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Phil Starr

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  1. Phil Starr

    Should all bass amps have a bass filter?

    So that's Berg and Genz. Any more we know about?
  2. Phil Starr

    Should all bass amps have a bass filter?

    These things go in cycles, people go crazy on something that is heavily advertised like 'servo amp', 'OFC cable' or 'damping factor' and then it all moves on. Genzlers idea of a 30Hz 24dB/octave filter is a great design feature. If they called it built in speaker protection we'd all want it. I'm sure it could be made a selling point if they so wanted. I suspect a few people reading this will already be thinking "oh the Magellan has a Thumpinator built in for free, I'll put that on the list". It may be that others are offering a similar 'free' feature but I didn't know about the Magellan and I don't know bout the others either. I'm not necessarily expecting that this will be a headline figure, just that it is freely available in their sales literature and the amp's manual. Clever people will check the others won't notice unless it becomes a selling point.
  3. Phil Starr

    Should all bass amps have a bass filter?

    Absolutely right, they'll all know what their amps do and it's useful information. Especially useful to anyone who pushed the envelope with fx , bass boost or who uses modern highly portable speakers.
  4. I'm going to start a bit of a hare running with the hope that with the power of Basschat we can get some improved practice from the amp manufacturers. I'm not knocking them and I certainly don't want a slanging match from anyone, I'm hoping that people who monitor these pages like @Ashdown Engineering and @MoJoKe who has Mark Bass connections will all join in. If anyone can alert any other manufacturers it would be good to hear their opinions too. Anyway the question is should all bass amps be built with an HPF that filters out subsonic bass, effectively like a Thumpinator but built in. Subsonic bass is only ever a bad thing, it damages speakers, sets off room resonances, get's picked up by every mic on stage and muddies the sound of your bass. In fact most bass amps (maybe all) just by their nature filter out bass below certain frequencies but most amp manufacturers don't tell you at what frequency or by how much. A switchable bass filter /HPF would be wonderful but just publishing some figures would help us all no end, it may be in most cases all we need is to see what the designers have provided for us. So come on manufacturers, tell us what you've got..... and how you can improve next years models
  5. Phil Starr

    Markbass power section question

    Just looked at the ads, they don't actually claim any more than that Marc designed his own circuits. Not something that is untrue but not a reason to buy or not buy a Markbass. I use an MB Tube, well designed and well made but so are many others. I've read in these pages that early MB's were A/B and later ones class D. Honestly it doesn't matter and any amp worth it's salt should give you a choice between clean or overdriven sound by just turning the input gain down and the master volume up. As ever try amps and speakers out before you buy them and if you like the sound better than the others you know which one to buy.
  6. Phil Starr

    Is volume killing smaller gigs?

    My sympathy, not least because I now have a little tinnitus too, playing next to the cymbals with inexperienced drummers, I put off ear protection for too long because I found it felt cut off from the rest of the band. Now I'm a little cut off from ordinary conversation in any noisy environment as well as the band. A case of don't do what I did
  7. Phil Starr

    Is volume killing smaller gigs?

    There is another possible explanation. Drummers more than anyone else tend to have hearing loss problems. Sound levels for drummers are frequently 3-6db higher than for the rest of the band and average out around the 103dB level. HSE don't have any recommended times for exposure at that level on their ready reckoner but 15mins exposure at that level will cause permanent hearing loss! Basically unless your drummer has worn ear defenders from the start then they will have damaged some of their inner ear and will struggle/fail to detect certain frequencies. As their hearing fails they will probably want everything turned up to compensate for their hearing loss. Might be worth gently suggesting to them that they get their hearing checked.
  8. Phil Starr

    Easy 12" cab build

    Here you go http://www.till.com/articles/PickupResponseDemo/
  9. Phil Starr

    Easy 12" cab build

    Yes, that is right, there's reference to that on one of our incredibly long 12" threads For anyone with a bass to hand it's easy to see, pluck the E string at the 12th fret and it will primarily vibrate around that point, touch your finger against the string just above the 12th fret and it will go on vibrating but will vibrate at it's lowest at the 12th fret. In fact if you leave it alone and watch you can see dead spots (called nodes) forming and breaking down along the length of the string. Easiest to see under a flickering light BTW. https://www.physicsclassroom.com/mmedia/waves/harm2.cfm The only way you'd get the full fundamental would be to pluck the string at the 12th fret and have the pickup directly under at that point. As any bassist will know when you pluck closer to the neck you get more bass (from the fundamental) and closer to the bridge gives you less bass. Somewhere there is a modeller which let's you see what happens to the mix of fundamental and harmonics when you move the position of the pickup. Again it's on one of the threads here. One of the genius things about a P bass is how the pup's are placed at a position with a great mix of fundamental and harmonics. In practice you get way less than 10% of the signal as fundamental, that will be modified by any bass cut or boost and fx, especially octavers and synth effects. Most of the time with most players there won't be a problem but equally cutting everything below 40Hz won't be heard by anyone in a band situation and potentially will distort the sound so why amplify it.
  10. Phil Starr

    Easy 12" cab build

    OK looking at the top graph it is excursion, how far the cone moves at each frequency. It's not there to tell you how the speaker sounds but if you look there is a red line at 7mm. That's the maximum the cone can move without distorting or Xmax. anything much above this and you will not just get distortion the speaker will be damaged. The other thing to notice is that the deeper the frequency the further the cone moves except at 50Hz where it moves less than you'd expect. That's the port tuning frequency. The air in the port is doing all the work and creating a back pressure on the cone stopping it from moving. Without the port the cone would be well outside the safe excursion limits and that is why we use ported cabs. Looking at the last graph and that tells you the maximum power you can use. Above 40Hz you can use the full power of the speakers rating 320W. It'll get very hot but won't burn out. Below that you can see that too much power will move it out of the 7mm zone and it will get damaged or distort. If you put in a 20hz signal it will only take 20W without distortion and you'd blow it with 30W'ish.
  11. Phil Starr

    Easy 12" cab build

    Here you go.First of all notice that only the lowest frequencies are showing. The upper frequencies aren't affected much by the cab. The average output of the speaker is set to 0dB on tis graph. Anything louder is above the nought line and anything below is quieter. We use dB's because it is close to how we hear things. You can see that this speaker in this cab starts to roll off at just above 100Hz and is 10dB down at just below 50hz. You can also see that there is a 2dB peak just above 100Hz. That peak is going to warm up the bass but there won't be too much deep bass. The only way you learn that is by trying out cabs you know and listening out for what each sounds like but it helps to compare cabs. If you look up you can see in Balcro's charts how the same speaker behaves in a bigger 50litre cab. More bass and a flatter response, that's a useful bit of information.
  12. Phil Starr

    Easy 12" cab build

    Ha ha you aren't asking for much However I'm sat in a waiting room waiting for some test results so here goes. To completely simplify the whole thing if you know all the forces acting upon the cone and it's mass you can calculate how far it will move at each frequency. That's essentially what winISD does. Once you know that you can say how loud it will be at each frequency and print that off as a frequency graph. The first thing to look at IMO is the frequency graph then. I'll copy one down as an example and explain
  13. Phil Starr

    Easy 12" cab build

    Those graphs are interesting, and the differences are to be expected really. First of all the power handling: The cast chassis of the SM212 will conduct a little more heat away from the magnet than the pressed steel frame which explains the extra 30W of power handling. Although similar these aren't the same speaker with just the frame changed. The voice coil is different and the net effect is that the damping of the cheaper speaker is less. That's why in a 50litre cabinet there is a peak of about 2dB at 90-100Hz. I suspect that would sound quite nice for bass guitar but not so good for FRFR use. I prefer to roll off deep bass in most of the spaces I play so I don't think you'd really miss the slightly earlier roll off. In fact though you might notice it if you had both speakers there I think it would be subtle enough you probably wouldn't notice, the 2dB peak would be the thing that would dominate bass response. I'd imagine the 12 CMV2 would be less good in the 30l cabinet than the SM212 but I haven't modelled it yet.
  14. Phil Starr

    Fool for your Loving - Whitesnake - Help

    Welcome to Basschat. I'm pleased someone resurrected this thread. Quite enjoyed the spat and then Neil Murray wading in, what a bonus. Particularly enjoyed his comment about not being able to do all the fills if it was played too fast. FWIW I struggled with this. In the end nailing the chord changes and not worrying about the fills unlocked the song for me. Once that was done you can add in your own fills as it all moves into muscle memory and you can start to relax. It was forced on me by a guitarist who never did nail the solo but I'm grateful as it made me improve the approach I take to learning new songs.
  15. Phil Starr

    Easy 12" cab build

    It may be this one though there are a couple of discrepencies with what Blue Aran are showing http://www.beyma.com/getpdf.php?pid=12CMV2
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