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fEARful part nine (9)

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Atlantic Technologies makers of top of the line home theater speakers have removable wood grain panels so you can change out the look of the speakers for different home decors. Sounds like your on to something. Purple for the black light type of gigs, black for the jazz club. Maybe match the color of the wedding party, the list goes on. Or maybe my flashback continues and this is all for not.

Ruh-roh.

I can see it now: "Honey, does this color scheme make my butt look big?" :help:
 
Well I should have everything to finish my two 15/6/1s by Friday except for the grills. I'm still undecided what I want to do. Now I just need some time and I'll have 'em up and running. I can't wait.
 
One of the high pass crossovers I assembled with parts from Leland.

Thanks Leland for all your help.

Wade
 

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I did!

I wanted to do something with the GK 1001 rb 2 horn driver,

Turns out my concerns were unfounded, because the GK RBs have a "Woofer high cut" button that will reduce the overlap in frequencies that might happen with the 5k internal horn xover and the natural response of the 6nd. I hooked it up last night with a 4 pole speakon cable and I actually can hear the difference that the horn makes. Haven't been able to crank it loud enough to hear the GK growl, but I'll have a chance to Saturday night. Thanks for the help!

Ted:bassist:
 
One of the high pass crossovers I assembled with parts from Leland.

Thanks Leland for all your help.

Wade

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Serious question/observation: Isn't Copper is conductive? Isn't mounting all the components on a "big RF antenna" a bad idea? I understand that it's not one continuous piece of copper and that it's broken up into "traces"for the individual parts to electrically connect to. But isn't just a bad idea overall to mount everything "on metal?" Please explain why not so I can learn.
 
Serious question/observation: Isn't Copper is conductive? Isn't mounting all the components on a "big RF antenna" a bad idea? I understand that it's not one continuous piece of copper and that it's broken up into "traces"for the individual parts to electrically connect to. But isn't just a bad idea overall to mount everything "on metal?" Please explain why not so I can learn.

I think you answered your own question, the copper sheet is acting as traces for everything to connect to - just like any circuit board. I think that the width of these traces will simply ensure that the copper has enough cross sectional area to deal with the currents involved.

As far as RF interference is concerned, it is unlikely that flat sheet will pick up anything (the coil is going to be far more susceptible to that). However, even allowing for the fact that the flat copper sheet will have some sort of current induced it will be many orders of magnitude lower than any required to shift a couple of speakers....remember, we're at the business end here with relatively huge voltages and currents compared to the world of single coil pups and flourescent lights
 
I played through this combination this past week. The 12/6 was without tweeter because of the builder's option not to include it.

My conclusion...NICE! I didn't play at loud volumes but you can tell this setup would be more than enough for the average stage setup.

Cheers!
 
I’ve read about problems with micro amps moving around on top of fEARfuls, so I ran a little experiment during a basement jam Wed. evening.

My amp (G-K 1001) isn’t exactly lightweight and I prefer to have it on a stand beside me, so I set a drink on my 12/6. It never moved except when I’d take a sip between songs. I added a Bic lighter and a little pocket tuner beside the (now empty) glass. The only thing that danced around or fell during the jam was the bass player…I tripped over a cable and nearly fell while trying to play and dance at the same time.

Caveats: The top panel of a 12/6 is smaller than a 15/6. The cab was sitting on a concrete floor. I wasn’t playing at war volume, but during solos I was considerably louder than the drums.

Conclusions:
1. No extra bracing needed in a 12/6.
2. Although the glass didn’t move around on the cab, the vibrations seemed to cause the contents to evaporate at an extraordinarily fast rate.
3. Not sure of the physics behind this, but bourbon seems to interact with GB’s design in a way that makes the cab louder. Maybe when molecules of bourbon are excited by low audio frequencies, they acquire the ability to turn my amp up while my back is turned?
4. Further experimentation is required.
 
I played through this combination this past week. The 12/6 was without tweeter because of the builder's option not to include it.

My conclusion...NICE! I didn't play at loud volumes but you can tell this setup would be more than enough for the average stage setup.

Cheers!

A 12/6, alone, is enough for my average stage setup.
Going to build a second one, though...just in case I ever need it.
 
I think you answered your own question, the copper sheet is acting as traces for everything to connect to - just like any circuit board. I think that the width of these traces will simply ensure that the copper has enough cross sectional area to deal with the currents involved.

As far as RF interference is concerned, it is unlikely that flat sheet will pick up anything (the coil is going to be far more susceptible to that). However, even allowing for the fact that the flat copper sheet will have some sort of current induced it will be many orders of magnitude lower than any required to shift a couple of speakers....remember, we're at the business end here with relatively huge voltages and currents compared to the world of single coil pups and fluorescent lights

+1

I have actually measured some crossovers to see if it made any real world difference. I managed to satisfy myself to stop worrying about it.

One of those big areas is a ground plane, and if it's placed between the input and output theoretically it could even be beneficial to noise rejection. But again, at those impedances and signal levels the effect is likely trivial. As Jools alluded to, if you laid out something like a tube preamp tone stack in that fashion it would be pretty bad design though. Looks like Leland did a nice job with the inductor orientation, which is something I've also measured the effects of, me being a hopeless Spock type and all. Getting that wrong does make a measurable difference IME.

@wcriley: I should have tried your test protocol on 4Mal's 12/6 last night with the nice Merlot the management so generously provided. The taper of the glass matters, I'm sure. Old Vine Zinfandel probably would probably "evaporate" faster too. Evaporates, yeah, that's the ticket...:cool:
 
The one time I ran both my 12.6 cabs indoors, I disconnected the lower cab after the first set... Did the same thing outside. Then I stopped carry both to any gig... If I were playing with half stack toting idiots then I would need both, but not really as I would certainly quit in lieu of shooting someone mid set. Rain on the scarecrow, blood on the drummer... It's good to have learned restraint even if late :-)
 
A 12/6, alone, is enough for my average stage setup.
Going to build a second one, though...just in case I ever need it.

Build the sub instead ... Tonally it's pretty awsome and it get's that mid closer to your ear. It's still overkill for me but it sounds great under my Mackie C200 tops. I'm going to do another one of those just so I have more crap to store...
 
@wcriley: I should have tried your test protocol on 4Mal's 12/6 last night with the nice Merlot the management so generously provided. The taper of the glass matters, I'm sure. Old Vine Zinfandel probably would probably "evaporate" faster too. Evaporates, yeah, that's the ticket...:cool:


To quote Ms Roper ... The ice cubes soaked up all my gin ...

If you don't get the reference ... Then get off my lawn will ya! :D

Your BSX sounded nice through that rig last eve. Nice job being musical director as well. You and Omar definately had the herding cats thing working. I think Bill was pretty relieved that you were reigning in the horn players and uh, extras... That Portland kid, Alex? Was pretty darned good though...
 
Greetings guys - I am Boomer 777 and am new to site. Am just re-aclamating myself to the bass world. Am trying to catch up on all the latest and greatest re: bass gear and this venue seems to be chock full of very informed posters. Have been following the B-2000 thread and am really curious. If I may posit my query and get some respones/ideas would be much obliged.

Firstly, I am an old-timer, 55 yrs old and have not purchased any amplification for about 13 years. The last rig I put together was a GK 400RB, 12 band EQ, and driving an original Guild-Hartke 4-10 cabinet. My primary bass is a Peavey TL-5 (active) and a Standard Fender Jazz bass (vintage 1998). My playing is modeled after: Jamerson, Prestia, Dee Murray (Elton John)....and the wonderdul 5 string sound that one hears on present day Gospel albums.

Here is my dilemma: Am looking for thermo-pulse that use to knock me in the chest when walking into a club long ago (primarily from the SVT). I am not a slapper, I do not like clanky, twangy, residue. A Punchy, tight, and booming sound is what I am after. Having said that: I NEED A SET-UP WHERE MY B-STRING DOES NOT CRAP OUT AT ANY LEVEL.
Was intrigued and am waiting to try the GK Fusion 550, 1050 and the Carvin B2000.

Can someone offer some counsel as to what I might try with respect to amp and cabinet?

Thanks for your time and attention

Warm Regards

Boomer777
 
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