Tuning Speaker Cab

[TIMBO]

Hi guy's, Need a little help with what to do. I read a few things reguarding tuning cabs and it's got me totally stuffed.
Cab measures :-
Height - 2'5"
Width - 2'2"
Depth @ bottom - 11"
Depth @ Top - 9"
These are internal measurements

Speakers @ bottom - Jensen Mod 50/12 @8ohm wired in parallel for 4ohm
Speakers @ top - Response paper cone woofer 40w @ 8ohm
 I'm not using the top speakers as they are only plugging the holes for the moment but if they are useable i would like to wire the four to give an 8ohm option
The spec on the response speakers :-
Freq - 28-550Hz
Sensitivity - 90db SPL@1w,1m
Tuning Freq - 23.1Hz

What i want to know/do is to tune the cab to suit just the mod 50s(cover the other two holes) if the other speakers are not suitable for guitar or tune the cab to suit the four speakers and what do i do to "tune" the cab. Thanks
 

[Willabe]

Try a detuned cab. Kevin O'Connor likes these.

Just take 2 of the speakers out, leave the speaker cut outs open and close the cab back up.

Only works with a closed back cab. He has a (small) book out on making speaker cabs. His cabs are a little deeper than most but it's the same idea. The openings act like a port but their not tuned to a specific frequency. Some guys love them.

I had a 4x12" closed back cab years ago and only had the 2 top speakers in it. I was young and didn't have the money to buy 2 more speakers. It sounded great too me.  And they are loud.  


              Brad      

[TIMBO]

Thanks Brad,I didn't post a pic of the back,it has a 3/4" ply back,so can be a closed back. I did read that to port a closed back was to have an opening 1/3 of the back area as a port. 

[PRR]

> they are only plugging the holes

No they aren't. Put your ear to a "dead" cone. It's leaking sound from the live speakers. Probably lots of deep-deep bass, but also some low-mids.

> openings act like a port but their not tuned to a specific frequency

They are; however such a large hole is probably not gaining a lick of efficiency, just re-curving the response in a way you *may* like.

> what do i do to "tune" the cab.

Get two more Mod 50/12. Close (also try open) the back. Enjoy.

A 4-Twelve is a kickbutt guitar speaker, capable of covering the bottom of guitar with authority. You don't have (and do not want) the excess volume needed for tuning tricks. A 4-Twelve does not need tricks.

[TIMBO]

Thanks guy's, The problem is that i don't really need a 4x12 cab cause i only have a 12'x12' room and i don't think i'll be playing any concert halls in the future  So maybe building a smaller cab might be better for a bedroom size. 

[Willabe]

Timbo, I'd be interested to hear how you think the cab sounds with only 2 speakers in it and the back on.

I know PRR knows what he's talking about, but if you have the time to try it?     


                  Brad     

[TIMBO]

I'll DO IT.

[Willabe]

 

[PRR]

Then you want a one-10" or a beefy Eight.

A four-ten will do very large clubs well.

(It will also do well at home with part-Watt amps. Still, 2.5' is a quarter of a 10-foot room, or space for a friend or several more guitars.)

You could save it (if you have space!) until you get called to do bigger gigs; perhaps better to CraigsList it, maybe in trade for a smaller more complete system that someone else needs to trade-up from.

[TIMBO]

Thanks PRR, I might think about down sizeing. 

[SILVERGUN]

Timbo, how bout removing 2 of the 4 and trying inserts in their place of varying diameters....just cut 2- 12" diameter 3/4 ply circle blanks, and try different "port" holes, by drilling out the centers with a hole saw,,,,tune to taste

Let us know if you find the "secret" we never looked for

[cbass]

You can tune a speaker Cabinet but you can't tuna fish. 

 

[Willabe]

He'll be hear all week ladies and gentlemen.


              Brad             

[Ritchie200]

The most important thing about tuning four cabs is making sure you have enough grunt to move the cones - case in point:

Jim

[Ritchie200]

Actually your ports (2) should be somewhere between 60-80 sq/inches, or between 4.5" and 5" in diameter.  Because your cabinet will be really big in relation to the two 12" speakers, your cabinet resonant freq is low.  It is too large for the ideal resonant freq of your speakers, so it will be a tradeoff.  The ports should smooth out the response, but if it gets boomy you may want to add some absorption material to the inside as that will also effectively make the enclosure smaller - another benefit.  This information courtesy of the great Abraham Cohen, engineering manager of University Loudspeakers.

I used to have one 4x12 cab with one speaker hooked up for small venues, another cab with two speakers for larger venues, and the other two had all hooked up for auditoriums or outside - or to point at the drummer if he got out of hand...  Interesting in that each combination did sound a little different.

Jim

[Ritchie200]

oooops...  That "4.5 - 5" in diameter" SHOULD have been 4.5 - 5" RADIUS.  Or a 10"x6" or a 10"x8" rectangle, etc..  Duh, obviously a 5" hole does not make 80sq/inches - I should have double checked my 1st grade math!!!  Sorry, bad on me.

Jim

[TIMBO]

Thanks 200, i'll give it a try. Thanks

[TIMBO]

Hi guy's, Finally got around to tweaking this cab and i think the best result was to remove the two speakers and block one opening off and a sealed back. Thanks

[6G6]

I couldn't tell what the top two were,
but they look like they should be good for something.

[crey]

I don't mean to open up such an old post, but I wouldn't be able to look myself in the mirror if I didn't comment on this poor fellows misinformation.
Bud, the key to a good enclosure is airspace. If you don't have the correct airspace, you're shooting yourself in the foot.
There is only one number you need to remember when calculating airspace for drivers.. 1728.
1728 is the equivalent of 12x12x12.., or, one cubic foot.
Once you remember that, the hard part is done.
The rest of the information is up to you to get from the speaker manufacturer.

Qts
Vas
Fs

Also, it's good practice to get the manufacturers spec sheet on whatever speaker you're working with, because
Nothing is worse on a driver that is meant for a small, sealed enclosure than being ran in a free air or ported environment. It won't last long, and you'll be wondering how your speaker went to hell.
There are plenty of sites on the net that discuss the formula for those three values, and the cubic niches equation, so I'm not going to get into it. I tend to get long winded if you couldn't tell.
I could talk speakers all day and all night on here, I've build many, many enclosures for pro, home and car audio professionally in my previous life. For myself, private individuals and company demo vehicles.
I won't name names, it's bd taste, you just have to trust me on this one.
 
Do your homework, and don't trash your speakers. If you get your math down you'll be much happier to hear your speakers sounding the way they should sound.

PS: lining the inside of an enclosure is a way to fool the speaker into thinking it has MORE air.. Not less. 

[Ritchie200]

Au contraire, mon frère...

I would counter by saying that what may apply to the thumper auto crowd and home sub boxes has little bearing on what we are discussing here.  I challenge you to find any other information other than Fs for guitar speakers...from any manufacturer...anywhere....any time.  DEDICATED bass speakers, yes.  Thumper speakers, yes.  Guitar speakers, no.  The freq spread reproduced by a guitar amp speaker does not have near the excursion of the low freq speaks, nor does it need to.  They are made to withstand the transients that are analogous to a guitar amp at those freqs - a requirement VERY different from reproduction or even reinforcement.  There are no requirements or restrictions for enclosed, ported, or open back.  The only danger to these speakers is from overpower or extended feedback.  It will easily reproduce any freqs a guitar amp can produce with a guitar without overdriving at some arbitrary mis-calculated cabinet resonance that you may be talking about.

Second, we are not building a new cab, we were trying to make the best out of a (now) compromised design.

Third, adding absorption material to an enclosure begins to really attenuate at the lower freqs of a guitar - the same result as making the enclosure smaller (all things remaining equal).  This could be very helpful in the case of the "compromised" design of the 4x12 as the volume is now way too large for the optimal Fs of the two remaining speakers.  The downside is the loss in port efficiency, which is something we are not concerned about.

Bud, I'm afraid you are confusing application.

Jim

[SILVERGUN]

Bud, I'm afraid you are confusing application.

Yeah Bud,
Get it straight......
THIS IS HOW WE TREAT SPEAKERS:

Marty McFly playing the guitar with Doctor Brown's speaker

[Frankenamp]

My favorite part of the back to the future movies... always wondered what it take to make a monster Champ out of broadcast transmitter tubes: B+ would be formidable.

On the subject of guitar speakers- What we are now trying to reproduce is the 'tone' of 'built to a price' (cheap) speakers that were driven beyond their design limits. This is not a slam on Oxford, Jensen, Utah, & Quam- it is a statement of fact. One of the barriers to keeping the old parts around was their inherent cheapness. Why bother to manufacture for posterity when you are competing for market share in a price driven economy. What we have now are a few production records and the paper recipies- not so much the production line assembly techniques. Eminence has done a pretty good job copying the vintage tones, because they have the measurement equipment, and the R&D available to do so. It is easier for them to do this than I. I don't have an anechoic chamber or a football field to bury speaker boxes on the 50 yard line to do 'half field' (pun half intended) measurements. Neither do I have the calibrated electronics. Here is where we have to take things on faith, or do our own research. The tweed amps took their cabinet design cues from Samsonite (and whom else was making luggage at the time) The choice of materials, hardware, and electronics managed to work well- as a good compromise which is why the price of a good tweed amp is astronomical.

The 4X10 & 4X12* are two the worst speaker designs in history, but some people like the look which is why so many sold. However, these were never designed to REproduce sound, they were designed to produce sound. Which is why my friend, we must not only pick up Harry Olson's text, but also some luthier and fine cabinetry texts as well. (See some of the pieces of musical art created elswhere on this website.)

*what were Ritchie Blackmore and Pete Townshend thinking?

[crey]

Wow.. Offer good sound advise on the basics of audio enclosure design, and get treated like some bum who just stole your wallet.
I'll be sure to keep to myself from now on, Bud.

 

[Ritchie200]

Crey,

Don't get your panties in a wad!  You were the one who came on trashing other peoples opinions and advice by calling it all "misinformation"!  When in fact much of the information YOU provided did not apply to this application.  Hey, we are all friends here and everyone's opinion is welcome and sought out.  We throw around advice, debate, and experiment every day on this forum - that's what makes it so great.  There is also a lot of rib poking going on from time to time.  However, dont expect folks to sit by when you open by saying no one knows what they are talking about except you.  There have been volumes written about enclosures for musical instrument, sound reinforcement, reproduction, subs, etc., etc., each with it's own unique application, design, and requirements - and many overlap with contradictory opinions.  Many times we (especially in the musical instrument world) are restricted by current design or fad and even materials.  What may be important in one application is completely invalid in another.  As Frankenamp noted, the 4x10 and 4x12 designs are some of the worst examples - but they give you a certain tone and characteristic like no other.  That tone is what builders and musicians want and try to reproduce.  Fender and Marshall in the so-called magical early days used the cheapest materials and parts available.  The cabinet designs were more for portability than sonic functionality!  However, some gave us a tone that is near and dear.  You can use the same analogy with tubes.  I do not recall seeing anything in the RCA manual about the distortion characteristics of cascading (5) 12AX7's.  Is that a valid application?  The RCA engineers and audiophile crowd would cringe in horror, but it is a very important means to an end for us.

By the way, YOU started the Bud thing!

Jim

ps Frankenamp - Ritchie Blackmore is beyond reproach - how dare you!

[G._Hoffman]

Just as a side note, most people prefer infinite baffle speakers.  And not just for guitars - you know how a lot of people say they prefer their car stereo?  Infinite baffle speakers (probably - less true these days than it used to be).  There less efficient, sure, but man they sound good!  And you should hear the complaints about ported cabs from my recording engineer friends - they can't say enough bad things about ports!


Gabriel

[Jim Coash]

Tuning speaker cabinets is far more complex than people think.  A sealed box has the advantage that the air in the cabinet acts as a spring, preventing over excursion of the speaker cones producing the lows.  The unfortunate aspect of this design is the loss of efficiency and deep bass that results.  For home audio where more than one driver element is used the cabinet has no impact on the tweeter, at least from the inside, or the mid range unless it is an open back and not isolated in its own enclosure.  A sealed box an be very good sounding but you will need to use a subwoofer of some kind to produce bass below 100HZ.  Although I have experimented with several sealed box designs for guitar and bass work I no longer use them.  All of my cabinets are vented with ports I can cut to length using T/S numbers depending on the driver design.  One of my early "revelations" was that, in my stereo store, every single speaker in the demo room was moving during a demonstration.  Even those that were just sitting on the floor nearby!  That caused me to rethink the whole nature of demonstrating speakers.  The best way was to build a couple demo rooms and bring in only the one pair of speakers I wanted to demo.  That, after all, is how they would be used in the home of the owner.  Room acoustics are essentially impossible to account for.  I eventually came to the conclusion that using active crossovers and multiple amps was by far the best way to address those issues whether for home or performing live music.  I abandoned all "EQs" because they always created worse problems than they solved.  Jim

[jojokeo]

Wow, this sure is an old thread come back to several lives like a dead cat. Richie you are a forum bully...  outing Crey in only two replies! That has me thinking about an old show "name that tune". Richie: "I can out that guy in two replies." SG: "out that guy!" But he actually outed himself after the first and the second was only to say something about his hurt feelings. I know, "people in glass houses..." He should've been able to swallow a few criticisms if he was dishing them out...and about Richie B being beyond reproach? Ahem, you do know that Rainbow was finally revealed as a gay pride symbol right?

If/when I build an enclosure it gets as much thought as the head's width measurement so that it looks nice underneath it. 

[SILVERGUN]

Richie you are a forum bully... 

https://www.youtube.com/watch?v=pWdd6_ZxX8c

[jjasilli]

  You guys are hilarious. 


Anyway, 


Jim Coash, my son & I have been toying with the issues you mention for some time now.  In the coming year, for stereo, we hope to buy or build a computer for the following set-up: digital source > computer > software run crossovers & equalization > multi-channel soundcard > bi-amps or tri-amps (tube, of course, except maybe for the subwoofer(s) > subwoofer; woofer & midrange (possible sharing a passive crossover); and tweeter > to phase problems, lobing & room issues 


But we may have to join another Forum for that!

[Ritchie200]

In the words of the immortal god of surfing, Turtle:

https://www.youtube.com/watch?v=6spBu2XAk4A

Jim

[Ritchie200]

But seriously folks...  In my humble opinion, every application has ALWAYS been a compromise - especially when playing out live.  Back in the day, if you were a successful working band you had big amps and your own sound/PA system.  The majority of the time it was used for just PA.  Ok, that was WAY back in MY day.  House systems were like finding a full can of beer in the pile of empties in the back of your gig van.  We played in places as varied as: basically open strip malls, small 1500sq/ft (or smaller) bars, school auditoriums, gymnasiums, outdoor gigs, full size auditoriums, and my fav - an old grain mill that was about 100ft square and three stories high.  We played LOUD.  We just had a couple of people stand around the venue and we tweaked as needed.  Then everything changed as soon as people filled up the space and we did the best we could on the fly.  That is why I am somewhat amused by the cork sniffer crowd that argues about types of wood for enclosures, open or closed, ported this and that, folded this and that, etc,....  Why?  Because most are talking about working the amps/speakers in a live setting at big volume, playing some sort of distorted R&R, and NOT in a bedroom or studio.  In most cases I could have put a Radio Shack speaker in a cardboard box and nobody would have known the difference at 110dB or even 80dB.  Actually the old Radio Shack musical instrument speakers were made by Eminence and were pretty good!  But I digress...  I had built four Altec Lansing A7 cabs for our PA - arguably the finest sounding reinforcement speaker ever made.  We sounded priceless at some venues and useless at others - and so did everyone else.  I have ALWAYS said the low hanging fruit is: 1. The amp, first and foremost. 2. (and way down the list) the speaker and cabinet.  In real life application everything else has negligible influence.  I really don't think the newer house systems make much difference or have changed the game other than shear onstage volume.  Why?  1. Because we all know we have to crank the amp to get decent noise and interaction between guitar and speaker. 2. Every show I've been to at dedicated venues in the last few years has been at 109dB, so not much has changed since the 70's and I go back to my cardboard box.  Don't get me wrong, like most musicians (especially those that hang out here), I am always looking for that elusive tone that replicates my favorite player.  We talk about little tweaks here and there that make a difference to achieve what we hear in our heads, but cant seem to get to no matter how many capacitors and resistors we change out.  All those things that make a difference for personal satisfaction, in the studio, at bedroom levels, or if you are seriously warped and play Jazz (or progressive soft soul-funk).  I get it.  HOWEVER, bottom line, all these cabinet designs were based on portability, power handling, and projection - at the cheapest price point.  They were designed to be functional at the maximum wattage of the amp they were servicing....period....  I think for the most part they all accomplished this goal.  Nobody rented out the Dolby soundproof cone room and did any spectrum testing.  Its just a guitar amp.  Real life and live - always a compromise, ALWAYS.

Jim: Old man babbling....

[Jim Coash]

My first PA was a tube amp  driving a pair of Quam 8" speakers all from my grandfathers bowling alley.  He gave me that stuff when he upgraded to a Bogen system.  I heard a Shure VocalMaster set-up used by another garage band and decided that I could build my own.  I bought a Lafayette Radio 60 watt solid state amp with two E/V 664 mikes, Atlas stands, a four channel mixer that ran off a 9 volt battery and ordered 8-6" X 9" car speakers from Allied Radio.  I designed two PA columns that I could build from a single 4' X 8' sheet of 3/4" plywood bracing them with 1" X 1" trim my uncle gave me.  I made the sheet metal jack plates myself with 1/4" Switchcraft jacks and covered the boxes with cloth backed black vinyl from a fabric store.  I found metal corners, glides and handles at Stafford's Hardware.  The PA system actually gave the Shure system a run for the money and at a fraction of the cost.  The band used a Fender Princeton blackface and a Silvertone 1484 for amps.  Our drummer had a Ludwig kit just like Ringo's.  We got my cousin to get a bass from his neighbor who worked at Gibson.  He brought home an EB-0 in sky blue lacquer and we let him use the tube PA amp with a box I built for the two 8" speakers.  We called ourselves "The Reason Why" and had cards made.  Soon a couple neighborhood girls invited us to play for their party.  We got all the soda and hot dogs we wanted in payment.  We played Beatles, Stones and other top forty hits from the mid sixties.  Jim

[SILVERGUN]

Jojo you got him started again,,,and he just had to take a shot at ME....after I just defended him. GEESSSHHHH
 

We played LOUD.

In '95 I was carrying 4 cabinets 
1- 2x12 pointed at my head
1- 2x12 pointed at my drummer's head
1- 4x12 bottom cab pointing at the poor soul's head who decided it was good idea to get a front row seat (usually the guitarist from the opening band)
I used a bottom cab because there was more surface area to support my 80 lb. Mesa rig....so I could never really hear myself because all of that "awesome tone"    was hitting me right in the legs.
So I decided to supplement with the 2x12s.
Partly because there was this other guy on the other side of the stage who had a 4x12 cab and I HAD to be TWICE as loud since I was the 'lead' guitar.
 
The most tuning I ever did was by taking the top half rear cover off of the 2x12's to make them slightly lighter to carry.
Ports would have been cool because they would've served as another handle.
 
 
That's all of the technical data that I can add to the conversation.
 
For the record:
Welcome aboard Mr. Coash!
You are among friends and like minds.
 
 
 

[Ritchie200]

SG, my brotha!  No harm intended!  You are more than welcome to enjoy whatever your progressive soft soul-funk mind desires! (Your description, by the way!)    Yeah, I used to haul around 4, 4x12's and rarely plugged in more than one!!!  But I sure looked cool with that back line!!!  Didn't help with my technical ability however..... Or my back....


Jim, my first REAL guitar cabinet was one I built in Jr. High shop.  It was made out of maple that I stained cherry, because I thought the reddish/brown color looked cool!  (the maple had/has a beautiful grain, I should have just left it alone.  The shop teacher should have beat me!!!)  I used an 8" woofer, 3" tweeter radio shack combo kit.  I thought it was real professional because even though it was supposed to be a Hi-Fi setup, the 8" had an aluminum voice coil cover - ooooooooo!!!!  When I had saved enough dough, I swapped that out to a 12" and a horn tweeter.  Both were real "musical instrument speakers" and if you remember the radio shack lineup, the horn was orange and I mounted it OUTSIDE the grill cloth - oooooooo!!!!  My amp was an old phono amp chassis probably from the 50's that had 6K6's that I changed out to 6V6's because...V comes AFTER K so they HAVE to be better!!!  My dad built a high pass/notch filter arrangement on the input so I could dial up all sorts of amp tones besides just the bass and treble controls - pretty darn ingenious!  No, none of that geniusness filtered down to me...  I built a head cabinet for it and it turned out too small.  I had to take the screws out of the PT and lay it on it's side to fit... (hmmm was it...cut twice and measure four times?....measure once and don't cut?...don't measure at all....?)  Hey I was a kid, give me a break!!!  I had it completely finished and covered with handle and feet before I ever tried to slide the amp chassis in...    But man that thing could sound like everything from Sabbath to the Beach Boys.  I still have it tucked away in the basement with all my other hoarded musical treasures.  I came to realize that I had to work my tail off and WAIT to buy what I wanted (and fund Jim Marshall's retirement).  Looking back, that was half the fun of it!  Life lessons galore!  Nowadays, kids just beg their parents to take them to guitar center or its a computer app.  Nobody but us old farts makes anything anymore.


Hey!!! You get off my lawn!!!
Jim

[Ritchie200]

By the way Jim, like SG said, welcome!  Glad you are here to help us out!  Looking forward to your contributions.


Jim

[jojokeo]

I just dug out a couple of really old photos. I actually used 4x12" RadioShack speakers in this extension cab I built. If you can believe it I made TWO of these huge monstrosities!!! Had to stuff them with attic insulation so they wouldn't be so boomy. With these bad boys being fed by from an Electro Harmonix LPB-1 plugged into my '63 Tremolux I was the king back then...(at my high school).
Now the scientific research that went into the cab dimensions were taken, err copied directly from a Fender catalog and was the biggest speaker cab they made! But it only had two speakers. I knew by adding two more it had to be like an amp on 11?!


*ps - note EVH's guitar as in my avatar

[SILVERGUN]

SG, my brotha!  No harm intended!  You are more than welcome to enjoy whatever your progressive soft soul-funk mind desires! (Your description, 

See that jojo,,,I told'ya he's no bully...I think he's cured           

I just dug out a couple of really old photos.

Those pics are priceless!!
It's funny to see how we all went through that same gear obsessed period......I just didn't have any tools or ability back then....or money.
I never dreamed of building my own speaker cabs. I was brainwashed to believe that if it didn't have black tolex and a brand name on it that I would never reach sonic ecstacy.

But it only had two speakers. I knew by adding two more it had to be like an amp on 11?!

Hey,,, that was the equivalent of my theory...
If my rhythm guitarist had 4 -12's and I wanted to be twice as loud, I needed 8 -12's 

[Ritchie200]

Wow! Look at those abs!!!  Are those still around?

Jim

[SILVERGUN]

Wow! Look at those abs!!!  Are those still around?

OK, now I'm uncomfortable......

The goal was to NOT comment on the 3/4 naked jojo in the pic.   

I'm sure the abs are still there,,,,just a couple layers deep now. 

[jojokeo]

See that jojo,,,I told'ya he's no bully...I think he's cured           

He's been getting therapy but doesn't realize it   

It's funny to see how we all went through that same gear obsessed period......I just didn't have any tools or ability back then....or money.
I never dreamed of building my own speaker cabs. I was brainwashed to believe that if it didn't have black tolex and a brand name on it that I would never reach sonic ecstacy.

Huh!?!    We're STILL going through it...

Wow! Look at those abs!!!  Are those still around?

Those were my paddling muscals  I could go for hours... or until my feet and hands either got numb & my face purple in the winter or severely shriveled in the summer. SG's correct, they're down there somewhere! Though it might take a small submersible and sonar or at least some scuba gear?

I used to cut out all the big photos from Surfer magazines and tape 'em up on my walls. Those days I got to surf twice a day and once or twice a week got to throw in some slalom skiing to boot. BTW, those are Kanvas by Katin shorts and were IT back then. Nancy herself would sew them after choosing whatever print options you wanted. They also hosted/sponsored a few early contests. OP and Hang Ten were just beginning to make their first button up reverse print silk shirts & t-shirts with the two feet on them respectively. O'neil was the only wetsuit maker just before this and in the winter you'd wear a beaver tail over your long john to stay warm. SexWax had just come out and was a godsend! Then the first board leashes too. But that's even more things were just taking off too. Like urethane skateboard wheels with precision bearings. I had a pair of Gerry Lopez lightning bolt thongs w/ the bolt running through the sides - of course they were stolen during a session. Puka shell necklaces were also in back then, lol. I even had some turquoise nuggets with them.  Oh man, I'm laughing and also feeling really old. I don't want to make SG feel any more uncomfortable but I found another oldie of myself.

[Ritchie200]

Wow!  Look at all that hair!!!  Is that still around?  I guess you and Fabio were battling for the covers of the romance novels?


"When the wave breaks here, you don wanna be dere!"  That looks big for Cali?  What kind of board was that?  A twinny? I had a puka necklace back in the 70's too, haha!  Notice I am not foolish enough to post any long hair pics from the 70's...  Mean guys like SG are picking on me enough as it is...


Puka Jim

[jojokeo]

Ha! Longer the hair the better back then, the BCG's (barely clothed girls) loved it and that's what everyone had. But...notice that it wasn't even wet yet? That was a thing to see how long you could go & how many rides you could get. Most times you couldn't even make it outside w/out. But at the pier with the help of the rip shuttle & pilings for shelter you could do alright. But - it got wet right after this I assure you.  Yeah twin, right before the first thrusters.
This wasn't my actual quiver but the shapes & designs were very similar of back then to what I had...fish, swallow, wings, pin, squash, etc...memory lane.

*I wanna see some old photos of you and SG doing your things! (maybe start a different thread like FB's throw back Thursdays?)

[SILVERGUN]

*I wanna see some old photos of you and SG doing your things! (maybe start a different thread like FB's throw back Thursdays?)

Man,,,I sometimes forget how outta my league I am here....the closest I ever got to surfing was towing an inner tube out in the inlet.....never stood up on it though.

I was an "athlete" 
'Til I had all the cartilage removed from one knee,,,found ez wider, and took a couple guitar lessons.....after that, all rock star. Somehow I always eluded the camera lens.

*I wanna see some old photos of you and SG doing your things! (maybe start a different thread like FB's throw back Thursdays?)

That's a great idea....
I tried once when I first came aboard and a couple guys posted....
But just a straight picture/description thread would be incredible.

I really wanna see a pic of a young PRR telling Ben Franklin to "just see what happens if you tie a key onto that string"       (no disrespect intended Sir) 


P.S.  I found this old shot of a younger, more mentally stable Jimbo

[jojokeo]

  OMG - that's BS (before swastika) 

[John]

I found this old shot of a younger, more mentally stable Jimbo

Not more stable. 

or if you are seriously warped and play Jazz

HEY!!


 

[Ken Moon]

Anyone who is interested in designing cab dimensions for guitar amps should read this very interesting and informative conversation with Alex, the designer of the wonderful AX84 1x12 cab.

Alex is one of those engineers who knows all the "maths", but also the practical side, and experiments endlessly, not to mention being an incredible guitar player.

My son is a professional recording engineer in Toronto. He's used the frequencies shown in Alex's YouTube video on guitar EQing (and briefly mentioned in this paper), and says it made an instant improvement in his guitar recordings.

Here are the links to the design conversation, a sound sample using the prototype 1x12 cab, and just for fun, links to a couple of Alex's songs from one of his previous bands. 

http://www.ax84.com/static/corecabinets/1x12_Cab_Design_Thread.pdf
http://www.ax84.com/static/corecabinets/core1x12sample.mp3
https://www.youtube.com/watch?v=XXf5k7kksHg
https://www.youtube.com/watch?v=l5-MDdi49RQ

[jojokeo]

Anyone who is interested in designing cab dimensions for guitar amps should read this very interesting and informative conversation with Alex, the designer of the wonderful AX84 1x12 cab.

Alex is one of those engineers who knows all the "maths", but also the practical side, and experiments endlessly, not to mention being an incredible guitar player.

I haven't ventured over to AX84 in a while but Alex is a wealth of knowledge that's true but many were wondering what happened to him as he just "went off the grid". Has he been found or has he reappeared?

[Ken Moon]

I wouldn't presume to speak for Alex about his disappearance from the amp forums, but his new band Solomars has a presence on social media sites like facebook, twitter, and the website Solomars.com.

I do miss his posts - he and Merlin were my go-to experts on amp theory and design for a long time when I hung out on AX84.

[MakerDP]

I do miss his posts - he and Merlin were my go-to experts on amp theory and design for a long time when I hung out on AX84.

Merlin is still very active on AX84. He sure is a wealth of information.

I've built the AX84 1x12 cabinet too. It does sound really nice. I made it so that it can be converted from ported to open-back. I prefer it open-back with a Fender-ish amp and closed/ported with Marshally stuff.