of the preamp, or it could be an attenuator. Either way, it varies the signal going into subsequent preamp stages. Master is usually Master Volume and is an attenuator placed just before the input of the power amp. So yes the power amplifier gain is fixed and the volume depends on the level of the Master.

Having used the cab with the horn in both directions I would say that that there Is a difference but if you had the horn optimised for the can lying on its side, the loss of dispersion would be counteracted by the increased height of the horn. It is possible to enlarge the horn cutout to enable the horn to be mounted either way. You then only have to unscrew four screws, rotate the horn, and replace the screws. In that case I would suggest using threaded inserts and machine screws to hold the Horn/Compression driver in place.

The horn/compression driver in the BC112 MK3 is offset to one side of the cabinet, the port is in the other side. If you mirror the baffles, providing you stack the two cabs the right way, the two “tweeters” will be as close as possible and tend to act as one. The further apart they are, more frequencies will be subject to what is called “comb filtering” where some frequencies are amplified and some attenuated. In the real world, it may not be a big deal but it’s certainly good practice. The irony is that when I built mine, I fitted the baffle the wrong way round. Of course with a single cabinet it does not matter.

Now I am annoyed. I have just gotten over my NEED for a G&L and you post THIS,

I have offered one of my 6M bespoke cables as a raffle prize but if anyone needs a new cable, let me know on here by Wednesday and I will make one to your spec. I have Sommer Tricone 2 Cable in black ( my favourite), Sommer Tricone XXL in black, and the pretend old braided cable SC Classique see below ( the real cable is not quite as colourful as the picture but it is nice) . i can offer: Neutrik straight or right angled jack plugs. Neutrik Rean pancake slimline plugs for patch cables. I also have a selection of Sommer Hicon jacks, including some silent jacks and some solderless jacks for the XXL. I have some Klotz STARQuad cable for really high quality installed balanced cables and standard mic cable and XLP connectors. I don't recommend the Klotz STARQuad for stage use as it is not very flexible. Great for studios though.

True, try playing some Sade through it/them. Mmmmm!

@Phil Starr beat me to to it. When I built the MK3, Iplanned to build a second cab. However after gigging the MK3 as a single cabinet, I realised that it was enough for me. It never really gets out of first gear. When I auditioned for my current band, I took the MK3 in and was asked “where is the rest”. They were obviously conditioned into thinking a bassist needed a stack. It has not been mentioned since. The real benefit if a stack is that you hear yourself better BUT the vertically aligned horn ensures that you can hear yourself even with the cab on the floor. Just as importantly, the dispersion of the horn will also help your band mates hear you better. As Phil says, come along to the Bash a week on Sunday and hear for yourself. @Phil Starris doing a cabinet shootout.

Is your Pume a big cat? That might explain it.

THe B1On and B1Four have a fretless patch from memory. I use the one in the B1Four as part of a patch to simulate a double bass.