funkle

Lol. I'm going to suggest what I was using. Tecamp Puma 900 (500W into 8 ohms) is loud as hell into the F112. The voicing options on the head work well. The bass knob cuts at 30Hz so acts as a HPF for some rooms. 'Taste' knob radically changes the sound from crisp/clear to 'old school' middy/thumpy. The treble knob is set a touch high for my taste, but I only really tend to cut a bit there, so no biggie.

Sold one of my Greenboy F112s to James. He was patient and sensible; I would happily deal with again.

Pmjos nailed it really. I have owned both Amp one and Amp three at various points. Huge huge low end output from both. Stupendous. Too much for many scenarios, but intoxicating. Easy to EQ up or down, depending on need. Great EQ on both. Lots of connectivity. Very loud. Not 2x12 loud, but definitely loud. I ditched both because I could not hack it without a tweeter/horn for top end. Beautiful warm sound out of both otherwise. Punchy. Great little amps.

Brilliant idea. Nice work. I'm almost tempted for one.

[quote name='oldslapper' timestamp='1508319143' post='3391275'] Any bass where the top strap button is higher than the 12th fret. I love the sound and feel of Spectors for instance, but reaching for the 1st fret is an uncomfortable stretch, unless I have the neck pointing upwards. I tend not to care what a bass looks like, not that bothered what it sounds like, but it has to be comfortable to play. [/quote] Also this. Strap buttons at 12th fret and above...why do people do this...first fret reach is a million miles away. Impossible. I'm looking at YOU, Warwick Thumb Bass.....

[quote name='LewisK1975' timestamp='1508311210' post='3391186'] Seems to me that Basses 'speak' to me through their neck dimensions. Anything too small and it just feels wrong to me. It's not just about nut width either, the only Jazz bass I've retained is my 1975. Obviously it has the 1.5" nut, but having the U shape neck makes it feel substantial in the hand, so it works for me. I've also got wider nut Basses, which have deep necks (Yamaha Attitudes), and shallower necks (Fender RW Precision). Seems as long as the neck has enough wood, then I'm happy. [/quote] I agree. However, I think it comes down to neck stiffness, as opposed to bulk. I love graphite necks and the necks of my Celinders...plenty of substance there. The Celinders have graphite neck reinforcement.

reported this and multiple other posts as spam. bye bye

Remove the preamp and sell both separately. You will almost certainly get more; people don't consider mods to instruments as generally adding much value. Pete

The Puma 900 I run has probably the world's most useless bass boost knob - centred around 30 Hz. However, a smidge of cut makes the sound in many small rooms much better - a sort of ersatz HPF. Boosting there is not that useful IMO though EDIT: In fact, the more I think about it, it's probably quite a dangerous knob. A noob player looking to get more bass out of a cabinet not designed for it could easily put quite a lot of power through the woofer, if the maxed out that particular knob. Alex will know more about the power tolerances and voltages etc, but I imagine enough low end boost at high power could damage a woofer.

I'd agree. It's a useful tool, assuming, like most tools, you know what you're doing with it, and you understand your signal chain. Like Alex says, often there are HPF filters in there anyway.

[quote name='alexclaber' timestamp='1503657141' post='3359999'] I like high pass filters for taking out the pointlessly low stuff that just sucks amp power and wastes cone excursion - but if a cab is well designed then it shouldn't need highpassing to remove audible lows that are part of the sound of bass guitar. I suspect a lot of the popularity of highpass filters is because bassists going tiny with rigs often end up pushing the speakers beyond what they can handle, which messes with the tone. Remove the deepest lows and that lets the cabs work as intended. I think there's also a a technique issues - you are in control of the sounds coming out, if you don't want deep rumble then don't play like that! But that woolliness that can happen, I don't think that's always (or even often) because of the presence of the deepest lows but because making those deepest lows is forcing the woofers to over-excurse and thus their transient response is no longer half as good as it should be. There aren't many bass amps on the market that let the lowest lows through anyway, almost all have some degree of highpass filtering built in! [/quote] Sounds sensible to me. I have tested in my home studio about what frequencies I like in bass and, of course, done the same live. In the studio, turns out anything below 50Hz is basically non-essential for my listening pleasure (so low B fundamental and even low E fundamental aren't that important), so I high pass stuff in the studio at 50Hz for bass, as a rule. I really like bass sounds with a boost at 80 - 100Hz, especially Jazz type basses. Live, too much bass seems to swamp the mids/clarity (of course). The John East preamps need some care with the bass boost, as the higher you turn it, the lower the frequency of boost goes. Some rooms have resonances that can be a problem at anything up to 100Hz, and the Zoom pedal HPF is helpful in those situations. I don't like cutting signal at that frequency, but it has rarely been needed. Apart from that, the tone is mostly in your hands anyway

[quote name='alexclaber' timestamp='1503514143' post='3358886'] Hopefully months rather than years! But we haven't done this before and no corners will be cut so it could take a long time... [/quote] Good luck. Your cabs have been labours of love; I have no doubt of your ability to come up with an amp that matches the passion for the cabs.