FAQ & Mo’

* The B18 stays at 94dB up to 2800Hz… then still responding, begins to
roll-off. Mid-range, where basses (and voices, etc.) strive, are in the
250-2000Hz range. By example, the 4th harmonic at the 2nd octave G is
1568Hz.

* A fundamental reference for low-enders: F#-string is 24Hz, B-string is 31Hz, E-string is 41Hz, A-string is 55Hz,
D-string is 73Hz, G-string is 98Hz, C-string is 130Hz

* Regarding bowing and using a mic: We listened to Pablo Aslan performing through
a B18 while playing chamber jazz. He is a New York bassist from Brazil who
has a group that specializes in Tango. He played more than half the time
with a bow (including significant use of harmonics), with a stellar sonic
outcome. Pablo uses a DBA mic (we recommend the Remic mics and the Grace Design Felix2 pre-amp). There are no feedback issues at amplitudes commensurate with use of box speakers (unless you
lean the front of your bass directly over the top of the cabinet). In essence,
due to the spherical design of the Sonusphere cabinets,the resultant wide
dispersion spreads the energy (no off-axis beaming). This even dispersion
(within 2 dB at up to 140 degrees to the sides) all around allows all to
hear the full sound without focusing the sound.

* The full range powered M18 stage monitors, which use the Eminence Deltalite 2510
driver and have a tweeter, work quite well for acoustic bass, while rolling off at
a higher frequency. In truth, most acoustic players find that their basses sound ‘authentic’ and natural when not accentuating the lowest frequencies that are below what you here from an unamplified upright. Most uprights are indeed mid- to low-mid instruments. FYI: The 2510 was Eminence’s standard bass speaker prior to the introduction of the 3010LF. The 3010LF was developed to handle the fundamental below the low E and thus down to the low B, frequencies which are of course uncommon in acoustic basses.

* Carpeted floors are on problem for Sonusphere cabinets. 80Hz and below is well below what effects the radiator. In fact, we provide a carpet ‘disk’ that stays
inside the gig bag, unless you perform on a slick surface (wood, smooth
concrete, etc.). Under smooth surface floor conditions, you place the B18
on the carpet disk, to insure that this lightweight cabinet does not move
around when the lowest bass frequencies are introduced. As an aside, the
first ‘prototype finished B18 size bass cabinets were 11 lbs./5kg. We
were really pleased until we realized that they were too light to be
stable under some playing conditions. So, we had to increase the cab
weight, solely for stability reasons.

* Bassists: Try placing the B18 behind your right shoulder side. This stage-rear location will provide good sound for you and musicians both to the left and right of you, while still sounding good to the audience. In essence, you can achieve the ‘bass bubble’ experience that you likely have had with an Ac-Image cab while hearing fair greater note-to-note articulation than you get with the A.I.’s. The A.I’s do get a nice big ultra low end, but due to the high end driver pointing solely to the front, do not allow the note-center defining frequencies to be easily heard by the player.

*We at Sonusphere see players using speaker gear in novel ways in less than ideal room-specific acoustic situations to get around what are truly ‘speaker’ limitations. Players put the cab in corners, place them on tables, tilt cabinets up at an angle, etc. However, all those adjustments are basically bandages for cabs that do not innately perform properly and cannot overcome room challenges. And they are manuever’s that are not always possible or stage-specific possible. Those gymnastics are not required with Sonusphere cabinets.

* Sonusphere P-18 Mains and M-18 Monitors compared:

– M-18 monitor is basically the same as a P-18 main. Due to its wide dispersion, the M-18 serves well as a front-of-stage main/monitor combo, with its ‘main’ function good for 360 degrees and up to about 45′ away. Whether a group would want one or two M-18’s for this application is up to the user(s).
– The P-18 does not project complete content ‘behind’ its primary 140 degree full frequency basically ‘front’ facing projection arc (and certainly not at all beyond 180 degrees). The P-18 main on a stand projects complete frequency information to the same horizontal ‘width’ but to a greater distance (into an audience) than does the M-18 monitor.
– Due to the Sonusphere’s ultra-wide dispersion neither the M-18 nor P-18 is prone to feedback. So, one P-18 set in the middle and behind a band can serve well as a main/monitor. Two P-18’s set behind and to the sides of a band work great as well, while providing more power and pushing more air. When two P-18’s are used set in this kind of location, they may be rotated to project inward, straight towards the audience or outwardly as is preferred.
– For some, ‘pointing’ speakers in a chosen direction (although so-rarely required) can make the pointer feel more as if they are doing their job properly. Also, audience members have come to seeing P.A. mains as a framework to a band’s stage set-up. So this look can send the right visual ‘signal’ in a traditional setting. Therefore, the choice of which method to provide the main/monitor experience can be impacted by such aesthetics.
– Anecdotally, We have witnessed knowledgable live performance audience members, listening from 40+ feet, who have approached stages to ask where the totally clear vocals were coming from. These people were mighty impressed when finding out that it was all coming from one or two M-18 monitors doubling as mains.

* Passive vs. powered down-firing woofers:

The B-18 Sonusphere utilizes a ‘passive’ radiator to perform the same 80 Hz and below frequency reproduction function as an active/powered down-firing driver. Sonusphere’s instead provide power to activate the up-/ lateral-firing driver.

* Regarding Sonusphere Porting Systems:

There are two different Sonusphere porting systems, by model.
– The B18 uses the passive radiator embodiment in a sealed cabinet. In order to maximize function, it is located at a ‘calculated’ distance from the floor. This essentially results in a 360 degree ‘tuned’ final port aperture. In contrast, a ‘stand’ that a player may not use or may use while variably extended to elevate a down-firing woofer off the floor does not provide a ‘constant’, ideal, ‘tuned’ function.
– The dual port system incorporated in the P.A., monitor and optionally on guitar models, is an entirely different approach to enclosure ‘port’ style tuning. This approach includes either one or two port chambers, dependent on the outcome required. To correctly design cabinet tuning with a port that atmospherically connects the enclosure’s interior cavity with room, there needs to be a calculated chamber volume that has cavity ingress and egress cross-sectional areas of equal and correct size. In the case of a Sonusphere-style multi-port, the ingress from the cabinet interior is a singular opening and the egress is split to be 5 (or multi) radiating openings whose sum is equal to the total ingress cross-sectional area.

* Sonusphere cabinet bottom faces described:

The bottom plate has a grill that purposefully protrudes beyond the back plate face to protect the down-firing radiator. The bottom plate and all other elements must be securely held due to the tremendous pressure produced within this sealed enclosure during performance. The internal cabinet pressure produced by the ‘firing’ driver activates the radiator. As above, the rubber feet contribute to elevating the Sonusphere to the correct calculated distance off the floor, with the total gap present between the bottom of the enclosure and the floor serving as a tuned 360 degree lower frequency final aperture. The rubber feet additionally aid in isolating the cabinet from the surface on which it sits while gripping any slippery floor surface. This helps insure that these super light yet stable cabinets do not move around the floor when substantive bass frequencies are introduced. Each B-18 cabinet is sold with a portable rug on which a B-18 may be set to further stabilize as needed.

* About the cabinet material:
As is common to those who produce composite-based cabinets (some JBL’s, AI’s & QSL’s are examples), the Sonusphere’s are an injection-style molded thermoplastic enclosure. We could produce them out of carbon fiber (Sonuspheres would thus be less-than featherweight and look super cool,… but notably would not function any better). Those listed above, others and Sonusphere have all determined that thermoplastic materials are durable and cost-effective. The reality is that other modern materials would be too costly for the market. However, Sonusphere can and is willing to ‘custom-produce’ glossy exposed carbon fiber enclosures for those who would appreciate them.

VIIi: Regarding live performance: one bassist’s story.

The head of Sonusphere uses the B-18 speakers for jazz gigs, performing on upright (one B-18 with a Walter Wood head). Historically, he gigged with B-18’s during product development, playing electric bass for two years prior to B-18 introduction. This electric band had a kick ass (ie. loud as fuck/ had to practice outside of town under bridges) trap set drummer and a full ’14 foot’ spread percussionist, along with two electric guitarists. The music was Little Feat, Steeley Dead, gumbo inspired. He placed one B-18 between the drummers and one stage front by his mic stand. The overall focused stage fill was comprehensive. Both drummers could hear articulated and focused bass with a satisfying warm depth perfectly. The front B-18 served as a personal monitor/main. The back B-18 did the same for the drummers. The use of the two allowed him to actually play louder than with his previously used point source speaker ‘boxes’, this without causing fellow band members to complain about in-your-face/rude volume. This band played indoor venues up to 60″ sq. x 25′ ceiling without P.A .re-enforcement on the bass. He could make the band bass heavy when appropriate.