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Big E Speakers pt 3
- Thread starter john turner
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No, no, I didn't mean to sound offended or disapproving at all. I just meant that I darn near blew my corn flakes out my nose when I started watching it!
I'm constantly amazed and amused by the human capacity for weirdness. I must confess though, the phrase "I've decided to remove my genitals completely" is a little disconcerting and will be hard to get out of my head.
(I hope using the g-word in a post hasn't put me on a moderators watch list.)
Nice to see the latest MAS46 working out so well. It looks like the voicing on this line is settling in where you like it. If a MAS66 is about the equivalent of a 610 or super 212 would that put it at about 128 dB at 1 meter full power (just for relative comparison)? One thing that seems different about the Big E's is that with the wide dispersion and projection of these, the typical SPL you might figure needing for a particular room might be less? If a Flex 210 is enough to play the Field Museum, I'm thinking a MAS66 driven by a GK MBFusion 800 would probably be plenty for any normal club gig. Just picked up a Dingwall ABZ-5 and thinking about how that B-string would sound through this rig...
Good point.
Since the MAS speakers do have the ability to project more efficiently they definitely fill a room with a lower spl than anticipated. Also I've found that my stage volume winds up being lower. And I didn't even realize it---the sound guys are thrilled that my volume is lower. I think part of that perception is that the room nodes are excited less--which gives the impression of lower volume. I've been asked to turn up a few times---unheard of in my experience. At least for me these cabs seem more efficient in fulfilling their function---on stage and in the house.
And yes--I'm getting the tonal balance that I'm shooting for much more dialed in.
For me the 66 would cover any of my gigs with ease.
I'm building a 66 this week just to see how it sounds. 4 Faital 3's and one Ciare tweeter.
Since the MAS speakers do have the ability to project more efficiently they definitely fill a room with a lower spl than anticipated. Also I've found that my stage volume winds up being lower. And I didn't even realize it---the sound guys are thrilled that my volume is lower. I think part of that perception is that the room nodes are excited less--which gives the impression of lower volume. I've been asked to turn up a few times---unheard of in my experience. At least for me these cabs seem more efficient in fulfilling their function---on stage and in the house.
And yes--I'm getting the tonal balance that I'm shooting for much more dialed in.
For me the 66 would cover any of my gigs with ease.
I'm building a 66 this week just to see how it sounds. 4 Faital 3's and one Ciare tweeter.
Did a non P.A. supported gig at large expo center last night and the 21O Flex carried the whole room..
I just need a couple hundred more watts and I will dominate...
Cause thats what music is all about.
Seriously though, Playing has never been more enjoyable than through this cab.
I just need a couple hundred more watts and I will dominate...
Cause thats what music is all about.
Seriously though, Playing has never been more enjoyable than through this cab.
- Dec 21, 2007
- 15,230
- 45,090
- Disclosures
- Lark in the Morning Instructional Videos; Audix Microphones
Your patience is a virtue
I don't know why grown men and women act like kids on December 15th etc. But I certainly do. I like that quote attributed to Jimmy Vaughn, where he basically says that when he gets GAS for gear, a new pair of shoes usually works.
I don't think shoes will work in this case though.
The wait will be worth it.
I still remember the first time I played my MAS 48 at Coasters, and everyone said it was a great bass rig.
The Flex will please you.
I don't know why grown men and women act like kids on December 15th etc. But I certainly do. I like that quote attributed to Jimmy Vaughn, where he basically says that when he gets GAS for gear, a new pair of shoes usually works. I don't think shoes will work in this case though.
The wait will be worth it.
I still remember the first time I played my MAS 48 at Coasters, and everyone said it was a great bass rig.
The Flex will please you.
- Apr 29, 2003
- 9,078
- 9,800
- Disclosures
- Contributor- Bass Musician Magazine | Marketing Manager- Trickfish Amplification
I will chime in here, having had a chance to gig Nomatic's 210flex the other night. After hearing about how great the flex performs in notoriously difficult rooms, I decided to bring it along to a gig at a brewery here, where the acoustic nature of the room has been nothing short of 'soul crushing' every time I've played there (about a half dozen times). High ceilings, lots of large beer tanks in the room with tons of dead space, zero acoustical treatments or considerations. Its your basic nightmare, especially for low end. No matter what rig I bring in there, the sound is horrible, and it often results in the "get it done and get outta there" vibe.
Well, I brought the 210flex, and plugged in my puma900, and...... STUNNING sound filled the room. I mean, it was one of the best live rig sounds I've ever heard, in a room that has never even left me remotely satisfied, no matter how much carving I do with my empress para eq. Interestingly I left the puma basically flat and the paraEQ off all night. I was playing six string and fretless 5, with a flamenco fusion trio, and the bass was full and warm, super fast and punchy and even at high volume, had zero 'buildup' in the room. The note production was effortlessly quick and full. I've played the 6x6 and 8x5 (also courtesy of Nomatic) and liked them quite a bit, but they never really grabbed me the way this Flex does.
Playing big low notes, or fast runs, it is just effortlessly dynamic and nuanced, and the tone is gorgeous (for me in that musical setting anyway). The sound just seems to pour out of it, without any resistance or buildup. At home, I tried to boost a bunch of low end (cranked the bass on the 'F bass' pre and set the puma's lo control to 3 o'clock) to see if I could find the limit of the cab, and to my surprise, the low end just kept coming, and coming. Dialing up a wicked slap tone on the F bass VF5, it hit so hard that it made my body physically hurt before the cab seemed to even come close to flinching. Just insane.. So now I'm spoiled, thanks alot Nomatic, and Mike
Well, I brought the 210flex, and plugged in my puma900, and...... STUNNING sound filled the room. I mean, it was one of the best live rig sounds I've ever heard, in a room that has never even left me remotely satisfied, no matter how much carving I do with my empress para eq. Interestingly I left the puma basically flat and the paraEQ off all night. I was playing six string and fretless 5, with a flamenco fusion trio, and the bass was full and warm, super fast and punchy and even at high volume, had zero 'buildup' in the room. The note production was effortlessly quick and full. I've played the 6x6 and 8x5 (also courtesy of Nomatic) and liked them quite a bit, but they never really grabbed me the way this Flex does.
Playing big low notes, or fast runs, it is just effortlessly dynamic and nuanced, and the tone is gorgeous (for me in that musical setting anyway). The sound just seems to pour out of it, without any resistance or buildup. At home, I tried to boost a bunch of low end (cranked the bass on the 'F bass' pre and set the puma's lo control to 3 o'clock) to see if I could find the limit of the cab, and to my surprise, the low end just kept coming, and coming. Dialing up a wicked slap tone on the F bass VF5, it hit so hard that it made my body physically hurt before the cab seemed to even come close to flinching. Just insane.. So now I'm spoiled, thanks alot Nomatic, and Mike
I will chime in here, having had a chance to gig Nomatic's 210flex the other night. After hearing about how great the flex performs in notoriously difficult rooms, I decided to bring it along to a gig at a brewery here, where the acoustic nature of the room has been nothing short of 'soul crushing' every time I've played there (about a half dozen times). High ceilings, lots of large beer tanks in the room with tons of dead space, zero acoustical treatments or considerations. Its your basic nightmare, especially for low end. No matter what rig I bring in there, the sound is horrible, and it often results in the "get it done and get outta there" vibe.
Well, I brought the 210flex, and plugged in my puma900, and...... STUNNING sound filled the room. I mean, it was one of the best live rig sounds I've ever heard, in a room that has never even left me remotely satisfied, no matter how much carving I do with my empress para eq. Interestingly I left the puma basically flat and the paraEQ off all night. I was playing six string and fretless 5, with a flamenco fusion trio, and the bass was full and warm, super fast and punchy and even at high volume, had zero 'buildup' in the room. The note production was effortlessly quick and full. I've played the 6x6 and 8x5 (also courtesy of Nomatic) and liked them quite a bit, but they never really grabbed me the way this Flex does.
Playing big low notes, or fast runs, it is just effortlessly dynamic and nuanced, and the tone is gorgeous (for me in that musical setting anyway). The sound just seems to pour out of it, without any resistance or buildup. At home, I tried to boost a bunch of low end (cranked the bass on the 'F bass' pre and set the puma's lo control to 3 o'clock) to see if I could find the limit of the cab, and to my surprise, the low end just kept coming, and coming. Dialing up a wicked slap tone on the F bass VF5, it hit so hard that it made my body physically hurt before the cab seemed to even come close to flinching. Just insane.. So now I'm spoiled, thanks alot Nomatic, and Mike
Jake has articulated much better than myself! I will say again that this is a major step forward for bass amplification.
The cavern I played the other night should not have sounded
as good as it did. This cab drives the band and does not interact with the room like traditional a speaker.
Anthony Jackson needs to hear this box.
I am done with speakers now......
More basses...
The idea of a speaker not exiting room nodes is interesting, but it's difficult to imagine the physics of why that would be. Is there a link to a physical explaination for this phenomenon?
+1
Most "normal" cabinet based loudspeakerdesigns are pressure-generators. Open baffle designs are not (and these need to exite room-nodes to create "bass") . A MVW does not fall into the latter category...so how does it work.
The ones nerdier than I better explain.....
Put it this way...
I am a mastering engineer and not easily impressed and these
cabs have a non linear thing going that confounds me.
It is my understanding the wave get broken up in a particular way and the brain reassembles it perceptually.
Put it this way...
I am a mastering engineer and not easily impressed and these
cabs have a non linear thing going that confounds me.
It is my understanding the wave get broken up in a particular way and the brain reassembles it perceptually.
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