escholl

I would probably leave it alone to be honest, unless the preamp valve has failed. What sort of sound are you looking for?

[quote name='ziggydolphinboy' post='1279178' date='Jun 22 2011, 10:46 PM']im used to the dual compressoer on the trace heads[/quote] if you can spare the money, [url="http://www.fealabs.com/products/DBOC-SMX-0001.html"]this[/url] compressor is supposed to be [url="http://www.ovnilab.com/reviews/feadualtwo.shtml"]very good[/url]. It's modeled off of the same sort of trace dual compressor you're used to, different circuit design but similar results. has some useful features too, not seen on other comps.

[quote name='BasH' post='1273117' date='Jun 17 2011, 08:01 PM']Apparently this can already happen at room temperature. As long as the change in temperature is big enough (so these metallurgy lessons weren't in vain at University).[/quote] Whilst the strength of magnetic flux varies with temperature, permanent changes only occur when the magnet itself surpasses its Curie temperature, which even for Neodymium (which has the lowest Curie temp of all common magnet structures) is still around 300-350 degrees C. Other magnet structures are higher, generally between about 600-800 degrees C. I believe this is what Protium was referring to. In extended use, loudspeaker drivers (and their associated magnets) will often be heated to temperatures much higher than even the hottest car would ever get. If a GPS, phone, ipod, stereo, laptop or whatever else might be left in a car can survive, I'm sure a bass cab will be fine. Provided it doesn't get nicked, mind.

[quote name='DanOwens' post='1279432' date='Jun 23 2011, 10:23 AM']Just need some custom cabling with 20-pin connectors on each end. And a robot to set it up. And bionic arms to carry everything.[/quote] [url="http://www.audiopile.net/products/Patch_snakes/EDAC_Patch_Snakes/EDAC_CLOSEUP_400w.jpg"]multi-pin EDAC connector should do the trick[/url]. instantly makes your gear look way cooler too haha.

[quote name='4 Strings' post='1280098' date='Jun 23 2011, 08:21 PM']So if I stand one vertically I get a more even horizontal dispersion. What if I stack the other next to it, does it all go to pot?[/quote] er, well, sort of -- but it will only make a difference in the mid and high frequencies. to be fair, you might not notice a massive difference really. stacking cabs can help reduce 'boominess' but it depends what it's being caused by. i'm guessing you've tried EQ, have you tried anything like [url="http://www.auralex.com/sound_isolation_gramma/sound_isolation_gramma.asp"]this[/url]? some members on here have found that to be the answer, particularly in regards to hollow wooden floors or stages, which tend to resonate sympathetically with the low frequencies.

Aligning the cabs vertically will give you a more even horizontal dispersion pattern in the mid and high frequencies. It's a little more complex than that but that is the easiest way to sum it up. It won't affect the low-frequency dispersion pattern, although the act of stacking them vertically will move some of the drivers further from the floor, which may help make the response slightly less bassy. Also, as at least one driver will likely be head-height if the cabs are stacked vertically, it may sound a lot clearer to you.

[quote name='ras52' post='1277274' date='Jun 21 2011, 04:31 PM']Hands up, it happened to me. I started playing - without checking my tuning - at 4.30 this morning, and the neighbours started banging on the wall. So it's not just bass players who notice these things.[/quote] your first mistake was clearly not enough volume. would have drowned out the banging.

I feel bad for her, I've had gigs where it all goes t*ts up -- usually for some stupid, avoidable reason -- but either you don't know till after or there's nothing you can do about it so you just have to go on like nothings wrong and hope people don't notice. I think this is what she tried to do, she strikes me as being rather professional but then I suppose I don't know her, so it's only speculation. Also, sometimes it's a lot tougher to hear yourself on those big stages than some people here seem to think. For me, after something like that, you just want to hide behind your amp and cry. Luckily I have a big rig so I can get away with this.

[quote name='Nostromo' post='1276584' date='Jun 21 2011, 01:03 AM']One of my best bass mates just sent me a text saying . . . . sell the D140's . . . .[/quote] Nooo don't sell them! Don't worry about computer design or any of that other stuff. If you want a cab that sounds like that era, build a copy of one from that era. No need to over-complicate it. Knowing you built it yourself is about 10000x more satisfying and rewarding, too The links that Mr. Foxen gave you should get you the information that you need, those Sunn cabs are really great, even though admittedly their design is utterly nonsensical in some ways, who cares lol -- good luck and be sure to post the results in the build diary section!

[quote name='pantherairsoft' post='1276178' date='Jun 20 2011, 06:27 PM']specifically with the use of an active bass[/quote] there is no advantage at all to using this device with an active bass (or full stop, really... ), if he tells you otherwise he's just being a very good salesman unfortunately, the alterations you hear to your bass's tone are due to the number of gain stages they are being passed though with your pedals in bypass. the only option really, is either a simple bypass-loop, or a really fancy bypass-loop (such as those made by Gigrig, or something like the TC G-system, etc). alternatively, i believe there are ways to convert some of them (such as the moogs) to true bypass.

[quote name='cheddatom' post='1275954' date='Jun 20 2011, 02:58 PM']It just seems a bit nuts[/quote] lol, pretty much. all of the the processing between the guitar and amp may be lumped into one transfer function (mathematical way of expressing the changes to magnitude and phase response) -- this transfer function will never be perfectly flat in magnitude and phase, even for the best pre-amps, and is far from it in the worst. This little box adds its own transfer function on top of this, only complicating things further. Adding to this, good amps tend to have in input impedance of at least 1 Mohm, whilst many (especially cheaper, or older) effects units may have 250k, 100k, or lower. This lowered input impedance combines with the complex impedance of the pickup coils to affect the high frequency response -- which is why many guitars sound better straight into the amp than through effects. The problem is not the loss of some magical interaction between guitar and amp -- the problem is the magnitude and phase distortion of the signal which occurs between the guitar and amp, something which ironically this little box only serves to make worse.

47nF is a usual value for bass guitar. The others are generally more for guitar, but the larger cap you put in the more you can roll off the tone control. I've a 100nF in mine (also common for bass guitar) and thus can get everything from really bright to really, really mellow. of the three in the kit, I would go for the 47nF (0.047) as that will give you the greatest range. it won't have much effect when the tone control is set all the way up, so you'll get roughly the same bright tones regardless of what you go for. edit: I wasn't completely accurate due to writing too quickly. SD's post below is correct.

[quote name='cheddatom' post='1275543' date='Jun 20 2011, 08:37 AM']What's it actually do? Just adjust impedence?[/quote] i think it tries to show the amplifier a more reactive impedance load than a conventional output stage would have, via additional capacitive and inductive elements. i've no doubt the additional filtering serves to colour the sound somewhat, but i'm also fairly certain it doesn't work quite how they seem to think it works -- in fact, input stages in general don't quite work in the way the designers there seem to think they work.

[quote name='Nostromo' post='1270695' date='Jun 15 2011, 09:14 PM']So, I know they say the market speaks . . . . . but . . . . . are they really worth that much second hand ? . . . . does anyone know what they cost new before they became unavailable ? . . .[/quote] I think I paid around £70-ish for mine about three years ago, which was a brand-new black pre-grooved one. However, I did order it from the US. I really love it but I wouldn't say it was magic -- in fact if I could do it again, I'd get something similar but with a quick-load design (makes string changes easier).

I'd be interested in this as well, if anyone has it.

[quote name='keeponehandloose' post='1273679' date='Jun 18 2011, 12:38 PM']2 new Groove Tubes seems to have solved the problem. I know nothing about electronics,so excuse my stupidity,but if something has gone "open circuit" is that cause for concern?? ie could it happen again at any time .[/quote] It just means the heater element has burnt out and cut the connection electrically, which is what might have happened given that replacing them both fixed it. No cause for concern, no permanent damage, and my guess would be one of the original valves you took out is probably still good. Could technically happen at any time but is very rare, usually the valves themselves stop working before the heater elements -- I wouldn't expect it to happen again unless there is some underlying fault with the amp.

[quote name='MoonBassAlpha' post='1273669' date='Jun 18 2011, 12:33 PM']Ampeg haven't "been away" and got revived, their USP is "classic Ampeg sound" When HH arrived they did have something that set them apart from contemorary offerings - EL backlit panels (which I still think are cool) and extruded ally panels and rack handles. I don't see much in that current range that sets them apart, that's all, I guess that's what I was expecting.[/quote] Right, but Ampeg haven't really changed much, and their selling point isn't how 'innovative' they are. That was my only point. I thought the new stuff looked pretty good really, they are probably playing it a bit safe just to see how the market is. Though to be honest, 30 years has gone by (or near enough) and I'm not sure what they could do now that someone else (like TC) hasn't already done -- but if they'd be willing to give me a job I'd be more than willing to give them some ideas. Most products look rugged, well constructed and well designed, still plenty of lights on the front and a few unique things like kevlar reinforced drivers, bi-amped PA cabs, etc. In my view, I think on paper and in pictures they've got a definite leg up on a fair number of competing manufacturers. Hopefully they'll sound as good and be as bombproof as the old stuff, no way of knowing till they come out.

[quote name='MoonBassAlpha' post='1273586' date='Jun 18 2011, 11:18 AM']The backline stuff doesn't look that special to me - similar technology to what they used in the 70's, not that it's necessarily a bad thing, but things have moved on a bit since then, you'd have thought? I don't see any innovation, what is the USP?[/quote] You could make the same point about Ampeg. What are you expecting?

The two 6.3 volt heater elements might be in series across 12-ish volts, so if the heating element in one went open circuit it would take both of them out. Should be easy enough to test by just sticking two new ones in there. Could always try just wiggling them a bit too, to see if it's just a bad connection?

[quote name='DanOwens' post='1273231' date='Jun 17 2011, 09:30 PM']Escholl > Umph (Mammoth Audio) custom built me a box with 5 mutable send/returns but there are an unbelievable amount of things to take into consideration using that many buffers/volume controls/sends/returns. In the end it costed him a lot more than I paid and we just gave up. I'd be interested to see your solution.[/quote] Really? I found it pretty straightforward actually, basically a four channel line mixer. Send/Return Levels, and a footswitch engage for each channel. Only tricky bit was the phase adjustment, but a bit of research sorted that out. Mind you, my design is a little more complicated than just a mixer, as it also includes a preamp, a DI, and several other things. What sort of issues did you encounter? I've also got a (much simpler) send/return box, which either sends full range to both or filters the high to the send/return, and low to the straight signal.

[quote name='Mr. Foxen' post='1272782' date='Jun 17 2011, 02:22 PM']These things haven't been powered up for 20+ years, should be good to go. Replacing all the electros an other criticals before I even try turning it on. Been suggestions I switch out the diodes, sound like a goer, they are cheap, and apparently new ones won't need the snubber caps.[/quote] lol, diode technology hasn't changed much, I don't think -- can't imagine what changing them would do for you? You don't *need* snubbing caps, really -- however, they do help mitigate one aspect of the diode's switching behaviour. I would probably leave them in, but you might find they don't make much difference at all.

A really good way to play around with this is to set up a channel in your choice of DAW, and then run a few sends out to other channels/busses with different effects on each. Parallel signal processing is amazing. I've been developing a hardware solution to this, letting me split my signal up to four ways. In addition to summing, it also has phase controls, allowing me to change the phase of each returned signal till I get the best sound. Won't be done for at least another year I'd imagine, but will be sure to post the results when I'm done...err, eventually.

Haha, two revived threads in the last few days -- good to see some HH love. Laney has actually brought the brand back, more info in my post [url="http://basschat.co.uk/index.php?s=&showtopic=130635&view=findpost&p=1272223"]here[/url].

[quote name='PURPOLARIS' post='1272861' date='Jun 17 2011, 03:45 PM'][url="http://www.youtube.com/watch?feature=player_detailpage&v=QMWUYMWlEyo"]Does this qualify[/url] [/quote] lololol is it bad i guessed what that would be before i even clicked the link ^_^

[quote name='Mylkinut' post='1272217' date='Jun 16 2011, 11:03 PM']In 2004 my band supported Die So Fluid in Southampton and, before the show, my guitarist and I walked in on Grog whilst she was getting changed backstage. Bass boobies![/quote] haha, lucky b*stard funnily enough though, what I'm most envious of is just that you got to support DSF!