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Everything posted by Passinwind

  1. [quote name='Opticaleye' timestamp='1440590544' post='2852177'] The initial stickiness wears off ( I gave my second set a helping hand with a non stick scourer and methylated spirit before stringing) and the tone has all the character of a good flat with some roundwound punch and brightness without string noise.[/quote] I'm guessing that stickiness is what LDTF experienced, I have seen quite a few other references to it. The strings I just received don't have that, so hopefully EB will be able to achieve that in all gauges going forward. I am not one to be impressed all that easily, but I actually said "wow" when I hit the first pluck on the first string I installed.
  2. [quote name='LayDownThaFunk' timestamp='1440542980' post='2851866'] That's interesting because when I tried the EB flats they felt rougher than the Silencers. Those Silencers had been on a year though, so. [/quote] The light gauge set that I have has only been out for a month or two AFAIK. There have been a few heavier sets of the Cobalt Flats out for a while longer, and the early pics looked pretty rough compared to the current spec. The Silencers on my other bass are at least 2-3 years old IIRC. The Cobalts I have are slightly stickier and coarser in texture than Jazz Flats, but only slightly. Given all the breakage and dead string reports, maybe you just tried a bummer set, or I just got an extra nice one. [b]Edit for pics just taken:[/b] SIT Silencers: Ernie Ball Extra Slinky Flats:
  3. [quote name='LayDownThaFunk' timestamp='1440525979' post='2851616'] SIT Silencers are already pretty smooth![/quote] Indeed, and I like them a whole lot. They actually seem fairly sticky compared to the EBs though, although I have very different gauges between the two -- I'm using the 40-95 set for the cobalts since that is closest to the T-Is that the bass was built for. Last night I got to play sets in a few different styles and found that copping the sound of T-Is that I have used forever on this bass was no problem at all. When I started digging in more or otherwise playing more aggressively the effort was generally rewarded rather than punished though, which I am quite happy about. These string are keepers for me as long as they hold up reasonably well, I think.
  4. I just put a set of the Cobalt Flats on my Crescent Moon fretless today. So far they kind of remind me of SIT Silencers sound wise, but with a much smoother feel. I'm off to a gig right now, will check back in after I see how that goes. I've had T-I Jazz flats on this bass for nearly all of the last 12 years and just wanted to take a flyer on a serious change. The EB's are that, for sure -- I can actually really hear the Q-Tuners in there for the first time.
  5. [quote name='Chienmortbb' timestamp='1438988231' post='2839316'] As I was tightening the slotted screws that held the stripboard and pot, the screwdriver slipped and gouged the back panel. I did a test spot of brush applied varnish and it seemed to work well but over a larger it looked terrible. So I disassembled the panel, rubbed it down then applied the last of the spray lacquer I had. Not great but just about passes muster. [/quote] Your back panel looks a lot more finished than any of mine ever have! Hope you get to actually playing bass through this soon.
  6. [quote name='TrevorR' timestamp='1439211614' post='2840852'] So what is it that, for no real good reason, puts you off a whole raft of bass designs? [/quote] Frets, of any persuasion. Plastic pickguards. Bolt-on necks.
  7. [quote name='Rich' timestamp='1438777056' post='2837113'] I like to hear [i]melodic[/i] solos. [/quote] Same here -- own the melody, own the tune. The breakdown thing doesn't do much for me, but it definitely works pretty well in dance music contexts and a lot of bassists and drummers seem more comfortable with it. I'm definitely not keen on hearing reluctant solos in any case.
  8. Passinwind

    DIY Effects

    [quote name='DolganoFF' timestamp='1438700711' post='2836515'] Beauty! Made by Oshpark, right? I have my fair share of the "purple pcbs" too [/quote] Sweet, what do they do? OSHpark is local to me and I have used them for quite a few boards over the last few years. For quickie prototypes their business model works really well for me. Here's my version of the ubiquitous Stingray 2-band clone preamp: I think maybe one resistor value is original, pretty much everything else is gently modded in one way or another.
  9. Passinwind

    DIY Effects

    [quote name='Badass' timestamp='1438669484' post='2836183'] Nice info there, [b]Passinwind[/b], thanks for that I will be sure to check this out. [/quote] John Broskie's website is Tubecad.com BTW. His board kits are absolutely first rate. On another tangent, here's my first non-clone DIY onboard preamp: Format is B-M-T with separated passive treble stack, switchable mid center options currently set at 720-1600-2400Hz. Current draw <1mA, polypro film caps used wherever feasible. Once I get the prototypes ironed out I intend to shrink it substantially with surface mount ICs and resistors. The design is based on my DIY amps and preamps done over the last couple of years, but I haven't done too many battery powered DIY designs before and have lots to learn about optimizing for low power parts. Keeping it simple isn't really my forte, love the challenge.
  10. Passinwind

    DIY Effects

    [quote name='Badass' timestamp='1433433948' post='2791068'] Has anyone made a passive / active D.I.Y. D.I. box? Or a valve D.I. maybe? [/quote] All of the above. Passive: just used one of the schematics on the Jensen Transformers website. Voila, Radial JDI clone. Active: threw a Creation Labs Redeemer buffer in a Bud box with a Jensen line transformer, compared well head to head with a J48, Countryman, etc. Tube: this started out as a DI project but somehow eventually morphed into a full blown bass preamp: [url="http://www.talkbass.com/threads/a-diy-tube-preamp-line-driver-by-passinwind.345415/#post-4388452"]http://www.talkbass.com/threads/a-diy-tube-preamp-line-driver-by-passinwind.345415/#post-4388452[/url] You could easily adapt one of John Broskie's smaller format kits into a really nice tube DI.
  11. [quote name='Painy' timestamp='1438639398' post='2836099'] Just pondering recently if such a thing was available anywhere and wondered if anyone on here had ever seen or heard of one they could point me towards? [/quote] Craig Anderton published his design for one many many years ago, in [i]Electronic Projects For Musicians, [/i]which is still in print. I intend to take a stab at my own take on one pretty soon as well.
  12. [quote name='Wolverinebass' timestamp='1438286729' post='2833336'] These days the fashion is to have a more DI authentic type response from one's cabs. So that the DI you take from your amp (I'm assuming a post EQ DI here) will be the same as comes out one's cab. My question is, does anyone actually make a cab or range of cabs which do this? If so, whom? Barefaced? Bergantino? Mesa Boogie? TKS? (just to name a few of the higher end brands) I'm discounting Markbass as their cabs have all sorts of weird notches and peaks in them and obviously Ampeg and Ashdwon as theirs are massively coloured. Okay if you like that sort of thing, but rather unfortunate if you don't. Do any manufacturers actually have anything that can deliver this boast or is it all just marketing pants and you should just use your own ears to determine if the "colour" on offer is the one you want? I'm curious to gauge people's opinions on this and if this claim whether justified or not plays any part in what cabs people buy for themselves. This is of course on the assumption that you could afford anything and didn't have to buy a 10 year old Ashdown Mag 4x10 for £50 off Ebay. [/quote] I like cabs and amps with minimal baked in voicing, but I also believe that everyone should use their ears and do what makes themselves and the paying customers happy. As a long time sound provider I would tell you that your onstage rig is never going to accurately portray what happens at FOH in a dance club over the course of a night around here, but in a jazz setting there is an excellent chance it will. So as usual, it just depends.
  13. [quote name='alexclaber' timestamp='1437575024' post='2827200'] Class D amps are not digital: [url="http://www.hypex.nl/docs/papers/AES120_353BP.pdf"]http://www.hypex.nl/...ES120_353BP.pdf[/url] [/quote] They also do not have to use an SMPS and plenty do not. There is also a pretty nice technical discussion [url="http://www.talkbass.com/threads/class-d-illustrated-lots-of-pics.1083366/"]here[/url] that may clear a few things up, or not. ;^}
  14. [quote name='JapanAxe' timestamp='1437338932' post='2825202'] The Behringer Ultra-G will take a speaker-level signal (jacks only) and send a balanced output, with or without 4x12 sim. There are two 20dB pad switches to bring the line level down to undistorted levels. [b]WARNING[/b]: Beware of doing this on a class D amp, as I think I am right in saying that this would cause a short to earth in the power section. Cue magic smoke. Likewise amps operating in bridged mode. I welcome better-informed comment on this! [/quote] Andy Field from Genz has mentioned those exact issues. Old Fenders just used a simple resistive tap to ground right off the transformer secondary lead for their line out jack, which works just fine for DI duty IME. Many non-Fender tube amps do use a grounded output config as well. And any amp will have some back EMF downstream of the power section, and the DI will potentially sound at least a different because of that -- not necessarily in a good way though. Harvesting that energy is part of the black art of Class D MI amp design, actually.
  15. [quote name='MoJo' timestamp='1437245646' post='2824674'] It's one of those statements I've heard more than once, 'class D amps can be loud but they don't carry. You can't hear them at the back of the room'. Is this another urban myth. Volts are volts, right? [/quote] http://basschat.co.uk/topic/266141-wee-article-to-help-demystify-amps/
  16. [quote name='AttitudeCastle' timestamp='1437238271' post='2824628'] Where do those who have them place them in the chain? I was thinking perhaps one at the very end of the chain to clear up clutter going into the speakers, but also one before my compressor, so the compress can squash less as there is less peaking down low. [/quote] It's one of those "just depends" deals. In my own designs I put it just after the EFX return, so I can use it with other preamps patched into the return and it also doesn't affect the EFX send. I know other guys who prefer one in front of the whole amp, somewhere in their floor pedal chain, or just in front of their power amp. Glad my little graphs were instructive. I do a lot of that sort of modeling and it's very easy for me to put something like that together. The Thumpinator's curve is likely to be a little different, the one I posted is just from [url="http://www.talkbass.com/threads/a-diy-500-watt-bass-head.1061473/#post-15624273"]one of a few different ones I've designed and built[/url], and at one particular setting that I actually use a lot..
  17. [quote name='Chienmortbb' timestamp='1437117598' post='2823644'] Sure to some the idea of the sound or response changing if the cabinet is rotated is ridiculous but allegedly many silly things change the sound of a cabinet. To me it appears that there will be very little change but if the driver is closer to the floor then there will be a change, albeit quite small. The question is clearly prompted by the idea that tall is better than wide for bass drivers, when used in multiples. On a final note, having read many forums/ threads on speakers, there are more daft answers than daft questions. [/quote] It's really worth getting Vance Dickason's book and reading up on baffle step, he provides polar graphs that are pretty helpful. This bit of free software may provide some food for thought as well: [url="http://www.tolvan.com/edge/help.htm"]http://www.tolvan.com/edge/help.htm[/url] . You need more complicated software to get the polar models, which are what you really want though. The reality is a whole lot more complicated than what The Edge shows you. Boxsim is free and goes a good bit deeper, and if you're really masochistic Akabak goes further still. Note that all of this is independent of multiple drivers and their mutual coupling issues. And in the case of the cab in question I would expect the difference to be pretty minimal.
  18. [quote name='stevie' timestamp='1436972126' post='2822470'] The interesting thing about this Beyma driver is that it offers the best of both worlds. It goes as low as the Kappalite LF (in this cabinet) with comparable excursion capability, but its response is well behaved up into the midrange and HF. Despite the fact that it has a much longer coil than the Kappalite HO, its response actually extends higher. I've scoured the spec sheets for a comparable chassis from other manufacturers and I can't find one, even at a higher price. The downside is that its thermal power handling is lower and it's 1.5kg heavier, but that's not much of a price to pay for the huge difference in price - at least on this side of the pond. [/quote] One of the biggest driver suppliers for DIY'ers in the US is already a Beyma dealer and they are typically quite responsive to requests for stocking things they don't currently carry. Assuming this design gains traction, I'm pretty sure they would take a good look at doing so in this case. How that pans out for pricing remains to be seen though, I might ask them just for the heck of it. The SM112 is listed at $170 on that site at the moment. For myself, I can probably get Eminence drivers at wholesale, but I'm already pretty well set with my current 112 cab in any case. I'm always happy to see more well thought out DIY designs floating around though.
  19. [quote name='Phil Starr' timestamp='1436947628' post='2822190'] They are quoted at £202 which is about $300US over here the Beyma is around £80 at the moment, a big saving. If we could have the Eminence at around £100 I think we'd have gone for that, the mid rise it shows would have given a more 'commercial cab' sound but with better bass handling than a lot of commercial cabs. [/quote] I imagine I'd like the 3012HO a lot in the right implementation. I've played through a couple of different cabs with OEM Eminence drivers that split the difference between the HO and LF models and they are both really nice. My Thunderchild cab is one of those, the Baer ML112 the other. Roger Baer's OEM driver is the closer one to the HO.
  20. [quote name='Phil Starr' timestamp='1436914138' post='2822101'] This design might work quite well with the Eminence 3012HO which is prohibitively expensive over here but which might be cheaper in the states. We did have plans to try one at one point. [/quote] Listed price online is ~$190 USD at the moment, so maybe $150 or so from the right dealer.
  21. [quote name='AttitudeCastle' timestamp='1433456766' post='2791331'] I'm really curious about these, as I really notice on EQ's with 20-30Hz controls when they are wound down, but they aren't designed to do exactly what the thumpinator does. [/quote] Not in the least. Here's a comparison of cutting about 8db at 20 hz with a fairly typical amp's tone control and using a high order HPF set at 32Hz:
  22. [quote name='stevie' timestamp='1436892396' post='2821809'] It's my own design - which means it's not necessarily helpful for comparison purposes. It's also a work in progress. The main component is a BMS 15N620 in 4 ohms (I believe Passinwind has a cab with something similar) It's all good, clean fun, but I hate doing the woodwork...... Phil has said he might build me a cab for this design in poplar ply - which could be interesting. [/quote] My cabs use the BMS15N630, they are 8 ohm drivers. I have used a lot of BMS compression drivers in various builds too, they are especially nice. When I started building cabs with dedicated mid drivers Audax came up a lot and I would still like to try them. I settled on readily available B&C 6MD38s as used in some EAW PA cabs, and still have a pair of those in my PA tops. I also don't really enjoy woodworking all that much. I have a luthier friend who has lots of cab building experience, and a well equipped shop quite near me that I could use for free, or maybe a six pack. I am stubborn and have always just built outdoors with rudimentary hand tools -- not so smart. The Beyma S212 is not readily available in the US through any of my usual channels, FWIW. If I were building this design I wouldn't let that stop me though, there's always a way.
  23. [quote name='Chienmortbb' timestamp='1436883217' post='2821675'] You spotted the deliberate mistake.Actually I cannot find that value at the moment so I am going through my stash to find it. [/quote] That particular value was used because I have a stash of ultra low noise resistors found on eBay that happened to be 18.7K ohms. I bought 100, at something less than 5 cents apiece. There are many great deals out there on oddball values that get surplussed when a production run ends. I would leave that one in there and stick with the gain staging arrangement as-is in that spot. A pot would vary output impedance along with gain, which may or may not actually matter to you, probably more so if using an output transformer. On my newer build I didn't bother with an HPF bypass. I used that position for an active/passive switch instead, making the front end impedance switchable from 18.7K to 330K. Doing it that way keeps the 330K resistor out of the circuit when not in use, cutting thermal noise a little. Little things add up though, and it could be that the switch wiring will be noisier than that resistor. This is stuff that's pretty specific to your build though. The effects I use are mostly time domain ones, which a parallel config usually works a little better for IME. I also like to use the EFX return as a mixer, adding another bass preamp or even a vocal feed for quick and easy monitoring at rehearsals. Could be handy for piping in canned music as well. The way I have set the board up allows both series and parallel operation if you want maximum flexibility. Series loop normalling jacks are a notorious failure point though, FWIW.
  24. [quote name='Chienmortbb' timestamp='1436874748' post='2821527'] Ironically the omissions make for a more satisfying build. I am studying the circuit diagram/schematic more closely than I would if documentation were 100% and learning more as I go. The Pre amp board is now complete apart from the wiring. Some of the components are now mounted off board as the preamp was designed before the HPF/PEQ circuit and taking components off board allows us to configure the circuits to the best arrangement. Below is the picture of the completed board. It still needs to be wired but I will leave that until the front panel is complete. As you can imagine I am taking more time and care over the front panel as it will be on show more than the back panel. [/quote] Nice job. Are you using a pot for setting final stage gain where R24 would go? And I also agonize a lot more about front panels than the back ones.
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