two ways to get more treble

Um... It's all about the Bass, 'bout the Bass, No Treble. Sorry. I couldn't resist. But seriously, If you think it's good, it is.

 

The zingy high end on the tweeter (usually everything above 4khz) is great for extra clarity, string noise, hand movement and static sounds from pedals. Tweeters (depending on the design) will sound very directional. You will hear lots of high end if you stand in front of your rig, but standing to the side results in less high end in the 4khz to 10khz range. In reality, I can see these frequencies being helpful in a solo situation where a lot of slap bass work or intimate playing is occurring. For your average blues/rock/metal show, the tweeter range of bass tones is just about useless. The extra clarity is going to to get swallowed up in the band mix faster than you can blink.

For high end content, everything between 900hz and 4khz is a good range to add note definition. These frequencies typically come through the actual cone speakers and are usually easier to hear in a live situation.

Lastly, if your technique is not the cleanest or quietest, the extra high end from the tweeter is going to make your inefficiencies much more noticeable.

 

Only you can decide what is best, but when I want sparkle, I open the x-over all the way, and use the EQ to cut as needed.

As far as dispersion is concerned, it is moot as essentially ALL of your 4khz+ signal is coming from the horn. It is what it is, dispersion-wise, no matter what the x-over is set at, you can't improve it without elevating it, replacing it, or adding another one in a second cab, preferably with a reversed baffle. Avatar does reversed baffles, I think.

Don't forget some nice fresh bright round wound hex-core stainless steel medium gauge strings! Ever try Sadowsky Black Label Stainless Steel or DR Low Riders? Also, if you do compression, try an EBS Multi-Comp in two-band mode.

Is the Atelier Z Jazz OBP-3 equipped?

 

You are correct Jim. As far as dispersion of high end, everything below 4khz is at least coming through each woofer cone. You have MORE of a chance to fully hear it since every woofer cone is putting out those particular frequencies. Rather than just one small tweeter on a bass cab. That is my simplified version of explaining it.

 

Isn't it amazing how much the 36 hz to 4 kHz band, slightly over 7 octaves, is our world?

 

"Reversed baffle" means two cabs with mirror image faces (baffles) so that when one cab is inverted and put on top of the other cab, the hi-freq driver and/or mid-driver align vertically, as seen left and center in greenboy's fearful cab diagram below.
See, http://greenboy.us/fEARful/modularity.htm

 

my problem has always been too much treble ... but maybe thats because i am using a 12" Audio Kinesis cab. that cab is hi-fi

 

So let me get this straight...some bass players are actually looking for more treble?



Oh, don't get all panty-bunched...it's Christmas!!!

 

I can hear it. I have three 15/6/1 fEARful cabinets. One is inverted. In a simple informal test, the aligned mid/hi drivers were noticeably louder, on and off axis. I think you can find more from others' experiences on the greenboy forums. It is like when we stack cabs vertically instead of side-by-side. De facto line array effect?

Since my current cabs can deliver highs and upper mids better than anything else I have ever had—my main rig just before going fEARful was an Epifani UL1 410 4 ohm, occasionally bolstered with a UL1 210 8 ohm cab—it is pretty moot in my case.

 

I played a Stingray 5 through and Eden WT-800 and one of their Eden D410T cabs (the one that looked like an SWR Goliath II) for a few years on the road and I always gave a slight boost in the same range on the sweepable highs. I only did a bit to bring out a little more of those "glassy" highs for slapping than just have an overall increase in volume in the highs. I ran the tweeter on the cab about 40% on and it worked out great.