Recent content by greenboy

Another quality soundstage live thing from Europe with pretty amazing sound quality for the period.

Necrothread returns - because this guy ruled back then. Really had grooves and interesting parts that covered the entire neck. Meanest fuzz bass around too! - or at least in the running with Larry Graham!

Though the fEARful designs have been out for several years, and tons of info on this forum and mine has accrued, there is no "throw over the wall to builders". As well as helping DIYers, I talk many hours per week on the phone with the authorized builders about materials, techniques, tools, etc...

Truth is, Alex used to take a lot of heat for fit and finish. I always felt it was unfair, a lot of it based on people who really were more uncomfortable with his deviation from standard cab configs and using different handle types and stuff like that. Some of them also seemed to be...

Don't confuse the DIYer stuff with the authorized builders, who all have "take returns or make it right" policy and who seem to be doing great jobs at factory looks. I have had problems with only one builder, and it was the cause of suspension - and later, review and auditing of his more current...

I follow the "drag more mics into the fray when it actually has a benefit" approach, myself ; } EDIT: Since so much is dictated by the size of stage and the proximity of boundaries and sources (and the inverse square law), it comes down to specific situations of course. Large stages with...

Using more than one mic works a lot better when they are separated by a barrier, as in the case of mixing the top of a snare and the bottom of a snare. Putting multiple mics up close to a speaker baffle induces a lot problems. When I revisited multi-driver live cab micing with a fEARful a few...

Any decent midrange driver will work if you actually understand your own design goals and how to go about getting them, as far as tone and power handling etc are concerned. Then you have to understand how to achieve them with crossover design. The generic "crossovers" hardly ever fit even...

Not that I consider that an advantage. If it's actually true since both would be at best only increments away anyway but within the same range... for any given set of goals such trifling amounts don't matter a whole lot anyway - once you have reached various thresholds. But short of sharing...

Any competent live sound engineer who's handled a wide variety of acoustic winds, or plucked/plectrum or bowed strings will be able to do it pronto. Those instruments have multiple sources for different parts of their sound, or for their different ranges. Yet anyone decent at their job can...

A few degrees off axis for dedicated woofers in a cab with dedicated midrange drivers is nothing you, bandmates, or an audience is ever going to notice. If the woofs were way more staggered, or if the midrange drivers were staggered off the y axis, it would mess up the imaging though.

Also remember that a Butterworth filter is 3dB down at the specified number, in this case 35 Hz. That means in a 4th order, that there is around 1.25 dB of filtering at 40 Hz if the spec'd number is 35...

It may not sound different for double bass, Francis - but if the implementation turns out well the extra filtering knee at 35 Hz will definitely allow one to get more out of amps and loudspeakers with either an electric bass or an acoustic.

Not if you use these. All the analog synth players are using them these days: Invalid Link Removed Unfortunately if they are using patches with triangle waves coming from the oscillators they have to stack them with these: Invalid Link Removed Pulse width modulated waveforms are still a...

To clarify, mention of a NEW fdeck design prototype has been inserted into the thread and it's not at product stage by any means. It's not the same as fdeck's existing finished 12dB per octave design that's been reviewed. It's something I pitched to fdeck some time ago. Again, PROTOTYPE. Just...