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8x10


cclowend
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I'm not sure what RTFM actually means or any of the abbreviations on t'interweb! I thought that maybe as the 4x10's and 1x15 would have been matched perfectly seeing as both are from the hartke xl series. Apparently not, seems the old transporter matches the 4.5xl much better. I would recommend it.

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[quote name='cclowend' timestamp='1402057784' post='2469607']
I thought that maybe as the 4x10's and 1x15 would have been matched perfectly seeing as both are from the hartke xl series. Apparently not, seems the old transporter matches the 4.5xl much better. I would recommend it.
[/quote]

Mixing different speaker sizes is mostly manufacturer bullshit. It can be done provided that you use crossovers to feed each size of speaker/design of cab with it's own range of frequencies, but running two different cabs both at full range leads to inconsistencies in the sound from frequency and listener position.

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Guest bassman7755

[quote name='BigRedX' timestamp='1402043409' post='2469408']
After all the information that has been posted on Basschat about speakers and cab design by some very knowledgable contributors, I find it astounding that people still think that the sound of a rig is mostly dependent upon the cone size(s) of the speaker(s) in them.
[/quote]

Its matters when you mix sizes in the same rig.

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[quote name='BigRedX' timestamp='1402058275' post='2469620']
Mixing different speaker sizes is mostly manufacturer bullshit. It can be done provided that you use crossovers to feed each size of speaker/design of cab with it's own range of frequencies, but running two different cabs both at full range leads to inconsistencies in the sound from frequency and listener position[/quote]

All true of course... but in "real world" situations (i.e. on a stage or in a rehearsal room with a range of other musicians), would we (or anyone else) really notice the difference?

Actually, thinking about it, the OP's experience would suggest that we might... Hmmmm. :unsure: :blink: :D

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There is the academically correct and the 'if it sounds good, it is good' aspect. I take with a pinch of salt the theoreticians who then proceed to add pedals and FX galore, emulating ripped speaker cones. Many 'old school' combinations became classic because they sounded good at the time, and many still do. Not to say it's the only way, nor that technologies haven't evolved, but it's not 'wrong' to do things any particular way; just different. Try all of them, or invent your own, and decide for yourself.

Edited by Dad3353
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[quote name='cclowend' timestamp='1402057784' post='2469607']
I'm not sure what RTFM actually means or any of the abbreviations on t'interweb!
[/quote]

My Lord, for Your entertainment:
http://basschat.co.uk/topic/9448-trying-to-understand-the-lingo-acronyms-explained/ explains a lot of them, but I suppose doesn't cover everything.

RTFM stands for "Read The F*cking Manual!". Mind you, this was not meant as a dig at you at all. I just tried to express that I try to avoid the type of attitude this acronym represents, as people come from different places and have different reference frames, and IMHO should be respected for that.
It's just that some people are evidently blatantly lazy, so one could be tempted.

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The whole question of what sounds 'good' or what is 'best' is so fraught with subjectivity and so confused by variables as to be a debate akin to nailing a jelly to a wall. We may recline upon science yet experience tells us that what is stated to be 'right' does not always sound right.

Examples abound of 'perfect' rigs sounding good one night and bad the next. We pursue the chimera of tonal excellence through GAS, deep reading and microscopically detailed enhancements to our equipment. Yet in my opinion it is only at the highest levels of the trade and in the most controllable performance environments that near-consistency can be sustained from one night to the next.

At the end of all, we must simply accept that for most of us a definitive and repeatable outcome is beyond reach. All we may hope for is the occasional delight when everything comes together by chance.

Edited by skankdelvar
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[quote name='skankdelvar' timestamp='1402079107' post='2469918']
The whole question of what sounds 'good' or what is 'best' is so fraught with subjectivity and so confused by variables as to be a debate akin to nailing a jelly to a wall. We may recline upon science yet experience tells us that what is stated to be 'right' does not always sound right.

Examples abound of 'perfect' rigs sounding good one night and bad the next. We pursue the chimera of tonal excellence through GAS, deep reading and microscopically detailed enhancements to our equipment. Yet in my opinion it is only at the highest levels of the trade and in the most controllable performance environments that near-consistency can be sustained from one night to the next.

At the end of all, we must simply accept that for most of us a definitive and repeatable outcome is beyond reach. All we may hope for is the occasional delight when everything comes together by chance.
[/quote]

I largely agree with what you have said, other than I think you can end up with a set up that sounds good more often than not, my old Mesa 1516 sounded great on pretty much every stage I remember playing, my current Mark Bass set up sounds great 80% of the time...to me the Mesa was my ultimate rig, the Mark Bass is good but falls short on more occasions than I remember the Mesa doing.

Anyway this thread has inspired me, tomorrow night I will run a 6x10 set up with the Mark bass head, if I am happy with the results I will run the 6x10 set up with the Hiwatt head at next Friday's support slot

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[size=4][sub][size=5]I recently had a 'bass-off' with a mate, essentially my Ashdown ABM 500 and 2 1x15 cabs (Ashdown compacts fitted with 3015s) Vs his Marshall VBA and an Ampeg 6x10 with horn. His set up was definitely a lot more full range and 'hi-fi' which suits his down tuning 5 string metal style, mine was more low/mid rocking, slightly distorted thump, to suit my more punky rock n roll 4 string style. After swapping the amps to use each others cabs, we both agreed that both rigs sounded great for the respective situations, but both on full together rattled the f*ck out of his windows. [/size][/sub][/size]
[size=4][sub][size=5]So there we have it, horses for courses.[/size][/sub][/size]
[size=4][sub][size=5]As you can see from my pic, I also havea Marshall VBA and old 4x10, sounds great too, but not as good, portabe or reliable as my Ashdown setup, so its a home rehearsal only bit of kit.[/size][/sub][/size]

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Yep, I had a ashdown ABM C115 combo that I had bi-amped slung a BW driver in and it held its own in most situations. It was one of the first in the country. Sadly Ashdown didn't seem interested when it overheated and cooked itself (before I had it modded) so I decided on my setup I have now.

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  • 2 weeks later...

[quote name='cclowend' timestamp='1402057784' post='2469607']
I'm not sure what RTFM actually means
[/quote]

Read
That
Factual
Manual

Is the polite version more like

Read
The
Effing
Manual


This is what toy sat to someone who says that don't know how it works yet there is a instruction manual to go with it

Lol

Personally there aren't many situations that require more than just one 4x10..but the 8x10 setup is immense and this what I have used in the past.

Although there is much to be said about the Trace Elliot 4x10 + 1x15 setup in had when I started gigging..

Even with a mammoth bottom end it can all get lost in a room with the wrong dynamics..

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