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AudioKinesis Cabs Part VI...

#7,521
Been away from here for a few days and just saw Duke’s post, and all the heartfelt responses. I’ll add myself to the legions of fans wishing you a speedy recovery!

And while you’re chilling, maybe this will cheer you up a bit. Earlier this week, one of the bands I’m in was asked to play a thirty-minute set for a live recording course at one of the premier music venues here in the Bay Area (with an acoustically fantastic 600+ capacity room). My setup was a Godin A4 > Subway D800+ > Changeling 112T. The house sound engineers in charge of the class thought the tone out of the cab was so good they were reluctant to even run it through the house system. So thanks again, Duke, you're the best! Hope you get well soon.

LB_F&S copy.JPEG
 
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#7,522
ajn said:
Been away from here for a few days and just saw Duke’s post, and all the heartfelt responses. I’ll add myself to the legions of fans wishing you a speedy recovery!

And while you’re chilling, maybe this will cheer you up a bit. Earlier this week, one of the bands I’m in was asked to play a thirty-minute set for a live recording course at one of the premier music venues here in the Bay Area (with an acoustically fantastic 600+ capacity room). My setup was a Godin A4 > Subway D800+ > Changeling 112T. The house sound engineers in charge of the class thought the tone out of the cab was so good they were reluctant to even run it through the house system. So thanks again, Duke, you're the best! Hope you get well soon.

View attachment 2972859
Click to expand...

Cool story and photo, and by the way, is that Don Felder playing on guitar/pedal steel?
 
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#7,524
Ajn, looking at your photo, it looks like you have the Changeling miked, with the mic aimed more or less straight on the woofer. I'm curious how that worked out, and whether you had a DI signal also going into the system to capture the upper frequency content or whether just miking the woofer did the trick. I know you said the engineers were pretty happy with the sound of the cab in the room, so maybe that mic was just in case, or just to reinforce the low end a little bit, or something. Anyway, I've wondered before if there was anything to be gained by using multiple mics and board channels to capture the multiple drivers on multiway cabinets, assuming you had an engineer(s) willing to get that detailed about it...or whether just running a single DI signal into a board channel really did sound just as good.

My as-yet untested theory, largely (and maybe erroneously) based in my guitar-playing past, is that any benefit the mics might provide would be more significant the more you veered toward dirtier bass sounds, and that a clean, tight, wide-range bass sound would be well represented by running direct whereas a dirtier, midrangier kind of rock bass sound might benefit from a mic capturing signal, circuit and speaker characteristics right off the speaker.

But that's mostly guitar-amp thinking...
 
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#7,525
Mexicanyella: I haven’t heard the recordings yet, so I don’t really know how it turned out. As I mentioned, we were serving more or less as “guinea pigs” for a course on live concert recording, and the students were instructed as to where to set the mics on the amps, piano, drums, etc. They chose not to run a DI on me, so it was just that one SM57.

I have been curious, given the unusual design elements of the Changeling, how one might mic this cab to best capture all of its yummy goodness. But that evening was neither the time nor place to explore that question.
 
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#7,527
ajn said:
Mexicanyella: I haven’t heard the recordings yet, so I don’t really know how it turned out. As I mentioned, we were serving more or less as “guinea pigs” for a course on live concert recording, and the students were instructed as to where to set the mics on the amps, piano, drums, etc. They chose not to run a DI on me, so it was just that one SM57.

I have been curious, given the unusual design elements of the Changeling, how one might mic this cab to best capture all of its yummy goodness. But that evening was neither the time nor place to explore that question.
Click to expand...

I understand, and when you do get to hear the recording, I'd be interested to know how the woofer miked with a SM57 sounds to you. I don't mean to sound dismissive or snarky; I'm trying to learn about live bass sound...I didn't pay too much attention to live bass setup aside from "put a DI box on it" when I was in my guitar years.

That photo suggests a recording that really ought to have a sound file posted up here, come to think of it.
 
#7,528
mexicanyella said:
Ajn, looking at your photo, it looks like you have the Changeling miked, with the mic aimed more or less straight on the woofer. I'm curious how that worked out, and whether you had a DI signal also going into the system to capture the upper frequency content or whether just miking the woofer did the trick. I know you said the engineers were pretty happy with the sound of the cab in the room, so maybe that mic was just in case, or just to reinforce the low end a little bit, or something. Anyway, I've wondered before if there was anything to be gained by using multiple mics and board channels to capture the multiple drivers on multiway cabinets, assuming you had an engineer(s) willing to get that detailed about it...or whether just running a single DI signal into a board channel really did sound just as good.

My as-yet untested theory, largely (and maybe erroneously) based in my guitar-playing past, is that any benefit the mics might provide would be more significant the more you veered toward dirtier bass sounds, and that a clean, tight, wide-range bass sound would be well represented by running direct whereas a dirtier, midrangier kind of rock bass sound might benefit from a mic capturing signal, circuit and speaker characteristics right off the speaker.

But that's mostly guitar-amp thinking...
Click to expand...
Just a wild shot in the dark:
If stage space allowed, I'd think you would want to have the mic maybe 10" - 12" back from the drivers & probably aimed below the 3" drivers at the upper part of the 12" driver just below the surround so you'd be getting some off-axis output from the 3"'s, but having the 12" predominate.
 
#7,532
DrPieZon said:
@Lowendtech
Could you give a comparison between the H1203 vs the H1533. I've been debating between a H1203T and a H1533 for a while and would like some input on their tonal differences.

Thanks!
Click to expand...
Would like to hear this comparison myself...from a person lucky enough to have both...not that I'm jealous or anything!!!
 
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#7,537
Lowendtech said:
Last nights gig rig. I unplugged the H1203 after about 3 notes. That C1533 just kills all by itself. Easily the loudest thing on the stage. My new favourite single cab solution.
View attachment 2978564
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Couldn't agree more! I tried the same, H1203 + H1505. The 1505 is so efficient that it seemed like the 1203 wasn't even plugged in! For me the 1505 just kills and is the perfect single cab solution!
 
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#7,538
I recently played a theater show with H1505 in the pit. I ran full highs, mids up, all ports closed. Quite different than how I setup for a typical backline stage gig (mids down, most or all ports open, eq much closer to flat). Had to push up Bass EQ more than I usually do, but results out in the house were perfect during rehearsals.

Eventually I opened one port during performances to let H1505 breathe a bit more.

The voicing and port tuning made all the difference in the world. From the pit, the cab filled the entire theater. No boominess or mud.

Agree with lowendtech and shrigg. I think Hathor 1505/1533 is a contender for hall of fame as favorite single cab solution.
 
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#7,540
I have to say that the C1533 is an absolutely brilliant match with the Jule Mo700 and it fits on top almost perfect. The H1203 by itself is equally outstanding with that amp as well. I’d bet that a pair of H/C 1203’s and the Mo700 would be another great all time rig as well if only I could shrink the width on the amp a bit and make a tall stack with no overhang.
 
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