Chienmortbb

I agree the styling is a nice blend of functional and classy. Must take some anti-GAS pills.

I love a good build.

Good Idea.

Sending a signal from a Helix or any multi-effects units to PA is like sending your signal to a flat amp/system.

That is the point. The sound of your bass is a combination of the materials used in its construction, the pickups and the electronics. Why would you need a fixed EQ in an amp when you have no idea of the response of your bass. If you have the capability to alter the sound of your bass with variable EQ in your bass head, all well and good but it is good to have a reference. To your point, pick-up response changes with the values of the capacitors and potentiometers attached to and if you have a two pick-up bass each pick-up loads the other. Unless you run with nothing connected between the pick-up and the output Jack, you tone is already baked in. Still I would prefer to be able to listen to the sound of the bass with no external influence THEN adjust the EQ/Shape etc to taste.

On stage I use the tuner in my Zoom. It is very accurate and fast. When I am intonating a bass, I use the Peterson Strobo app on the iPhone or iPad. I did not realise that Peterson did a pedal tuner I feel GAS coming on.

I must admit that when I measured the amps, I was not really concerned about the flatness, that was an afterthought. I was looking at whether the amps had baked in High Pass Filters. They both did.

Your tummy should not rumble if you have got to the crumble.

I measured both my Bugera Veyron (M Version) and Ashdown MiBass 2.0 (now sold to another bass chatter) and both were flat to within +/-1dB to 10KHz when the controls were all at 12 0'clock with no treble or bass boost. Both had baked in HPFs.

Unless there is other built in shaping that is flat. The power section of that amp is likely to be flat within 1-2dB within the bandwidth that we are concerned with. There may well be an HPF at some point too, but IMHO that should be ignored for our puposes.

I was wondering that. No, seriously, it will be the place where the interconnecting cables will terminate. So the multiway connectors from the amps will be terminated there to allow them to be split into 2/3 way connectors to do to the DSP, input/output XLRs and Aux power from the amps. I might put the low voltage regulators on there too, but I do have some separate regulator PCBs that I might use. That is the next job, the layout of that perf board, should not be too difficult. I also need to think whether I need to use the other features such as Shut Down or Mute Out (Mute mode=5V Run mode=-5V) Basically an indication that the amp is in protect mode. Temperature feedback (Maybe use to turn on the fans?) Mute (Pull-Down = Mute, left open or 5V Run). Is this needed on a power amp for PA use? Incidently, as I have to run mains from the back to the front, the perforated aluminium will act as a shield keeping any radiated mains interference away from the audio signal and Aux power lines. I need to place the DSP board. That will attach to the front panel. Of course, the front panel design is still a work in progress.😃

Of course, I went out into the audience and voilà, he was right. I could barely be heard. I don't like to be overpowering, but I do like to be heard. When I am not gigging on a Saturday, I am often at my local Legion and of course have a good idea of what it sounds like, the bass can overpower unless it is lower than in most venues, it is reverberant at about 60Hz. I always tell the bassist to cut the bass, but do they listen? Anyone would think they were guitarists. The result is that bands almost always sound bass heavy. No wonder many places turn to professional karaoke singers instead of bands.

Funnily enough I have been using a new setup recently and although it sounded loud enough to me, I was asked to turn up as I was quiet our front.

Please don’t. That means I have to finish the 8”.

A little progress. I have installed a perforated aluminium platform under the amps and have worked out where to put the junction board, I have also installed two 60mm fans, aimed directly at the heatsinks but also pushing some air under the PCBs. The idea for that is to add cooling to the IRS2092 controller chip mounted underneath. The fans mean I will have to re route the output cables to the speakons. The fans are attached to the perforated aluminium using two cable ties at the bottom and it seems quite secure at the moment. The fans are slightly angled. This is so that the air goes towards the front and the top vent. The junction board is designed to tidy up the wiring so expect to see a member of sockets and maybe a few other components there soon-ish. I am still thinking about how to control the fans.

Yes, one of the best pub sounds I ever heard was from a blues band called Chicago 9. Only vocals though the PA and even the blues harp had its own amp. Broke all the rules, but they had the sound spot on. Two passive EV tops for the vocals, and they were golden.

Our fronts don't go down that low, but I use two HPFs each with -12dB per octave with -3dB at 50Hz, if there is a problem on my bass rig and always cut at 75Hz on vocal channels.

Good point Jack and better top speakers might be worse in that respect.

Sometimes. Poor sub placement causes real problems FOH and in my experience is far worse than "single point" sources such as a bass rig. For example, the common practice of a sub per side, creates alternating aisles of overpowering lows and absence of lows depending on where you are in the venue. I agree that getting monitors off the stage will help in all sorts of ways though. I must admit that I am trying like crazy to get my band to accept the use of a digital mixer to improve the on-stage monitoring. Whether that be good monitor speakers or IEMs, but it is a slow process.

Me too.

A lot of money for not a lot, in my opinion. I saw a solo performer with one on Sat and off axis, the sound was very thin and well down on volume. These are the things these "tea chest bass" systems are supposed to solve. I suggest you look at the single FRFR cab from RCF, QSC or Yamaha and you can expand to a small mixer when, and if required.

Just to add a comment about wire, I buy two core mains cable 1.5mm for Ann my speaker needs. Mains cable from a reputable electrical supplier will be copper (don’t worry about the oxygen free baloney, all copper cable has a little oxygen in it). For some reason it seems only some commercial speaker cable is CCA. 1.5mm mains cable is rated at about 18 amps, so good for 2500 watts into 8 ohms or 1250 watts into 4 ohms and the resistance of around a metre will be negligible.

Please stop reminding me of the BLX Combo. I do not know why I sold it and I searched high and low for the ext cab you have.

Not sure that adds too much to the original. It is s very good cover, the multitracked vocal harmonies are great but it is almost note for note.