HSB0531

The amount of money you've spent on guitars is nothing compared to the amount you have spent, or will spend on alimony. Just keep that in perspective every time you go into a guitar shop. ^^^ Fixed It ^^^

This is Great!!!

Ok that Can't be the real sub heading at the bottom of the book right???

Great guitar save and a MUCH Better look than the original finish.

Me too!

Well it sure ain't "my cinnamon girl"

I always liked the strength and look of dovetail joinery. You can also go the Kreg pocket hole route: https://www.kregtool.com/shop/sale/?gad_source=5 I'd like to try the Avatar cabs.

In the early days I was using north American 9-ply Birch plywood which wasn't too heavy and had a decent stiffness to it. The second version of my cabinets I went with 13-ply 18mm (around 3/4") Baltic Birch B/B faced on 5 sides and 36mm (around 1-1/2") on the baffle. Baltic birch is ultra stiff but very heavy. The advantage was that no sound output was used to vibrate the walls of the cabinet and no bracing is required on a 1-1.5 cubic ft. 1x12" cabinet. Baltic birch won't add coloration to the sound if well damped on 5 walls. 3M makes a very densely compressed 3/4" fiberglass sheet that is designed specifically for acoustic treatment, and is way more effective that R19 fiberglass. The advantages of Pine are extreme light weight, easy to cut and shape, and less expensive, but, you loose a lot of sound output to cabinet vibration if it isn't well braced. And it probably adds some color to the sound....in a good way.

I checked the Celestion website because I found no T/S info on the guitar range in my database. They don't publish any unfortunately. I was hoping to get a look at what it would do in simulations.

Here's old info from Electro-Voice on both: https://products.electrovoice.com/binary/EVM-12S Series II EDS.pdf https://products.electrovoice.com/binary/EVM-12L Series II EDS.pdf The 12S had a gradual bass rolloff starting at 200Hz. The 12L has a very flat response from 300Hz. down to 100Hz. The Butterworth 4th order alignment tuning of the cabinet starts at 80Hz. I believe the main differences were in the cone weight and shape only. Th shape of the 12S was curvilinear, and the 12L was more straight walled). There's also differences in the upper mid and high frequency bands. Both speakers were measured in the EV TL606 cabinet with an internal gross volume of 1.3 cubic ft.

An important thing to note is that most speakers are designed to be in tuned port enclosures, while some need to be in closed back sealed enclosures, and some work well in both types. Most speaker cabinet design software will mention what type of enclosure is recommended for a particular speaker. I looked up the Mesa 90 and tried to cross reference it with a Celestion model without any results. Mesa doesn't give out any T/S specs so I can't "try it" in a cabinet simulation to see how well it works compared to an EVM-12L.

That's an interesting rear port.

I always wanted to build a furniture grade bare wood cabinet, but never got around to it.

I see that now, they rebadged it as the EVM-12L Classic. Regarding 12" vs 15" I think it's a matter of what the sound difference is, and what someone prefers. I can see the 15" being used for Jazz, where an extended low end with less distortion is desired. Keep in mind that a 15" speaker typically requires more cabinet volume than a 12" for the same low frequency extension. I used to work at a place called Wachuwan Music in Bayside NY (1979-83) Our 2 main EV speakers for guitar or compact keyboard were the EVM-12L and 15B. We used to unscrew the back heatsink and remove it for weight savings. For the EVM-12L, we built cabinets from the original T/S aligned plans that EV sent us. I'm assuming that they were the same as the ones Mesa used. If you look at the bare wood cabinet in the thread above, there's a center wood section screwed in place. That's to change the tuning of the cabinet. Keeping it in place tunes the cabinet lower (guessing at 80Hz.?) Removing it would get the tuning closer to what you would expect from an open back cabinet. I've used (2) 1x12 cabinets with the Eminence version, and also (1) Eminence loaded cab. with (1) Fane AXA12 Alnico loaded cab. I like the sounds from each combo as well as each one alone. The EVM-12L style is aggressive with more low end balls, while the Alnico has a sweet creamy top end. If you can afford both in separate cabs, go for it. A stamped frame Alnico is a lot lighter than the EVM-12L which is around 19 Lbs. But the EV is typically louder across the whole frequency range and can withstand higher input levels for longer periods. On the other hand, the Alnico usually has a sweeter cone breakup when pushed. It all comes down to what you like in the end. It would be best if there was an opportunity to audition both side by side.

When I was originally building speakers in the late 70's-80's we used the EVM-12L for the Thiele/Small aligned cabinets and it worked really well. When EV discontinued the EVM-12L, I found an almost exact match with the Eminence Delta Pro 12A speaker and used an optional Fane Alnico AXA12 that also worked great with no retuning or mods to the cabinet.

I meant the large and small signal parameters that are in both the mechanical and electrical properties of a speaker: Thiele, A. N. (1971). "Loudspeakers in Vented Boxes: Part 1". Journal of the Audio Engineering Society. 19 (May): 382–392. ^ Thiele, A. N. (1971). "Loudspeakers in Vented Boxes: Part 2". Journal of the Audio Engineering Society. 19 (June): 471–483. ^ Benson, J. E. (1996), Theory and Design of Loudspeaker Enclosures, Indianapolis, Howard Sams & Company, ISBN 0-7906-1093-0 (collection of three papers originally published in Australia, 1968–1971). ^ Small, R. H. (1972). "Direct Radiator Loudspeaker System Analysis". Journal of the Audio Engineering Society. 20 (June): 383–395. ^ Small, R. H. (1972). "Closed-Box Loudspeaker Systems–Part 1: Analysis". Journal of the Audio Engineering Society. 20 (December): 798–808. ^ Small, R. H. (1973). "Closed-Box Loudspeaker Systems–Part 2: Synthesis". Journal of the Audio Engineering Society. 21 (February): 11–18. ^ Small, R. H. (1973). "Vented-Box Loudspeaker Systems–Part 1: Small-Signal Analysis". Journal of the Audio Engineering Society. 21 (June): 363–372. Thiele/Small parameters can be found here: https://www.soundimports.eu/en/blogs/blog/thiele-small-parameters/ And here: https://en.wikipedia.org/wiki/Thiele/Small_parameters#Large_signal_parameters They're provided by most speaker manufacturers and would be imputed into a speaker design program such as: https://loudsoft.com/fine-design-software/ https://www.bodziosoftware.com.au/

Yup. All based on the work done by A. Neville Theile and Richard H. Small. They came up with large & small electrical/mechanical speaker parameters that would be used to design and tune cabinets that would be optimal for the speaker. This also included optimal Length/Width/Height cabinet ratios. Before that, everything was trial and error.

THAT is COOL !

Sad but getting more true every year, at least for bands

That there's some fine example of college grad material, or maybe just some clueless D.A.M.F.

I can understand the reason behind isolating the string saddles.

I never saw a bridge like that before.

Ok yes I figured out the problem! You bought all your cables with uncircumcised ends. It's much harder to connect them without modification, and they always create a mess of things, get dirty faster, and just make life on stage, well...hell. Yes, you are correct! It is there fault!

That's not Audio, Guitar, Speaker, Lighting, or Category cable, so it's not us. We are all well organized and meticulous, aren't we guy and girls. Why yes we are All in the lower picture category aren't we...well of Course we Are!....yes