musgit

Thanks! I've made a few cabs now, all with natural ply finish. In the photos you can see our new, ply kitchen ( minus drawer fronts) which i made using techniques learned almost entirely from making bass cabs. The port had to be downfiring to fit it in , the original calculated length anyway. I measured the port resonance with it lying down, port up against the wall , otherwise the salt didn't stay! I did think that a bottom port could be a way to get more, deep, bass and it does sound that way. it's a bit 'bloomy' though and sounds more balanced on it's side, which has little feet too. Next up, now that I have a light cab, is finding a mid to go with the SM212 so I don't have stand 10 feet away from it. Any ideas on how to choose one? Is it mainly matching sensitivities near the cross over? It looks like a can of worms.

It's been a while, but I have been busy. I did build the titchy 1 x 10" with the Beyma SM110 . Photographic evidence included! I've also put a photo of my sealed SM212 cab up for size comparison. It ended up being 17 Litres with a port - not sealed. I took Biil's advice, sort of, and thought about the advantage of porting a very small cab , like fdeck's one from talkbass. I used WinISD to model 100w signal and juggled things around so it would stay within cone excursion limit using the variable HPF on my Acoustic Image Amp .The calculated port length for 48 hz ( about 23cm) tuned it very low - and I ended up using 19cm ( 68mm downpipe ) port which tuned it at roughly 44hz ( using the salt- on -cone method). I haven't tried high passing it to use with the SM212 , 44l sealed cab but I have tried them together and it doesn't really work, either tonally or volume wise - as suspected. It sounds very clear and responds nicely to EQ. It's loud enough for acoustic duo/trio ( piano , sax, git) and usable for big band rehearsal, although does struggle for enough bass end with a loud drummer. It now makes my other cab sound muddy, especially when I'm next to it - so I'm thinking of rebuilding my sealed cab with a mid and crossover...........

Thanks Phil - the 100v ones should be fine I would think. Safety first! I'll give it a whirl and report back.

Phil and Bill, thanks for your responses. I already have a 44 litre sealed cab ( with the 12") which is really good for big band, more than enough oomph, great tone and nice playing response. I think I like a fairly skinny bass end. The 22 litre cab ( for the 10") is for putting in a rucksack and doing jazz duos and rehearsals, with acoustic instruments, where I don't need a car . I have also thought about a 22 litre ported cab, which has a sealed type roll - off but keeps cone excursion down and give a bit more at the bass end. I agree with both of you that the high pass filter bodge is going to sound really bass light - and having looked at capacitors it's not going to be that cheap to experiment, even with a first order filter. I can try to play both cabs together anyway, but ultimately, for a bigger sound for funk, I think I'll have to build another sealed 12"......

Hi Phil, thanks for you reply. In hindsight, buying another SM212 and putting in a smaller cab would have been more strategic, but I have had the SM110 sitting on the shelf for ages and I've modelled a tiny cab (21 litres or so) that I'm hoping should give me a similar response to my Sm212 ( in 44 litres ), albeit a lot quieter, for rehearsals and stuff. I'm hoping that I can use the 10" with the other two for maximum flexibilty. It'll probably be most useful with the PD156, which has oodles of bottom end but lacks a bit from mid-bass upwards. I've fiddled around in WinISD quite a lot with the cut off and phase differences, but I guess I was really concerned about whether using just a capacitor will introduce any problems for the amp. There's info on why it's not a good idea for low pass at bass frequencies but not the other way. Any thoughts?

Should read "filter" of course!

Hi, I have a bit of a technical question. The background I am going to build a small 1 x 10" cab for rehearsals etc using a Beyma sm110/N. This will be sealed. I also have a sealed 1 x 12" cab with the Beyma SM212, decided from the build in this forum, which I use for medium size gigs (Jazz, Big band) and a 1 x15" ( ported) with a Precision Devices PD156, which I use for outside gigs. I'm thinking that I could have the option of using the 1 x 10" with either of the bigger cabs for an easier going, nicely defined, two-cab sound, but I'll need to high pass the 1 x 10" at about 120Hz to keep the excursion within limits. I won't need the bass end of the cab, especially with the PD156). Will this work with a capacitor as a first order filter? Any thoughts would be welcome, Thanks

Hi and thanks for the welcome. I'm pretty sure that the Empress EQ has cured my tone safari, but you never know...... After a few years of persevering , my BFM cabs have been re-purposed. I made a Jack 112 with Deltalite and whatever I did I couldn't get it to sound any good. Tried it with the piezo array and without. Then I made one of the Simplexx ones, which was better, but by then I'd been rehearsing with an Ampeg 8 x 10 and figured sealed was the way to go and the Deltalite wasn't for me. Obviously my sealed 1 x 12 isn't as loud as the Ampeg, but it has a lot of the boingyness I was after and of course it's small.

Hello, I've been lurking for a while and thought it was time to join. I'm an electric bass player, based in Brighton, playing for many years, mainly jazz and that sort of thing. From my tone safari so far, I play a Yamaha BB300 with flats through an acoustic image and Empress EQ. I've made a couple of BFM cabs and also my new one, which a sealed one based on the Beyma SM 212. Lots of info nicked from here! It's all sounding good at the moment but I'm probably going to make some more sawdust soon making a little sealed 1 x 10 for rehearsals.