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Whats best cabinet for Eden Wt800c???

Try winding the parametric bass selector down to its lowest frequency and cutting it fairly hard while boosting the regular bass knob up a little. That may get you a notch out of the flappy bass without losing the good stuff.

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I do exactly the opposite, with the same goal in mind. I cut the regular bass knob and boost the parametric at a frequency inbetween 80 and 100 hz. The regular bass knob in a eden will boost frequencies down to 30 hz, cutting it will work as a not very steep hpf. For me the bass controll controls the amount of fundamental and the parametric eq allows me to dial in that 2nd harmonic. Balancing those two is the perfect way to get a deep tone without mud or overexcursion imho.
 
Wait. If you wanted a deep tone, wouldn't it make more sense to not use 10 inch speakers? Have you tried upping the speaker size? Maybe I'm just foolish, but I'm under the impression that 10in are better for punchier sound, while you can go to a larger speaker, like a 15in, for the deeper, bassier tones. Additionally, while I don't go for a "deep" tone, I'm pretty satisfied with my Eden head run through an Eden cab.

Your impressions are incorrect. Speaker size has almost nothing to do with how well it produces low frequencies. Its about the design of the speaker and the cab around it as a whole.
 
I've been to lots of Sound Systems over the years and lots of live reggar concerts.

Most have a lot of energy focused in the 80-100hz range and are high passed above 60-80hz. There may be stacks and stacks of speaker cabs but they understand where the punch and power reside. The bass is up way high in the mix and this kind of EQ allows it to be very loud without masking other instruments.

Modern dancehall Sound Systems can be a different bag with big synth lows and the like but my experience is that reproducing a lot of the fundamental below 60hz is not the norm or particularly desirable, especially for live basses.

Nobody sounds bigger and fatter live than Family Man, and he plays (admittedly a 4 string J) through a Sansamp BBDI and an Eden WT800 with 410XLT cabs. No massive fundamentals but he defines that balance between lows, punch, fatness and clarity that makes reggae bass so powerful and expressive. It's all happening in the high bass to mids region, and a lot of the treble comes through his stage rig but is scrubbed off the FOH sound quite a bit, otherwise the FOH imitates his Eden/Sansamp tone quite faithfully.
 
I have a first generation Low B2. Not only is it an excellent cab for reproducing the entire frequency spectrum of my bass, it's a tank. It's braced not only for tuning, but for impact. There's a reason you don't see a lot of them on the used market. People keep them.

And one more thing, Andy also answers the company phone. And when you have questions, and someone as knowledgeable as Andy answers the phone, you're going to get the right response and advice. And he's got a lot more great configurations now than he originally did. Start your shopping there, IMO.
 
I have an Eden 800 and play it thru 2, early SWR Goliath JR 210's (cabs are actually made by Eden for SWR) both are 4 ohms so I'm hitting each with 400 watts.

Gobs of low end with well defined mids and plenty of high end.

Picked them up used for under $200 ea

I would bet the ACME's would be a good choice also
 
Your impressions are incorrect. Speaker size has almost nothing to do with how well it produces low frequencies. Its about the design of the speaker and the cab around it as a whole.

Of course skillful design is important, and can surprise you sometimes, but I think you go a little too far...

In general, large speakers are better for low frequencies, and small speakers are good for high frequencies. Drivers with high resonances have never reproduced, and will never reproduce low frequencies as well as drivers with low resonances. Sorry.

Sometimes, the obvious answer is also the correct one. Try putting a stock G string on where your E or B string should be, and let me know how it works out. Exactly the same issues are involved.

In response to a query, I actually wrote a spiel on it one time:

http://www.acmebass.com/andysworld/8inwoofer.html

Thanks,
Andy
 
I have a first generation Low B2. Not only is it an excellent cab for reproducing the entire frequency spectrum of my bass, it's a tank. It's braced not only for tuning, but for impact. There's a reason you don't see a lot of them on the used market. People keep them.

And one more thing, Andy also answers the company phone. And when you have questions, and someone as knowledgeable as Andy answers the phone, you're going to get the right response and advice. And he's got a lot more great configurations now than he originally did. Start your shopping there, IMO.
This.
The band I'm in mostly performs with band-provided BOSE PAS's that totally rely on "harmonics" doing the Jedi mind trick. Listed as a BOSE abuser for a reason. The ACME's here kill the BOSE. People do keep them.

Andy: I'm still being careful with the B2's being fed with QSC 2402's.

PS: Was forced to use an ampeg 4x10 2 weeks ago. I forgot what not having a full range cabinet does to bass, not liked.
 
Of course skillful design is important, and can surprise you sometimes, but I think you go a little too far...

In general, large speakers are better for low frequencies, and small speakers are good for high frequencies. Drivers with high resonances have never reproduced, and will never reproduce low frequencies as well as drivers with low resonances. Sorry.

Sometimes, the obvious answer is also the correct one. Try putting a stock G string on where your E or B string should be, and let me know how it works out. Exactly the same issues are involved.

In response to a query, I actually wrote a spiel on it one time:

http://www.acmebass.com/andysworld/8inwoofer.html

Thanks,
Andy

I don't disagree with you in the least. I do think that every driver is a collection of specs, not just diameter. As an example there are some guitar drivers that are 15"in diameter, and there is the 3010LF. The 15 is probably incredibly loud in the range of frequencies it was designed to operate in. It's probably not great at 50hz though. The 3010lf probably has way more content at 50hz. It's probably way less sensitive in any frequencies that the 15 is operating in.
 
This.
The band I'm in mostly performs with band-provided BOSE PAS's that totally rely on "harmonics" doing the Jedi mind trick. Listed as a BOSE abuser for a reason. The ACME's here kill the BOSE. People do keep them.

Andy: I'm still being careful with the B2's being fed with QSC 2402's.

PS: Was forced to use an ampeg 4x10 2 weeks ago. I forgot what not having a full range cabinet does to bass, not liked.

Hey- thanks, man! You guys are giving me a big head!

Interesting coincidence that you would mention the Bose line source models on the same thread where I was referencing a page in which I trash those who think they can reproduce low bass using tiny drivers.

The longer you do this, the more obvious it becomes that the same ideas get recycled over and over. Here's a single page which discusses the common origins of both of those ideas, from a real giant of loudspeaker design, Roger Russell:

http://www.roger-russell.com/columns/columns.htm

Thanks,
Andy
 
I came to different conclusions than you did, after reading the Stereophile article.

...

If was assume that this is "global" characteristic, which applies to all basses (a very specious assumption at best), is it an argument that we don't need an extended low end from a bass cab? Absolutely not!

...

In short, I see sloppy, unfocused, unspecified methodology being used in the experiment itself, and I disagree violently with the conclusions you draw from it.

Don't get me wrong, I say this with love, and I in no way fault you for coming away from the article believing what you believe, but a closer look reveals that there's no reason to believe it!

A four-string bass needs extension to E, and a five-string bass needs extension to B.

Period. And the article offers nothing to dispute this.

Violent disagreement said with love. All righty then.

BTW - that was not an experiment. It is a description of how a stereo demonstration CD was recorded. Apparently I need to point out this sentence from it :

Fig.3 shows the spectrum of the low E string of the Fender bass, taken directly from the instrument's output.

While you're at it, read what I wrote again :

This is why response down to 40Hz, or 30Hz with a 5-string, is not absolutely necessary. A solid 60Hz can be more effective.

Emphasis added. Also have a look at this thread. It also illustrates the point again with different basses. An important point from the first post of that thread :

Another important factor here is that the pickups are Q-Tuners, which seem to reproduce a lot more fundamental content and less exaggeration through the spectrum than a lot of conventional wound pickups. The result is that yellow fundamental actually is a lot bigger with this example than it would be on most basses.

So, even with an enhanced fundamental it is still significantly quieter than the first harmonic.

You'll probably disagree with all of that too and that's fine. The FACTS are many people get really good sound from speakers and equipment that do NOT reproduce the lowest fundamentals. The many users of Ampeg's SVT 8x10 cabinet are an example as are the users of fdeck's HPF. Most people are aware that Ampeg's 8x10 cabinet doesn't go much below 60Hz and fdeck's HPF is used specifically to remove the lowest frequencies which coincide with the fundamental tones of the bass.

It may not be obvious from what I wrote but I am not against reproducing fundamentals. I wrote what I did because sometimes the fundamentals can be muddy in someone's system and apparently they are in the OP's. In his case, I think he can minimize the mud and add clarity by removing the lowest frequencies. Yours and his MMV.
 
Violent disagreement said with love. All righty then.

Also have a look at this thread. It also illustrates the point again with different basses. An important point from the first post of that thread :

So, even with an enhanced fundamental it is still significantly quieter than the first harmonic.

You'll probably disagree with all of that too and that's fine. The FACTS are many people get really good sound from speakers and equipment that do NOT reproduce the lowest fundamentals. The many users of Ampeg's SVT 8x10 cabinet are an example as are the users of fdeck's HPF. Most people are aware that Ampeg's 8x10 cabinet doesn't go much below 60Hz and fdeck's HPF is used specifically to remove the lowest frequencies which coincide with the fundamental tones of the bass.

It may not be obvious from what I wrote but I am not against reproducing fundamentals. I wrote what I did because sometimes the fundamentals can be muddy in someone's system and apparently they are in the OP's. In his case, I think he can minimize the mud and add clarity by removing the lowest frequencies. Yours and his MMV.

Thanks for the thoughtful reply, Vince.

I've noticed the skill with which experienced TBers manage to surgically insert, edit, and work around the quotes they're responding to. I've spent a few minutes trying to navigate in and about your post, with little success, and will do my best to respond in a way that makes sense despite my lack of skill at doing this!

I went and looked at the long, long thread you referenced. Wow! Terrific stuff! Funny how, shortly after I posted something to the effect that essentially, there's nothing new under the sun, that you would so refer me to something which so conclusively demonstrates that this line of thought and discussion been has so thoroughly explored, by really smart people, and to such a degree.

So, obviously, I'm a little late the this particular party. I find the thread much more informative and detailed than the Stereophile article, as you probably do, as well. (I've never been much of a fan of Stereophile, BTW.)

First of all, if you prefer, I disagree strenuously. I'm sorry if you don't like my previous adverb, but it need not be dwelled on.

So, first of all, you're absolutely right. I misread, and thought the graph was from the output of the Bassman, when in fact, they had done exactly as I suggested, and taken the signal from the instrument itself. Silly me.

As far as your quote, that, "This is why response down to 40Hz, or 30Hz with a 5-string, is not absolutely necessary. A solid 60Hz can be more effective," it begs the question: More effective at what? Certainly not at reproducing the full range of the instrument. The question of relative levels of the fundamentals to the harmonics is irrelevant to this question. So I guess we'll have to non-violently disagree on this, even though I think I understand why you see it this way. I saw posters on that long thread who seem positively militant on this issue, even as short listening sessions can provide all the evidence necessary to validate my view.

You said: "So, even with an enhanced fundamental it is still significantly quieter than the first harmonic."

I can accept this, especially in view of the well-documented evidence of same on the long thread referenced. But I still see it as irrelevant when the job at hand is to reproduce a signal. I can't imagine, for example, a designer of an "audiophile" loudspeaker compromising the accuracy of his design based on what he considers to be the unique characteristics of certain program material. I just don't see what one has to do with the other.

Of course I would never dispute that people get really good sound from rigs which fail to properly reproduce their fundamentals. I just can't understand why they'd want to, other than the trades-off they might make to enhance power handling, which IS a legitimate concern.

With regard to your last paragraph, point taken, even though I don't know what you mean by "MMV."

All that said, the lesson I can take from this exchange is that there is an enormous amount of content on this site, and in general, it would probably be a good idea for me to ask for referrals to previous threads which might have gone into great depth on a particular subject before I chime in, and perhaps speak as if I hadn't seen what I hadn't seen!

But, of course, my opinion hasn't changed, and I'm glad to hear you don't have a problem with reproduction of the fundamentals. I still see the relative levels of the harmonics and fundamentals as utterly irrelevant in the design of a tool to accurately reproduce an electrical signal in a room. In fact, I've learned a little bit about bass guitars, too! I made a living playing drums for many years, and heard a lot of bass equipment during that time, but I never did play bass much.

Thanks,
Andy
 
To "pound out" the 2nd harmonic of a particular note is not the same as reproducing the fundamental.

I can certainly accept that, as a matter of taste, you enjoy the sound of the 2nd harmonic sans the fundamental, but that's a different question than the one I was addressing.

I disagree with the blanket notion that reggae players don't enjoy well-reproduced fundamentals. That's not what I hear from my reggae-oriented customers, nor from the reggae albums in my collection.

I would certainly agree that people "make do" with all kinds of things. Hey- rock'n'roll will find a way. The guitar player I worked with in high school made do with a Webcor tape recorder, until he could afford an amp. He ended up in Miles Davis' band. But not with a Webcor tape recorder.

Thanks,
Andy
I used "making do" too loosely. Players "making do" with 2nd harmonics are by far the largest group, making great big reggae. The kicker is many have no idea they are "making do", thinking they are hearing 30 and 40 hz fundamentals when they aren't.
 
I don't think I've ever heard strong 30Hz, even dance club subs here don't get that low. I have "heard" wimpy 30Hz and have no desire for it on electric bass.

Apart from the exceptions most of our cabs can't get near 30hz. If you want to have an ear opening experience you need some good headphones and a sine generator on your computer. First play 60 hz so you don't get confused by overtones, then play the real McCoy, if your cans are good you will hear/feel a wobbly "tone". Do the same with 80 and 40Hz.

Now play them though your bass amp starting with the 80 hz, should be very strong unless your cab is a dog. Keeping the same low volume play the 60 hz, will be a fair bit quieter unless you have a really good cab. Keep that tone in the mind and switch to 30 hz, you will hear the 60Hz overtone but the volume won't be there. Don't do it with gigging volume or you'll kill your cab.
 
Andy : when I wrote "A solid 60Hz can be more effective" I mean a system that is able to produce 60Hz well can sound better than one that farts out when trying to put out frequencies lower than that which the OP seem to indicate he has. This is why I tried to point out that the fundamental is a much quieter tone than the first harmonic (80Hz for the low E) because this (the first harmonic) is where most of the action really is.

MMV = mileage may vary.

BTW - I have a very high regard for good drummers. :)
 
I don't think I've ever heard strong 30Hz, even dance club subs here don't get that low. I have "heard" wimpy 30Hz and have no desire for it on electric bass.

I have heard it. It is actually in the range where it is more tactile than audible. You can feel it when it is done well.

A friend designed and built some cabinets with their -3db point tuned to 30Hz and loaded them with two JBL 18s each. We verified them with three different RTA systems and they really did it. They were truly amazing. We sometimes used a DBX 120XP subharmonic synthesizer with them to get REALLY deep tones. This was in the early 90s and people loved them at raves with electronic music. I remember the first time we really let them loose at a show. We put on Korn's first album where Fieldy hits some B-string notes and they absolutely shook the entire building. It was so astonishing that people stopped their conversations in mid syllable because most had never heard or felt anything like it. It is a very vivid memory for me.

He built four of those cabinets for a PA system and they could fill a pretty good-sized room. After that system was retired I had one of the cabinets for my home theater and that was a lot of fun. I got the 120XP too. It could shake my house and the neighbor's. :)
 
Not everyone is trying to reproduce the full range of their instrument with their stage rig , whether it is for monitoring only or to carry a room.

It's the difference between MI and SR equipment to my mind, but for some people they have the same goals, for others not.

Also, Andy, I'm really confused that you say you cannot reproduce lows well will small drivers then you link an article that explains exactly how to do this. Please understand I'm not trying to argue for it's own sake, and that my understanding of acoustics and psychoacoustics is probably fractional compared to yours,and my experience is fairly limited, too. I'm just having trouble following your reasoning and discerning what your points are.
 
Carvin Brx10.4

4 heavy-duty 56 oz cast frame 300w 10" woofers
- 1" Titanium compression HF tweeter
- Impedance: 4 ohms, power handling: 1200 Watts
- Reproduces Frequencies from low B (28 Hz to 22k Hz)
- Frequency response 35 to 18kHz +/- 5DB
- Sensitivity: 104DB @ 1w/1m and 135DB @ 1200W