Phil Starr

For the OP yes this is spot on. You don't need to worry as all of this has been taken care of by @stevie in the design stage. For anyone interested you'll notice that we always talk about a speaker's impedance but measure it in ohms, which is resistance. That's because the resistance of a speaker and the crossover components change with frequency. Capacitors resist low frequencies and inductors resist high frequencies. The speaker has a coil in it of course so that is an inductor too and it's resistance to the amp's power rises with frequency. The amp 'sees' a higher impedance. In this case we have a capacitor in series with the horn tweeter which limits the bass and an inductor coil across the horn which shorts out or bleeds off the treble. The horn is louder than the 10" speaker so there is a resistor too, which reduces the horn driver's output. The trick is to match everything up so that at the crossover point there is enough 'resistance' to cut the output to each driver by half so the combined output stays the same across the frequency range. One little point of detail is that the speaker is a really complex load with an impedance that varies at just about every different frequency. Stevie doesn't just rely on theoretical figures in designing his crossovers but by measuring each driver and building prototypes and then measuring frequency responses. It isn't rocket science but a lot of care goes into a simple circuit like this.

Thanks for your support Russ, genuinely it has helped. You don't know who is following this thread and thinking of moving to in -ears. I think for most of us it's a combination of some genuine concerns and a bit of inertia. OK a lot of inertia, and that's why I wanted to put up a bit about my 'journey'. It's really simple as a gigging musician to stick to what you know and for most of us that is fill the room with backline, vocals through the PA and vocal monitors are a luxury extra that the singer can sort if they want. If you are my age it's what we did in the 70's and it kind of works, a lot of old bands provide a good enough sound for the audience to just enjoy the music. The biggest cost is that you progressively lose your hearing. So for me, I've never been reluctant, it has been about finding time to do the leg work. just like choosing your forever bass or your ideal bass amp this all takes time and some thought. Like trying out basses or a new set list it is fun though. For me I wish I'd makde finding the in-ears a priority. You really have to find something that fits and gives a good seal, it doesn't work if you can't cut out the stage noise. Our ears are all different shapes and the provided ear buds probably aren't going to work. You wouldn't expect shoes to fit if they only made small medium and large and our ears vary as much as feet. I found my fit with ear plugs, for years i struggled with the memory foam ones for building work but the ERS triple flange musicians ones fitted perfectly first time. Moulded ones I'm sure would be even better but that's a hell of a step up in price. If I'm still using them in a year I might try buying some custom ones but it's a big cost for something you might not use and can't sell on either. The other big thing is the mixer, if you only have a couple of Auxes then individual monitoring isn't an option. Digital mixers are now almost the same price as analogue and will soon be cheaper. They probably are already for the same level of control. My Yamaha MG16xu is £380 and the replacement RCF M18 is £339, way more options/flexibility and 6 auxes, so individual monitors for the whole band. My hearing is shot, it's been accumulating for a while probably but 5 years ago it was better than most people's, now I struggle to pick out conversation in a noisy room. I'd say to anyone who plays with a drummer to go in-ears for that reason alone. The fact it will make you play and sing better and improve your bands sound, well that is just a bonus.

You won't be getting the full benefit then, though its obvious why you do it that way if you are also trying to manage front of house sound. We've got a sound man in. Our guitarist used to teach him so he's not expensive (though the deal is he takes a share of the fee as if he were a band member) Our gamble is that we will sound better, improve our playing and singing and get better gigs as a result. I'm wondering about asking to try a FOH mix in my in ears. For bass I know that is what I'd prefer. I'm a 'pocket' player so listening to the rest of the band in my monitor is more important to me than haing my bass enhanced. As an occasional backing singer though I really need more me for the vocals. With my duo I do the mixing and I do use front of house for the monitor feed. It's much simpler though as we have no drums and of course only two of us

You are going to be very disappointed with me Russ. The good news is that at last nights rehearsal (who'd ever imagine a gigging band rehearsing on a Saturday before Covid) we all had in-ears. We've never played better and that is down to the monitoring, There is absolutely no substitute for being able to hear properly. The real revelation though was the headphones. A pair of KZ ZSN Pros. I'd ordered them by mistake, or rather by slightly dodgy Chinese advertising. They were advertised as ZS10's but for £13 shipped from Shenzen. Predictably when they arrived they weren't as advertised , but before i returned them i had a listen. They are loud! The mid-range is more forward as well and vocals jump out at you. The fit is a dream and they are slightly smaller than the ZS10's. I tried them as monitors yesterday and frankly for me they blow the ZS10's out of the water. I had to mix the vocals back a bit and the guitar and also reduce the gain overall but everything was crystal clear. The bass was nice, not as forward as the ZS10's and the treble is a bit harsh but as a monitor so much clearer. They still have a smiley face eq but not as extreme as the ZS10 and as i say i had to turn down the volume which achieved painful levels. So for anyone yet to embark upon this route very usable in-ears, especially good if you sing as well as play bass and at £13 no excuses. Remind me how much I paid for my RCF ART10 floor monitors

If you wanted to do something like this you can get Jacks with switches on, you used to be able to get ones with change over/2 way switching but I've not seen those recently.

I've just spoken to DV247 they can't believe their luck that Thomann have taken this decision, apparently their (DV247) sales are way up and I guess the UK based traders will be sharing Thomann's loss. It seems a bonkers business decision to let the customers have the worry/hassle TBH.

Don't try this at home! The ring is connected to the negative part of the circuit which is also connected to earth so your power supply would be seeing a dead short. If you did rewire so that the ring was connected to the positive supply rail you'd have to stick to a stereo TRS Jack (so no guitar leads allowed) and only switch on the power supply after inserting the plug to stop applying 9V to the amp input and shorting things as you moved the plug in and out. Since the problem is forgetfulness I don't think this is something you should patent

What you remember is correct. the problem isn't one of directionality, sounds at those frequencies are omnidirectional and also not a problem of phase cancellation. If you ram the port hard against the wall it would block it. Slightly further out it could create some back pressure on the port but further out even by a few cm the effect will disappear. For downward facing ports there's normally a small adjustment to the port calculations to allow for that configuration and using one side facing would change the tuning away from the designers target, as would changing the length of the feet but probably not by much. you really don't need to worry about this but if anyone is interested airflow around the port ends is affected by the termination. The internal end of the port is assumed to be in free air and the external one flush with the baffle and only radiating into 180o Design software like WinISD makes allowances for this in it's calculations but this is usually only a fraction of a cm. That might only change the tuning by a few Hz and this is of a similar magnitude to the sorts of manufacturing spread of speakers or the inaccuracy of some of the published specifications of speakers. So yes it's there but not usally significant. Even the output impedance of the amp and the resistance of your speaker leads can alter tuning. By and large these are not huge issues in practice but with the Basschat designs we check and sometimes adjust the tuning of the ports when we build the prototypes and those are what we publish. As a rule of thumb I'd say that if you can slide your hand down the back of the speaker to pug in a lead you are comfortably far enough away from the wall.

It looks like your baffle is just screwed on and could come off easily. You've also got to fill the slot port from the looks of it. I would be tempted to cut a new baffle and place the speaker further down to make space for the horn if the baffle is detachable. It might work out quicker than having to do a lot of fiddling around. Another option would be to fit the port on the rear panel, sound wise it would work just as well there.

TV's and other entertainment gear goes into standby mode and you could use that but it would add to the cost and the current drawn when you aren't playing is so low there would hardly be any point. I frequently forget to unplug and the batteries still last me round a year. I have a routine of giving my actives a Christmas present of a new battery and I've never had a failure yet. DUring lockdown I went to May before the battery failed in my John East equipped J. The fender P is still going strong. If you are forgetting the plug you will forget a switch so it's unlikely to help. A little LED is not a bad idea and any competent tech could fit you something easily enough. You'd be able to buy a lot of batteries with the cost though. A bicolour LED with green for a good battery and red for one nearing the end of it's life would be brilliant of course. The pre-amp in my acoustic guitar has an LED.

I'll be there, no idea what I'll bring. I probably haven't built it yet.

I have a Burny (made by Fernandes) Thunderbird copy. It is beautifully made and plays really well too. It's way better made than any Gibson I've seen but I'm not sure I don't prefer my old Gibson. The Fernandes one is kind of too good, the finish is really high gloss and the sound is kind of tidied up and a bit more generic than the original but with a real thump that sounds great. The balance is way better than the original. It's as if they really couldn't bring themselves to do something as rough and unfinished as Gibson. It's Gibson taken to a luthier and sorted. I only paid £125 for it though (it had a couple of easily fixed dinks) What i'm saying is expect the quality to be exemplary but that might be a highish price unless further research shows others going for that sort of amount. It looks like it has gone though.

Brilliant, have a great evening.

We've just done our first gig back at a pub we've played before. An odd sort of do a kind of hybrid between a wedding party and a brewery mini festival. We'd had a couple of rehearsals but the rust was still present and we've immediately booked more rehearsals. the punters as ever didn't seem to notice. My goodness it was good to be back. We've got another 5 bookings this year with an apparently steady flow of enquiries. The pubs are largely absent at the moment so these are outdoor events mainly, and from previous bookers. Full marks to @skidder652003 @Happy Jack and @Silvia Bluejay for getting out there and working at it. I'm optimistic about next year, a lot of our regular pubs have closed/changed hands and a lot of bands have folded too. I suspect there is a generation of older musicians who will have retired from regular gigging, A lot of faces disappeared in the last few years before COVID and this will make up some people's minds to join them. Driving everything though will be the desire for people to go out and be at a live event. If I were a pub I'd be waiting and watching but I think when it happens there will be a rush and the bands that are prepared and ready will be in demand. I also agree that it's not the time to push prices, we need to give the venues a break and help build confidence. good luck all.

Hi Jon, the resistance of the grille cloth is something I've thought about but never done any investigation of. We had a mouse problem once and I added some nylon over the end of the ports to stop them getting in, I didn't notice a change in their performance. The grille is clear of the port end of course. There is a bigger effect i would have thought on the horn output and I know that is clearly audible when you remove the grille from a hi-fi speaker. Reversing the connection of the horn compression driver is quite common. The crossover components shift the phase of the sound so that a conventional even order crossover there is always cancellation at the crossover point and a dip in the frequency response, if you go back in the thread you can clearly see this in the frequency response plot Stevie measured. Reversing the connection puts the signal in phase and you'll get a peak. That's all assuming that the cone behaves like a piston and has no phase issues of it's own, and of course we went for a simple HPF to bring the horn in as the Pulse naturally started to roll off. Generally speaking it's less obtrusive to have a dip than to have a spike in the response which will make certain notes jump out at you but as a self builder you can decide which you prefer. With my hi-fi designs I certainly try both and I've tweaked PA speakers by trying this in the past. I did try with this speaker (I'm an inveterate fiddler) and it is better this way round IMO. Looking forward to your build and hope you love the speaker. All I can say is that when I'm testing it I end up forgetting the speaker and just enjoy playing bass.

Funnily enough I've just done this to the prototype.

Does anybody else play with normally fallible human beings Here at the bottom end of the feeding pool I play with a lot of people who make mistakes, not often necessarily but in a 2 hour set it happens and usually several times. Often it's simple things about the structure of songs or forgetting a lyric or a cue. Almost inevitably there is a small pause as everyone adjusts, a fraction of a beat is usually enough but doesn't that throw you off the click even if you keep to strict tempo? I taught myself to play to a click early on because one of my instruction books told me to, and I do use a drum machine or metronome in practice from time to time. However it doesn't seem to be a widely learned skill. I've tried using a drum machine at rehearsals and found it rare for everyone to finish with the beat, it all starts well enough but a little bit of hesitancy from someone throws us off and the errors often accumulate. I find it really difficult as my instinct is to go with the 'drums' even if it is just a click. I'm staggered by the rest of the bands ability to just keep going when out of time with the drums. Has no-one else had that experience?

Funnily enough one of the things I'm playing around with at the moment is a pair of 6" cabs. Probably though I will end up with a single 10 and a lightweight horn. And thanks it would be good to hear what you come up with.

Mark Audio are Mark Bass. I've heard the PA system at the southwest bass bash and it is very good. It's a similar system to the RCF Evox i linked you to above. I've not gigged with either of those but I have gigged with the LD Maui system which is similar and that worked well. Frankly I think this system is the future for most of us. The subs are also the stands and you only have to slot the lightweight column on top and you are off. They send out a broad flat beam of sound which reaches all the audience better and the reduces reflections and increased directionality reduce feedback problems. They are simpler to set up, look better, sound at least as good and there is no chance of a 25kg speaker on a flimsy stand braining one of the dad dancers. However they ain't cheap

Here you go The IEM Bible thread - Accessories and Misc - Basschat

This is right IMO. I've used Servisol since the 70's. It is a great product for broken pots and it will often shift dirt and stop crackling. It's a gentle solvent and rarely does damage but all it does is shift dirt around and sometimes makes things worse, it also leaves a residue so doing this once a year to a pot that is previously faultless isn't a good idea. It's a get you out of trouble thing with long term risks not something to do for no good reason. You wouldn't take a morning after pill or a laxative if you didn't need to

You'll get so much more than that. Good in ears will block out most of the ambient sound on stage and protect your hearing. Most of us play with a drummer and the sound levels average around 100db or higher where we stand. 2 hours of that is enough to cause hearing loss and that will be cumulative. It's almost impossible to get good monitoring on stage. fundamentally all the musicians will be after 'more me' but as you share the same space that means you are all competing for volume. In ears mean you can turn up (or down) anything you want and not affect anyone else. You can take a signal from your bass at any stage, straight from the bass, after all the tone controls, at the amp output to the speakers or by miking the speakers themselves. Most amps have a DI (direct injection) output which is switchable pre or post eq. If you don't have that then you can use a DI box to split the signal and give you a feed to your mixing desk or your in ears. The best way of running in-ears is via the auxiliary outputs from your mixing desk. You can then mix the balance you want there and send that to your 'phones. That assumes your desk is sophisticated enough to allow each person who wants it a separate aux channel. If not you'll have to split the signals from your personal mic and bass before sending them to the desk and have a personal mixer for your in ears. You'll also want a feed of the band so you know what they are doing too but there are usually plenty of ways of feeding a front of house mix to you from the mixer. There's a long thread on IEM's I'll add a link. It's a bit techie in places but it's a good place to ask questions and you'll get practical advice.

My guess is that they lost a couple of kg with the neo tweeter in the 745 and a bit more in the plate amp.

Thank you both, it confirms a lot of what I was thinking. I was blown away by the phone app for the Ui with the 'more me' facility and the ability to restrict access which was really very neat. I think I'll go back to the M18 for now and run it for a year or two, if I change bands and need more channels I won't lose too much and I'll have had use of it for hopefully a lot of gigs. In the meantime I'll have learned what I really need and how to get the best out of it.

I dither too much but I'd decided on the M18 (it's the solution for my current needs and i can sell it if I want more functionality) When I went to order it was out of stock at Andertons. One of the alternatives I hadn't looked at in this price bracket is the Soundcraft Ui16. Having a look at the software it looks to have more functionality and more mic channels and a nice intuitive feel, though more complex than the M18. A minor attraction is that it will operate with Windows so I won't need to acquire another tablet. Has anyone used/had a look at one of these?