Al Krow

If they're Delanos I did find them a bit 'tame' / polite / civilised ...that plus 2 band rather than 3 band EQ (although that won't be an issue for you as you're a passive guy). The bass was otherwise just lovely.

I've had one before and in my experience it was. I think we could expect it to be because the LNT is voiced to go lower (40Hz vs 45Hz). Noted re the volume, which is a good point, thanks. I suspect the combination (if I did ever end up with using them both) would be with the MNT being used as a stage monitor for me and the band, where the lower volume would make sense. In practice I can't currently really ever see myself needing any more output for the audience than the single 4ohm LNT will be able to produce alone - e.g. it can handle the full 900W from my DG amp.

So picking up where I left off a few months back, I didn't in the end go for the VK 115 for the various reasons set out earlier in this thread, in particular the preference for matching cone sizes by most folk who were 'in the know'. I've recently been offered the possibility of adding a VK210 MNT 8ohm / 600W to my VK210 LNT 4ohm / 1200W The MNT (voiced 45Hz to 16kHz) is a bit lighter and a little brighter sounding than the LNT (voiced 40Hz to 16kHz) I suspect, however, not quite the same amount of difference as between the SM / SC cabs that Chris is using. Dimensions => permit them to be stacked (or used apart) If I've done the math correctly, then when daisy chained together: the combined ohm will 2.67 ohms. but also that 2/3 of the amp power should flow to the the 4 ohm LNT and 1/3 to the 8 ohm MNT, which is exactly the right ratio given their different power handling capacity => use the MNT for rehearsals and pub gigs - where portability will be valued by me (I guess, ideally I'd probably like a BF BB2, given how light these cabs are, but they just don't appear to be coming up used and new ones are around £894 these days including a cover & P&P for the silver cloth version, which seems extravagant for a rehearsal / pub gig cab) => use the LNT for functions => put them together when the Wembley** gig eventually happens Any flaws in the thinking above? **that's the Jubilee Underground Station rather than the Stadium btw.

Broughton - High Pass Filter DI https://www.broughtonaudio.com/product-page/high-pass-filter-di Available from May. The variable high pass filter ranges from 25 to 190 Hz with a slope of 12 dB/octave. Has an additional fixed filter is set at 25 Hz at 12 dB/octave to remove subsonic crud => so this effectively becomes a "Thumpinator Plus" pedal in what it delivers Not cheap at $170 in the US = £170 ish over here

No, seriously. It literally is 😂

Yes you're running at 1/4 Trav. Whereas I'm on a full Trav tank.

One is infinitely more than none.

Carol Kaye?

Bless you both and thank gawd for that! Your hearing loss is my gain: otherwise I'd potentially have no market for my SC when I wanted to move it on, would I? 😁

+1 ^^ Paul beat me to the draw (...again. Which is probably why I tend to buy his used gear and not the other way around 😁)

In case you ever get asked this again from a numpty like me, I've just had this from @51m0n on another thread, which is an excellent little summary of transients:

Newton was a genius not 'cos he got it perfectly right (he didn't) but because he, together with some of his contempories, took things a long forward from what was around them at the time. In the context of rock n roll, the Beatles did exactly the same and McCartney was part of one of the most creative song writing partnerships ever.

@51m0n that's a very good explanation thanks! It also explains the relatively "dull" timbre I'm hearing from my BF SC (no tweeter and f-response cap of 4kHz) with some of my basses, and why the BB2 could well be my lightweight one cab solution to that issue for me (although I know some have achieved a similarly good result with BF SC + BF SM cabs combined).

Good result you are sorted. FYI - a sub octave below the low open E is around 20 Hz which is at the boundary of human hearing, and would require immense power (eg typically a 2000W+ RMS amp) to meaningfully cut through at such low frequency, AND a speaker that is geared to handle such lows (we are talking about dedicated sub-woofers here). 20 Hz is well below the bottom end of the BB2's f-response. Much more likely that you're actually hearing the first or second harmonic of the sub octave when you are playing the bottom end of the bass notes with any octaver.

I think you're saying that Yamaha basses are better (sound, growl, value) than a Sandberg? And also that you're from Germany (so you should know about these Berg basses). I had a Sandberg. Almost bought a Status. But have ended up with 4 Yammys (which is probably currently more than Andy Travis and therefore quite an achievement). So I guess your comment is fair enough and that you're certainly on the right thread 😂

And If you're playing passive basses you don't always have the option to push to the mids in the way that active basses allow, although I'd have thought most amps would allow you to adjust reasonably provided they have decent centres on their EQ points? Not sure why folk think that amps 'optimal' position is 'flat'. Surely the point of the amp's EQ is to allow you to get the combination lows, mids and highs that suit your bass & pups, cab and venue? Obviously the cab needs to be able to put out, faithfully, what it's receiving from the amp and not have an overly narrow f-response.

So what please, dear chap, for the uninitiated like me is a 'fast transient'?

A slipped disk is no fun, I am sure: we all have to live with what we can manage. And I agree with you. There are plenty of times when my Ibanez basses come out to play instead of my Yammys a) because they are also great basses b) because it's nice to have a tonal change from time to time and c) because they are lighter! And I really don't like lugging about heavy cabs! Aside: have you seen the lightweight Sandberg thread?

Your English is a LOT LOT better than my German (or Spanish, or French or Dutch, or Mandarin or...) So definitely no need to apologise on that account. But you definitely do need to do some weight training...if you think a 1024x is heavy, wait till you try a Nathan East BBNE2! 😁

At least when you fall off the wagon, you're gonna do it in some style! 😁

I'm not sure I would, I suspect my band-mates would almost certainly ask me not to bother turning up to any more gigs. Particularly if he starts getting the beers in at the end of the set.

Try playing an innovative bass line (contrast the Beatles with the standard four chord rock n roll numbers that preceded) AND singing lead and harmony vocals at the same time. And then writing that material yourself. And in the process coming up with some immortal songs and the occasional all time best album! Okay I really wish he would hang his boots up now on the writing front 'cos his recent material has, how shall I put it, not been memorable! But being truthful, I'd be happy to be able to do any one of the things I've listed above 1/500th as well as he did.

I've had a very similar idea with a (used) 735A in terms of getting it finished in a new colour. Whereabouts are you based and have you got someone in mind to refinish it? Be good to share notes on who is able to do a good job with repainting at a reasonable cost. If you can pick up your 734a used then a) you can spend some time with it and see if you like it before getting it refinished. And if you don't like it you should be able move it on without too much financial hit, and b) if you do like it then you can get the bass and refinish all in for the cost of a new one! At least that's my plan with a 735A