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Today I rediscovered my Don Grolnick Complete Blue Note Recordings. Fond memories. [video:youtube]

I play organ/LH bass in a 5-piece jazz+funk group. To get a realistic sound, use sampled basses that change tone with MIDI velocity. There are both hardware and software solutions. I use hardware, . It is old and the number of tonal changes per sample is limited to three or four, but it is fine for live performance and can be found for around 100USD . Sound engineers love taking a direct feed from it. It has fooled a few in the audience that have approached the stage looking for the bass player.

IMO the Pinwheel was more phase-ey than the Vent. It also had more amplitude variation, maybe due to the Vent's mic distance setting. I also preferred the EQ of the Vent. FWIW, I summed the two channels to mono to detect any glaring frequency cancellation - both seemed okay to my ears. I could probably use either, though prefer the Vent for the reasons mentioned.

Making an unfounded assumption about the driver locations and perhaps other things, the pattern will be squished horizontally and very wide vertically?

Atlas Sound PD-5VH horn driver to replace an EV-1829 in a tall boy.

Ella Fitzgerald - Something to Live For (2000) First Gravy - Journeys of the Hammond Organ *see below MC5 - A True Testimonial Jim Pepper - Pepper's Pow Wow (1996) Texas Tenor - The Illinois Jacquet Story Trane Tracks - The Legacy of John Coltrane Classic Albums ~~~~~~~~~~~~~~ - Cream ~ Disraeli Gears - Fleetwood Mac ~ Rumors (1997) - Frank Zappa ~ Apostrophe and Over-Nite Sensation (2007) - Jimi Hendrix ~ Electric Ladyland (2010) - Lou Reed ~ Transformer - Motorhead ~ The Ace of Spades (2005) - Nirvana ~ Nevermind (1991) - Paul Simon ~ Graceland - Queen ~ Opera - Sex Pistols ~ Never Mind the Bollocks (2002) - Steely Dan ~ Aja (2006) - Stevie Wonder ~ Songs In The Key Of Life - The Beach Boys ~ Pet Sounds - The Doors - Tom Petty and the Heartbreakers ~ Damn the Torpedoes [video:youtube]

C/V exists in mono, so the Leslie sim creates the stereo out. A pre-sim effects loop could be useful in a clonewheel. According to a mid-April FB posting by Greg Lounsberry, he is developing (has developed?) a stereo version of the T&F that has two types of outputs. One has the standard T&F gain structure. The other has a reduced gain that overdrives less than the standard T&F and is designed to be used post sim. He called the second type the A10.

I suspect this was done for testing convenience. It is clear from Mark Schmieder's linked video that the XK5 signal was coupled into the AO-28 throught RADIO-PHONO input on the AO-28 doghouse. The only thing after that input in the AO-28 is two relatively linear tube stages buffering a tone control. IMO it is probable we are actually hearing the difference between the XK5 and B3 when played through one example of a 122 Leslie. To me, the XK5 sounded a little brighter than the B3. I have heard this brightness in other clones. This one sounds pretty good.

I know of no equation for one direction of the side relative to the other (other than the phase is inverted). Here's how I did it: [font:Courier New]M-S mic equations (k = mix ratio [0:1]) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ L = kM + (1-k)S R = kM - (1-k)S Assume perfect 1:1 mix, k = 0.5, solving for M & S: M = L + R S = L - R Let SSV3 inputs be L' & R', then SSV3 M and S outputs are: M = L' + R' S = L' - R' Let, L' = L - R R' = R - L Then, M = (L-R) + (R-L) = 0 S = (L-R) - (R-L) = 2L - 2R [/font]

Going through the matrix equations and assuming a perfect 1:1 mix in the SSV3, I think a side-only output could be achieved by driving the SSV3 with two new inputs, L' and R' such that: L' = L - R R' = R - L Where L and R are the original inputs to the SSV3. This could be tested by using a capable mixer.

Well the naive engineering solution is to delay the signal to the cardioid driver so that it corresponds to the time delay inherent in the physical separation between the two out-of-phase side drivers. The point is to make all three drivers appear as a point source, right? I wouldn't be surprised if the time alignment patent for the new implementation has something to do with this. If this thing is said to produce an output that corresponds to the pattern response of a mid-side microphone array then it should look like a couple of super-cardioid-ish patterns whose separation angle depends on the mid-side mix ratio (because that is what the mid-side array looks like). I ought to be able to do the same thing with two cardiod-ish loudspeakers, close together and whose angle-of-separation is somewhere in the range of 90-130 degrees. I have not tried this however.

From a Finnish TV parody show according to YT comments. Did the KB player do a little eyebrow thing at 5 sec? The bass player is reading the chart and is rock solid.

I have had gigs from different kinds of hell. 1. I was playing saxophone in a blues band. The band leader booked us to play the reception for a Cuban wedding. A blues band. For a Cuban wedding. It did not go well. He did it twice. 2. Again saxophone but in a 10-piece jump band after they had become passé. The day after Dale Earnhardt died we played a seafood festival not too far from Daytona. Large mildly hammered crowd. Someone approached the stage and asked our "lead singer" to say something about Dale Earnhardt. He turned and looked at the horn section - uh oh. "He should have worn his seat belt." I told the bari player to get ready to duck behind the stands when the bottles come flying. Fortunately they didn't. We were supposed to play the next day but thankfully we were fired. The event coordinator had received over twenty phone messages complaining about the guy.

As long as we're posting "other people's gigs from hell"... (crossposted from Gigs From Hell talkbass.com) Just thought I might share an experience with you guys. This was a few years back and I originally posted it on TBL, but I thought it might be appreciated here. ---------- THE FOLLOWING IS COMPLETELY TRUE The company I work for, "Legends in Concert", was commissioned to bring their show to Beirut in December 1997. This, apparently, was to be the first show from the west since the civil war. We were brought over (a cast of 21: dancers, acts, musicians, etc.) for a 3 week run. When we reached Lebanon, we were treated like royalty; armed guards and TV crews, 5-star hotel, the works. AS IT TURNS OUT, the show was placed in am old theatre on the Muslim side of town. This is a problem for 2 reasons 1) The Muslims (in general) weren't interested in this type of show, 2) The Christians (in general) wouldn't go to the Muslim side to see such a show. It was in an area known as the "green zone" With no real monitor system, a bass amp (among other things) must be rented at a rate of $3,000 FOR 3 WEEKS!! -wait, there's more. Opening night, packed house (all comps tho); the US ambassador (who came to see the show) says to our light tech "...you were VERY BRAVE to come here." Well, a rocky start, but I'm sure it'll be fine... 2nd night, there are 7 PEOPLE in the house (capacity about 1,500). Not good. 3rd night ZERO PEOPLE. None, nada , zip! Show is basically done. The promoter starts to get a little zany, as he has PREPAID for the show (about $500,000). The armed security that had been escorting us around town is discontinued. Things start to get tense. The promoter starts to suggest that the show be cancelled, and, of course, that HE GET HIS MONEY BACK. He starts to make veiled threats that he "...might not be ABLE to let us go if he doesn't get his money back." Needless to say, everything (salaries, plane tickets, freight, etc.) has ALREADY BEEN PAID by Legends- he ain't gettin' no money back. AS IT TURNS OUT the consulate is holding our passports; the promoter had to post a sizeable bond to bring us into the country. There is a General at the consulate (who just happens to be a friend of the promoter) who must stamp our passports for us to leave the country. We now CANNOT LEAVE UNLESS THE PROMOTER WILL ALLOW US TO!! -wait, there's still more. The US embassy says that they can't really do a whole lot unless we are actually threatened. Meanwhile, in a drunken rage one night in the hotel (we had to stay in practically the whole time- we were told it was UNSAFE to go outside), the promoter exclaims: ".. I OWN you people!! You will perform in my LIVING ROOM, if I say so!" -not lookin' good. Unbeknownst to us at the time, one of his goons has called the company in Vegas, claiming that we were now the prisoners of Hezbola (sp?), and we would not be freed until he received his money. THIS sets the American embassy in motion. They arrive in the next morning (we were told that night, be ready to go with 5 minutes warning with a dozen armored bullet-proof suburbans, Lebanese mercenaries, and a lot of guns. We are FORCIBLY EXTRACTED from the hotel (while the promoter's goons try to stop us), taken to another hotel on the other side of town; there is not enough room for us to stay at the embassy. AS IT TURNS OUT, THERE ARE NO FLIGHTS AVAILABLE FOR 2 DAYS. Also, the airport is what the military calls a "Hot Spot", which meant it was dangerous enough that the ambassador (with a dozen armed guards) doesn't use it. We are what is know in the military as a "soft target" We are put up in a hotel with mercs and Lebanese army guarding every floor and entrance for 2 days. Turns out the promoter is a quasi-mafia figure. We are escorted to the airport under armed guard again. In transit, one of the embassy guys, Ramzi (his real name), says: "...uh, look. Probably nothing will happen, but if you hear shots being fired, get down underneath those bullet-proof vests on the floorboard." Traffic is stopped by armed guards as we speed through downtown Beirut. Incidentally, our suburban had a turret mounted on the top; much like a tail-gunner on a military plane. Eventually, we arrive at the airport, escorted by Ziad, a Lebanese merc working for the embassy, carrying a CONCEALED WEAPON in the airport, (who, incidentally, the Sergeant at the embassy said of "..if I need someone TAKEN CARE OF, I'll use Ziad.") who says "..if you hear any shooting, get down, and I will handle it". We are supposed to keep a low profile at the airport, so naturally the girl playing Tina Turner decides it would be cool to buy a DAGGER as a keepsake at the gift shop and try to take it on the plane with her. This attracted a lot of attention. We fortunately leave without incident, and arrive home safely. Whaddayathink...all-time gig from hell? I got a pic of all of us at the embassy which I'll post if anyone wnats to see it. Again, I have not fabricated ANY of this. Oh, I forgo the part about our hotel room with a toilet that overflowed EVERY DAY, spilling sh*t all over our bathroom floor EVERY DAY. -also true.

I use Audacity. Quirky but works.

I've used quads from 1964 Ears, assorted ear plugs from gun shop blockers to Etymotics. The best sounding and most comfortable hearing protection and monitor device I've used is a David Clarke 10S-DC stereo headset. I thought it would illicit cat calls on stage, but I've never received one negative comment. http://www.davidclarkcompany.com/files/headsetmodel/imgstyle-detail/10S-DC.png I'd really like someone to make IEMs with binaural mic's in them. I have tried the Roland CS-10EM but I don't think they have enough attenuation. Perhaps with some other tips.

Kraft Music reports Viscount has confirmed that their warranty is 2 years parts, but labor is not covered. There are a few authorized service centers in the US.

If that is the case then it could be that when the gain is turned up on the SS to accomodate a low-ish level drive signal then it clips at an early stage before the output stage does. Whereas if a larger drive signal is provided and the SS is run at a lower gain it would clip the output stage first (and be louder thereby). This is pure speculation. Regarding the mixer thing, as b3plyr said, if you follow a source with an amplifier you cannot improve the overall SNR over that of the source, only degrade it. Hence, using a mixer between the source and the SS does not produce a "cleaner" signal into the SS than the source by itself. However, when b3plyr conceded a point to MathOfInsects he introduced a wrinkle; he was referring to the SNR at the output of the SS whereas MathOfInsects was referring to the input. The output SNR is what you really care about anyway - what it sounds like. In this case of cascaded amplifiers (mixer and SS), the overall noise figure is set by the characteristics of each cascaded stage. So depending on noise figure and gain settings of the mixer and of the SS, the overall noise figure could be better or it could be worse than the SS alone.

Does the noise vary with the dimming level?

I think cold storage is probably okay. Electronic components commonly have operating temps down to -40C, up to +105C. The worst thing is probably high temperature in combination with high humidity such as in an outside storage shed or trailer in Florida during the summer. Possibly a closed garage may qualify. Things corrode under these conditions. Electronics can be made to withstand high heat and humidity but this is uncommon for consumer equipment. Generally it would be for military or commercial markets where the equipment is required to be tested under these conditions as part of certification.

Actually this would push everything out the front speaker (unless you're wondering if one of his two cables is sending no signal). Yep, that's what I mean -- one cable could be dead (I've had it happen more than I'd expect, even on new cables). Front speaker gets what's common between R & L, and the side speaker gets what's different between R & L. If there's only one line coming in, there can't possibly be any commonality between R & L, which means it should go to the side speaker. Mid = L+R so if L is dead, mid = 0+R = R. Side = L-R so if L is dead, side = 0-R = -R (- means the phase is inverted). Hence the same signal would go to both, depending on mix level and which was dead, L or R.

Or Don has other expectations of the gear he uses.

Or a Rolls HE18 Buzz Off hum eliminator. In addition to RCA phono it has 1/4 TRS jacks.

I played around in the back yard and measured the free-field response of SS's mid channel. I did the mid only because when the side channel gets added in there it's going to do all sorts of peculiar stuff to the frequency response depending on angle off-axis and so on, also on what's driving it. Yellow curve - Mid control fccw, high control fccw cyan - mid control @ 1 o'clock, high at fccw white - mid control @ 1 o'clock, high at 12 o'clock (pic says 1 o'clock). With both mid and high fully off the response looks sort of like a 122/142 Leslie cabinet, rolling off sharply at 5 kHz. It looks like a 12'oclock to 1 o'clock setting of the mid control brings up the highs to a reasonably similar level to that of the main driver. I notice a 24 dB/octave roll off below 100 Hz. I have modeled this driver in a sealed enclosure and I get the usual 12 dB/oct roll off for a sealed enclosure. I dunno. Maybe another high-pass internally? This was plotted with 1/6 octave smoothing, and the dips in the response are pretty typical of many drivers that don't cost a lot, though there is quite a suck out around 5.5 kHz. I don't see much going on with the HFQ control. I've never heard it do much but had written it off as having to do with my poor hearing above 13k. When driven with 100W this driver exceeds its 3mm xmax spec at about 140 Hz. I'm definitely using a sub before the SS. I have one in mind that uses a mini-dsp module with the 2 Way Advanced 21 plugin, which has the crossover, sub output and a very flexible parametric EQ.

It is my understanding that sealed enclosures, which the SS3 is, roll off at 12 dB/oct.