SimonK

I'd stop worrying about brand names and just buy what I thought played well or sounded nice!

Bit of a necro-bump, but any TE discussion is a good one - even though some of the history on this thread is a bit dodgy! Can you post a picture of your cab? You may find some helpful information on this thread:

oops.. got it for £90 in the end. My plan is to flip the speakers into the TE1015H & 2103x to get both cabs working again, and then take advantage of the split grill design to turn this cab into a cool set of draws using some old B&Q soft closing kitchen draws I have lying around. Before anyone says that is sacrilege, I just want to say this isn't a "real" TE cab as it's from the early Peavey era. Mind you I did feel a bit bad when the chap said "goodbye old friend" as I closed the car boot 😞

Can someone please snap this up to stop me collecting Trace cab #10!!

4

No you never do with anything that's more than a few years old - check this out from one I got last week! But £30/driver isn't too bad so long as one is prepared to fiddle and accept that they may not all work. WhatsApp Video 2025-03-16 at 20.25.44.mp4

...that guy want £60 each - the OP item works out as £30 each!

I think you will need more than a carpet under the drums - maybe carpet under the whole band, curtains/foam behind the band, and then a drum screen? I don't think it would be too bad aesthetically looking at the hall if you use say black curtains just in that corner and maybe extend them under the big monitor/screen? I don't think you will get the most out of the new PA unless you find a way to control the sound coming from instruments/amps.

Apart from if you read the above I said I was after the speakers for other projects and would probably junk the cab... but before I did that I was interested in whether others felt the home-made cab would actually sound OK because my instinct was that it wouldn't - £120 for the four drivers isn't awful so long as they all work. Also I know how much people here like seeing linear cabs!

I'm guessing that's not where the mixer will finally live! BTW where do the band go - stage right (where the guy on the ladder is)?

Pictures please - then we can keep you company at least online!!

So I was looking at this as a potential source of replacement speakers for a couple other projects not to actually use it like this, although I suppose if it sounds OK... However, while it seems that the logic of a linear cab may be good, the porting and position of the tweeter looks a bit weird, making me think that the designer was only thinking "linear cab" rather than worrying about tuning it or making any sorts of calculations?

Came across this yesterday - do you think it is made by someone who knows what they are doing - my guess is that they were using it for PA?

In other news I picked one of these up in loads better condition the other day for £40 (see above post). Was impressed this was more than ten times more expensive despite being older and looking in worse condition - mind you his user name...!

Yah - so all the speakers had been replaced at somepoint in the past, and even still the 15 and one of the 10s are blown. The cross over for the tweeter has also been fiddled with and no longer works, but the tweeter seems fine... so for £20 it's a case plus tweeter in pretty good condition, but I need to find replacement speakers and a cross over... still worth it for a punt!

Was absolutely resecued by the active EQ on my stingray this morning - I'd knocked the settings on my preamp and compressor and didn't notice until starting to play when everything sounded crap - managed to compensate with the onboard EQ prior to crouching down and resetting everything!

Awful and awesome this morning. In our first set the bass was just not right - rescued it a bit with the active EQ on my Stingray but really weird. Then looked down at my pedal board and realised that someone (probably me) had knocked the settings on the compressor - normally I'm really good at checking the setting but apparently not this morning! After that things were back to normal, and we finished with Mercy Road which was fun as I play slap through most of it, and the sound engineer liked the bass enough to crank it so that I could also feel it from the subs which doesn't often happen - it's a good song to do that on as it is so drum & bass led!

Clearly I wouldn't compare myself to Jacob Collier, but the major/minor third things is spot on for me - indeed I used to be a bit annoyed with myself when looking at the tuner to see I was flat/sharp on some of these, but since watching things like the above I feel a bit more confident trusting my ears over the tuner, now that I know that for some intervals the tuner will be a fraction out! I think I'd challenge anyone else with a fretless just to try this as once you know about it, it is noticeable even if you are not Jacob Collier!

No - I'm of the tone is subjective camp - I know what I like, but quite often hear some very highly rated bass players whose tone I don't like, which then gets me worrying that maybe I'm missing something... but then I think back to the many years I did live sound where about 75% of people said they like my mixes, and then there were always about 25% who didn't - some of whom I respected as musicians but clearly we had different opinions...

Oh bollocks - just finally managed to watch the Tony Franklin video above, which took me down the rabbit hole of "Equal Temperament" tuning systems vs "Just Intonation"! I think the best explanation is from Jacob Collier, which is a perfect vindication for playing fretless and ignoring the tuner (which in Jacob language: "inspires more endorphins in the body"!):

I've only ever played an unlined fretless and really like the big expanse of smooth wood to slide around and find the notes - I do use the dots on the top of the neck as a rough guide, but I think lines would just take away a bit of the freedom that a fretless neck gives!

Yes I made the mistake of having rounds on my fretless for the first couple of years and ended up having to get the fret board sanded down to get rid of the marks. The flat wounds don't have as good a mwah but are more comfortable to play (as in they don't hurt fingers as much when sliding). I agree that low action is a must. I like the fact that people see a fretless and think it must be harder to play when it really isn't. I think when I first got mine I just took it along to band practice, checked once or twice to see if anyone thought I was out of tune but as no one did hey presto I was now a fretless player! Thus said I do keep an always on tuner on my pedal board, but it is only really to glance at every now and again, especially if I'm struggling to hear myself. Conversly so long as you don't play open strings you don't need to worry too much about tuning the strings on a fretless so long as it's within a semi-tone which is great if temperatures are fluctuating! Gratuitous fretless photo:

The Mornington Crescent of Basschat!

...coz this is an internet forum and we have to talk about something! Thus said the least helpful advice I find on this forum is "what cab (or speaker size/combination) should I use" as I agree - you need to plug them in and play them rather than obsessing about specs. Amps, pedals and basses, however, seem more able to be described using words.