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This is AWESOME! I got double corrected. Sorry roxborobob and DJ. LOL. I NEED SLEEP!!!!
I mean rob. Sigh
I had a very long day in court. I am fried.
I mean rob. Sigh
I had a very long day in court. I am fried.
I have a 360/361 I picked up about a year ago. I'm playing my first big outdoor gig with it this weekend. Hell yeah!
The amp sounds great at low volume and in small rooms. It doesn't need 40 feet to bloom.... that is an old wive's tale. It sounds great close or far. Yes, far away it sounds nice and loud, but also up close.
The amp sounds great at low volume and in small rooms. It doesn't need 40 feet to bloom.... that is an old wive's tale. It sounds great close or far. Yes, far away it sounds nice and loud, but also up close.
Oh Geez
Court or DMV are my favorite places
Time to crank up some music, its over now
Yep
And its no mystical feat to mic a cab.
Mic goes towards the top of the cab, bam all done
Just like they did in the good old days
Sorry wrong. This is an urban myth based on misunderstanding. I am not an acoustic engineer (and...your are entitled to your opion) so Ill leave it at that.
The only thing a/this folded horn is "missing" is extended low end/extended high end.
androo75 you can plug a DI into the aux. output on the cab.
That said byacey recommendation to move it out of the corner is not bad advice (for recording) but this would apply to any bass cab. For deep bass the corner is a bonus!
Edited for typos
Edit 2
I have to add that cabinet is very efficient for the range it works in. My little 100w "not loud enough" Traynor absolutely slays through it. When I say its lacking for low extension...you wouldnt know it!
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Yep
And its no mystical feat to mic a cab.
Mic goes towards the top of the cab, bam all done
Just like they did in the good old days
Well said, but do blend in the preamp using a DI in the aux out.
They call those cabinets horn loaded, but it isn't much of a horn path for bass frequencies, and there was zero engineering put into the horn design. An arbitrary, loose labyrinth might be a better description.
ha! Thx she's a new edition - my philosophy is just get the actual gear, sims are awesome but there's something about the smell of tone wheel oil lingering...
Riddle me this...
-how was this mic'd @ Madison Sq Garden?
that's the tone, that's what I want!
-how was this mic'd @ Madison Sq Garden?
that's the tone, that's what I want!
So I recorded some garbage with di and a sm58 and got good results without much effort. Placed the 58 Three feet away from the top of cab. I will fine tune it. Kind of surprised the sm58 worked.
That sounds like a direct quote from Bill Fitzmaurice. While it may fall short of a true full horn (and as much respect as I have for Bill (and its a lot)) saying "there was zero engineering" is knd of harsh and disrespectful of Gene Czerwinski. ....no computers does not mean no knowledge.
While you are always entitled to your opinion, why do you feel the need to throw a negative pot shot like that into a thread about someone who is happy having just aquired some vintage equipment?
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I have never heard that isolated track! Listening brought me back ...I could tell you stories (thanks for that). You should have no trouble getting that tone (flats and a pick).
See the mic exactly where 808State suggested to put it (and Im sure they have some DI as well).
FWIW, I dimly recall a write-up about the Heavy Weather recording, stating that the studio sound engineer ended up putting the 360 into a closet with the mic in front of it, door closed; and the result is on the record.
Don't recall any detail about the mic they used.
There is a good bit of mis-information about this cabinet. I gigged one for quite a long time, only giving it up when I no longer had a gig-mobile with the schlep capability. I gigged it in everything from biker bars to Holiday Inn lounge rooms. Never had any issue whatsoever hearing it on stage, never had any issue with too forceful in the audience.
There is this argument that you couldn't hear the bass frequencies standing near field. Well, a 100 Hz signal has a wavelength of about 11 feet. So, it is true that lower frequencies have a larger near field; but, that is true, independent of the design of the cabinet. Anyhow, I never really understood that argument; and my gigging experience pretty much disproved what I consider to be the 360 myth.
Don't recall any detail about the mic they used.
There is a good bit of mis-information about this cabinet. I gigged one for quite a long time, only giving it up when I no longer had a gig-mobile with the schlep capability. I gigged it in everything from biker bars to Holiday Inn lounge rooms. Never had any issue whatsoever hearing it on stage, never had any issue with too forceful in the audience.
There is this argument that you couldn't hear the bass frequencies standing near field. Well, a 100 Hz signal has a wavelength of about 11 feet. So, it is true that lower frequencies have a larger near field; but, that is true, independent of the design of the cabinet. Anyhow, I never really understood that argument; and my gigging experience pretty much disproved what I consider to be the 360 myth.
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Beautiful, however that folded horn is gonna focus right inside next doors lounge. Not sure what ur gonna get micing in ur room....probably a lot of mid range, could always set the mic up in ur neighbours...
FLATS! I knew it! I never believed he used roundwounds exclusively.
I've been running dead strings and the tone knob rolled off to like, 75% for years and have got pretty close.
'The Lemon Song' tone and TSRTS are my holy grail.
"There is no way to properly mic a folded horn. Folded horns are designed to "throw" low end, actually, to reproduce very long wave length bass sounds, which can take up to 32 feet to fully form. And there no easy way to baffle a room for it, for that same reason.
Sorry wrong. This is an urban myth based on misunderstanding"
Well for what its worth. Back in 77 I used an Orange 2 x 15 bin and it was terrible cause on stage I couldn't hear a thing...but out in the audience their ears were bleeding.
Sorry wrong. This is an urban myth based on misunderstanding"
Well for what its worth. Back in 77 I used an Orange 2 x 15 bin and it was terrible cause on stage I couldn't hear a thing...but out in the audience their ears were bleeding.
I didn't mean any disrespect to anyone, the designer, end user, or the manufacturer. In those days T/S parameters and horn design wasn't as well understood compared to what designers have at hand today. Computers have little to do with anything, except speeding up the design calculations.
When settling on a horn design, it should be tailored to the bandwidth of interest. To work low, the horn path would have to be considerably larger than what those boxes have, and additionally the horn path is going to limit any higher frequency ( 1-4 Khz) extension. Because of this, what is coming out of that enclosure is a compromise, likely a large, low mid bump with considerably less upper end detail. it may be loud, but for the purposes of micing a cabinet especially for recording, there is going to be considerable gaps in the audio spectrum relevant to bass guitar.
OP, I *do* like your C3.. kudos.. I lost mine in 1970 to a divorce, never had another one.
RE20 is -3dB around 50 Hz.
The 360/361 horn is far too short to produce any useful radiation in this range, so no big deal.
RE20 is a typical cardiod pattern, and a good mic.
There is a "flat" switch than makes the mic essentially flat from 80 to 6 KHz.
RE20 is -3dB around 50 Hz.
The 360/361 horn is far too short to produce any useful radiation in this range, so no big deal.
RE20 is a typical cardiod pattern, and a good mic.
There is a "flat" switch than makes the mic essentially flat from 80 to 6 KHz.
The words "there was zero engineering" clearly imply that you don't credit those designers (specifically Czerwinski but Keele, Klipsch, Edgar are other examples from that era) of having or employing any engineering skill, know how or thought process when they sat at their drafting tables and slid their slide rules?
You don't seem to think they could or did that, you don't think they were even aware of or capable of tailoring to a specific bandwidth. Consider that maybe they had to make a compromise so that their speakers could be moved through a doorway (or keep their project on budget)? My day job is a designer, I spend more time compromising than optimising.
Maybe I should apologize because Im having a tough week, but I feel an obligation to defend those designers from disrespect.
(edited for multiple poor typing mistakes)
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