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Phil Starr

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  1. That's terrific Luke, I might have to go back and tidy up my old Mk 1 cabs.
  2. This. I take my B1ON and an iPod (just an old fashioned boy)
  3. I think the answer is in the question. If you decide to go ahead it would be fun to try. If you have both cabs and an amp happy to drive into 2ohms, why wouldn't you try it out? If the cabs both have identical drivers then the sound won't be that different, you'll lose a little of the mid/highs off axis but you've already lost a little by using an 8x10 so it probably won't be a dramatic change. If you mix cabs with different drivers in then the sound outcome is less predictable, you may like it more or maybe less. I'd think volume won't be an issue anyway other than the possibility of damage to your hearing, I don't suppose you ever drive your 8x10 flat out, but of course you are going to try it Buying a 6x10 as a smaller rig is 'interesting'. The footprint on stage is going to be the same and it's only a small saving in weight. If you want to buy just to have the look of a vast rig or because you really do want more volume then another matching 8 would be a better bet if you are planning to use the two cabs together a lot but that's a personal choice of course. If we are honest most of us will try bass through every cab that passes our way given half a chance.
  4. Good news then that it is on it's way back.
  5. Oh dear, the wavelength of a note at 1000Hz is just over 34cm and the first standing wave is half that, clearly that is nowhere near the size of a bass cab back to front. Modern bass cabs are sooo small. No, wait that's exactly the size they are. Air mass to the driver, well if you want to do a detailed explanation of adiabatic process to people here then be my guest. This was my simplification to help someone who wants to try something out to improve their speaker. As to the idea that we have good modelling software that will adequately take into account all the variables and make accurate predictions, well let's just say I've yet to be convinced, perhaps you can point me to the maths behind it. I'm watching he Handmaids Tale tomorrow. I'm old school, I recorded it.
  6. Stuffing cabs is relatively complex in theory easier in practice. Stuffing in the cab space can act to break up standing waves in the air in the cab. At a slightly higher density it can alter the way the air works so that the air mass seems bigger to the speaker. Heavy damping material on the back of the cab could be there to damp reflection off the panel which is otherwise reflected straight back out of the thin paper cone. HiFi cabs often have a mineral loaded bitumen sheet on the walls of the cab. This mass loads the panel and damps resonance in the panel itself. Generally speaking I don't bother much with damping materials in instrument cabs. The little sheets of white polyester in a lot of commercial cabs are there for show IMO they are far too light and thin to make much if any difference. If you feel inclined it might be worth experimenting with a good thick layer on three opposite panels. You need to achieve densities of around a couple of pounds per cu ft (google that if you are young ) Alternatively you could try concentrating it all on the rear panel to stop the reflection thing Have a good listen before and after and be prepared to experiment, it's a cheap way of tweaking your speaker and you can pull it all out if you don't like it If the cab is ported keep any stuffing well away from the ports or you will lose your tuning.
  7. Lucky I'm a control freak then. So far it's invite only, if someone comes up from the floor it's one or two songs and if they are no good that's the last time. I read all the horror stories at the beginning of this thread. We've got a number of proper open mic's near us where anything goes. There are some great people but also those who can only play one song and who started playing two months ago. I don't mind going to those and the mix means you always get a couple of people who are worth listening to but I don't want any of them here. That's why I've stuck to a band format, at least I know most of the people on stage will know what they are doing.
  8. I thought I'd run an update now I've run a couple of sessions. We're running on Fri nights, gig round here tend to be on a Sat and a lot of my friends can't do mid week with work commitments, this has shaded what we do so for the pubs benefit I'm keeping the standards reasonably high. So far the local musicians have really taken my arm off. Almost everyone who has been asked has come along to play and those who have come have all wanted to do it again. The musicians are networking as I'd hoped, there's been one serious band formed and one possible romance developing, which I didn't foresee We've settled down to a very simple format which makes management easy for me at the moment. Everyone is getting half an hour with 5 or 6 sets in an evening. We have a small group of musicians who I use as a house band in variable combinations. the sets are either local bands who come and do their thing for 30 mins or a singer with the house band. I'm getting a list of songs in advance so the house band get a chance to have a look before they get there and to cut down the time when everyone tries to decide which song they are doing next. I've new got singers starting to want to join in but so far no new musicians but i'll probably try and get them up with the house band for a few songs if they do. I've had a few minor issues with the PA, mainly when I'm up on stage and somebody else takes over at the desk (but a few cockups of my own) it's years since I mixed FOH. I played less last time and the sound out front apart from hiccups is already as good if not better than most of the cover bands around. Next month it looks like I'm going to have a shortage of acts rather than a surplus, mainly due to holidays. I'm going to expand the house band set if I don't find anyone. The other problem is numbers, I asked the pub for petrol money and beer for the performers but they are paying me and probably making a loss on the evening. They are really supportive and understand the audience will build up over time whilst the standard remains high but I don't want them to make a loss. I'm off to have a meeting with them this week to see what we can do collectively to build up no's. Many thanks to Graham T and Chienmortbb for their bass playing at the event and for Jim and Woody for offering to help. I love basschatters.
  9. Bob, I hope you manage to get your gear sorted and you grow to love it. In the end it is the music that matters and the gear is the means to make that happen, good luck.
  10. I'm really surprised HPF's aren't more widespread or cheaper as an fx pedal. It's a lot simpler to implement than even a simple tone control. Behringer do a graphic for £18 for example and I don't think the BD121 is much more. There seems to be a real blind spot about it.
  11. I'd completely agree with Bill on this, which perhaps doesn't move things on but Stevie and I disagree for example, he's much more worried about chuffing than I am. He's demonstrated to me that one of my cabs chuffed (is that a word) at only 10W, however I've gigged that cab for years without ever noticing any unusual sounds. I'd have argued that at those frequencies the output could easily be 18dB down so that's equivalent to 640W of broadband power but I was startled to se that so little power was needed at low frequencies. If you used a conventional bass control however 12dB of boost which would be greatest at the extreme frequencies would make it interesting. One thing we did notice however is that port area used in winISD for calculation of port velocity isn't the only important factor, we found four small diameter ports chuffed much earlier than a single larger diameter port of slightly smaller cross section. In reality it's a compromise you kind of work out yourself depending upon the design goals you set out. I'd be much less cavalier with a hi fi cab than a bass cab. Often the constraint is the size of the port and the size of the cab. With a small cab a port which kept within your 18M/s could be almost as big as the cab at 40Hz, where would you put it? Another reason for an HPF.
  12. You are getting very good advice from everyone here. So far everyone is agreeing with each other and giving you consistent advice. In the end it is up to you whether to believe us or 'someone said'. You were told on the very first page that these speakers would be limited in some ways and to at least look at better quality kit if you could afford it. It's not a surprise that a speaker at this price point and presumably matching quality stands are a bit wobbly. We can't see them so you have to decide for yourself if they are so bad as to be unusable and return them. One thing to try is that they seem to have a winged bolt on the base of the speaker to clamp the speaker to the stand. Try tightening that if you haven't already. Don't over tighten though as the plastic case of the speaker isn't likely to be as strong as you are. Despite what 'someone said' there is only one way to get consistently good sound. Use your ears. The technique is very simple, start with everything set flat both on your mixer and the speaker. If both are good then that will give you the most natural sound, any adjustments are about correcting any problems, either with the gear, your voice or with the room acoustics, which will change from room to room. You can do the equalisation or EQ from the mixer or using the speaker's eq. Honestly, don't try doing both. Since you'll probably have the mixer next to you when you perform and the speakers probably out of reach it makes sense to set the speaker flat and use the mixer to control it. Make small adjustments and listen after each adjustment, if you think you have it right then return everything to flat and listen again to check it does actually sound as good as you think. You've chosen a speaker with DSP, where a computer runs the eq and you have to enter the instructions through a menu. We don't have the manual so you will have to solve that yourself by reading the manual. Another reason to set everything flat and use the tone controls on the mixer. However the DSP will protect the speaker from anything silly you might do (like turning the bass control up fully) you can experiment away without fear. A tone control is anything that controls the tone. they may be bass, middle and treble or they may be labelled by frequency 50Hz, 320Hz and so on. They may be knobs, sliders or on a screen but they all do the same thing. Almost all will either boost or cut the sound and have a middle position that is flat. Knobs and sliders are easier to understand than computers but they are doing the same thing.
  13. yes the top one is the horn. You probably don't need to worry about the wobble, but obviously I can't see it so you'll have to decide that for yourself. Speaker stands are never that stable with a heavy speaker on a lightweight stand so you always need to be careful where you put them. It is however one of the areas where quality kit shows it is better made. Our QSC speakers on expensive K&M stands are better than most for example. You can wrap some tape round the top of the stand if you want to make it a tighter fit, but make sure you don't make it so tight you can't remove the speaker. Most tone controls can turn the tone up or down, the bass control can cut the bass or increase it for example. For most of them 12 o'clock (with the pointer straight upwards) means they are leaving the tone in a neutral position. Some even have a little notch so you can feel a click as you turn the knob to neutral. You said "My mixer is all ready set to maximum high EQ and minimum low EQ" That doesn't sound right so I'm suggesting you set everything back to flat and start again with your new speakers. In any case you don't want to adjust the tone at both the speaker and the mixer so set the speaker controls flat and adjust everything at the mixer. The output XLR is for driving a second speaker with the same signal as the first, theoretically then you can go on adding more speakers in a daisy chain to make things as loud as you want.
  14. For use at home you don't need to raise the speakers so put them on the floor or just at minimum height. At a gig you need to make sure that where possible you raise the horn at least above the heads of the audience or the people at the front will absorb the higher frequencies. Cheap stands and speakers wobble, so do a few expensive ones. You have two mixable inputs so that people who want to can mix a guitar and their vocals without having to take a separate mixer. The modes are just a range of pre set tone control settings, try them all and sdecide which sounds best. Probably 'live' for live work. Start off with your tone controls all set to flat, no boost or cut, then adjust them a little at a time if you need to. No boost of cut will give you the most natural sound probably. The high pass filter cuts out bass more sharply than the tone controls. 80Hz is useful for vocals as it cuts out a lot of handling and noise from the vocal mic but it will reduce the bass from your backing tracks as well. The other frequencies are so you can use the speakers with a bass bin/sub woofer. As you don't have one switch the filter to off. The time delay is for people using lot's of speakers in a large space, turn it off.
  15. Why not contact Ashdown? Your biggest advantage is that they are UK based and unbelievably helpful. Obviously this is an unusual request but if you don't ask... If not and you don't want to split the cabs unless you have to then I can't see building a single combo cab to the same dimensions as the original will be any more difficult than building two separate cabs. You have the original as a template. If you build it of ply then it will be a little lighter than the chipboard and a lot tougher. If you DIY it then the only problem with a combo is the difficulty in covering the finished cab with vinyl. You can get round that by using Tuffcoat as used by a lot of manufacturers now. First of all though contact Ashdown. Edit oops should have read all the way through, shouldn't give advice when I've only just woken up, sorry.
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