Bill Fitzmaurice

I've seen it done, with stupidly high priced 'audiophile' cables aimed at the way too much money/way too little intelligence market. I doubt there are many marketed at musicians, but there are likely some.

Any manufacturer who sells a shielded speaker cable is confused. Shielding gives high capacitance, which can cause amplifier instability. High capacitance is less of an issue with instrument cables and interconnects, with the exception of passives, where high capacitance dulls the highs. You still need a shielded cable, but you should search out one with lower capacitance.

All speaker cables are unshielded, or at any rate they should be.

If it's a crossover there would be low pass and high pass outputs. If there are only two wires it's not a crossover, it's a high pass filter.

That shelving will have almost no effect on the response of the cab, it mainly serves as bracing. It's not original either. Ampeg started doing that in 1969, and they weren't the first.

You can get a similar effect putting this on the inside of the grille: https://www.amazon.co.uk/15x24x3-16-A-C-Filter/dp/B000BO68BU/ref=sr_1_fkmr0_4?ie=UTF8&qid=1525286995&sr=8-4-fkmr0&keywords=air+conditioner+foam+filter+material Spray the inside of the grille with spray adhesive, then apply the foam.

You answered your own question. http://www.linkwitzlab.com/rooms.htm Sealed can seem better in room corners because they start off with less low frequency output. Ported can sound exactly the same with appropriate EQ compensation for the effect of the room. There's more than one type of compression. There's physical pressure on the cone from the air mass in the cab. Ported has higher air pressure sourced compression, caused by the Helmholtz effect of the port. That reduces the movement of the cone near the tuning frequency. It also reduces the sound output from the cone near the tuning frequency, but that's recouped by the sound output from the port. That's seen on SPL charts that show independently the cone and port outputs. Another type of compression is the result of the driver reaching xmax in the lows, but not in the higher frequencies. Once xmax is reached in the lows additional power does not give additional low output, but it does give more mids and highs. This compresses the dynamic range of the lows, but not the mids and highs. That's why tone can change quite a bit depending how loud you're playing. Sealed cabs are more subject to this, since they reach xmax at lower levels than ported.

Contrary to popular belief sealed cabs do not have higher 'compression' than ported. The reverse is the case. Reducing port area doesn't increase compression, it only lowers the tuning frequency of the cab. There is no characteristic sealed sound, there is no characteristic ported sound. In blind listening tests with cabs EQ'd for the same response one cannot tell if a cab is sealed or ported. Side by side with the same amp and settings they won't sound the same, but that's only because they have not been EQ'd for the same response.

Short memory? Read the thread again, that was answered in detail.

That's not really all that bad. I bought a Jazz Bass new for $300 in 1965. Figuring in the rate of inflation that would be $2300 today.

You can obey your wife or you can obey the laws of physics. In this case it's very much an either or situation. Do you know what they call blokes who can use a small combo? Guitar players.

I used a 2x15 in the 80s, now I use a 1x12 that I like better, especially when I have to move it. But I won't compromise my sound for convenience. I have not.

That would be the Grand Tetons.

I don't know offhand what they use for drivers, but from what little actual factual data there is on their website I don't see them as anything special one way or another. To paraphrase George Augsperger (look him up), there are hundreds of ported bass cabs out there, this is one of them. I do know that there are cab manufacturers who's engineering expertise extends no further than using the likes of this to determine their cab dimensions: www.eminence.com/pdf/Basslite_S2012_cab.pdf I agree that the Markbass are ugly as sin, but that's intentional. Like Hartke before them they wanted a unique look that no would mistake for anything else when they saw them on stage or on the tube. In that they're quite successful.

Not a bad profit margin for a cab loaded with a pair of these, and Aguilar pays a lot less for them than Blue Aran does: https://www.bluearan.co.uk/index.php?id=EMIEDP12450A

They're aware. Aguilar is a small company, with a business model of selling small numbers of high priced goods rather than larger numbers of lower priced goods. They price their gear with the intent of attracting those who perceive high prices to equate with high quality, and there's no shortage of those. This cab won't work any better than one of the dozen or more other cabs using the same 2512 driver that sell for as little as half what the Aggie does, but so long as Aggie customers are willing to pay their prices they'll keep charging those prices. Can't say I blame them.

It has an Eminence Deltalite II 2512 driver (120 quid at Blue Aran), which is what most makers use in their price point neo loaded cabs, so yes, the price is insane, even in the US, where the street price is $799.

I put a couple of inch high rubber feet on the top of my cab near the rear edge, which my amp rests against.

The AC121 looks to be around 2 cu ft net volume, which isn't bad for a 112. Far too many 1x12 combos try to get away with 1.5 cu ft or less, and when you do that the low end response will suffer, while the midbass will tend to boom.

Combos are an exercise in compromise, and the first thing they compromise on is the size of the speaker enclosure. Playing guitar you can get away with that. Playing bass you can't, Hoffman's Iron Law rules it out.

It depends on where it's orange. The heater in the core is OK to be orange. The black jacket around the core shouldn't be orange, that indicates it's lost its vacuum seal. It's nearly impossible to test tubes. It used to be every corner drugstore had a tube tester and sold tubes, but they're long gone now.

Speakers should always be placed with the drivers vertically aligned. Placed horizontal the dispersion angle in the mids is halved compared to vertical, while comb filtering will be present in the highs. On stage in front of the cab you probably won't notice the difference. Out front it will be. If your rig is considerably below ear level it should be lifted and/or tilted back so that you can hear the mids and highs.

I see that view expressed often, but never by audio engineers. You know, the people who invented music reproduction. What is important to music reproduction is well known and has been for quite some time. What we can measure exceeds what we're able to hear by at least two magnitudes of order. It's not our knowledge that's limited, it's the dissemination of that knowledge to the masses. For outfits like Wilson that's a good thing, otherwise they'd never sell a single piece.

Those Wilsons don't sound any better than many speakers at 5% of that price, if not less. They're not marketed to people who know what good sound is, they're marketed to people who equate quality with price and don't know that the one doesn't necessarily give you the other.

Yes, the Donald Trump signature model, expressly designed for those with far more money than brains.