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For this competition, I’ve choose to design a sub with high level capability, something that can compete with an F218 Funktion One in terms of SPL and low response. Yes, it is a great challenge with a speaker which has a Qes of 0.496, but I like challenges.

I’ve designed an hybrid horn/reflex. I’ve already built this type of cabinet: They sound right with very high level sound pressure, great dynamic. A lot of people in France love them and they are easy to build.

I use software like Akabak, Hornresp to make simulations. I well know them, they are quite accurate if properly set.

The sensitivity is 104.5dB 1w (2 volts 4 ohms) @ 1m

Theoretical maximum continuous SPL: 137.5dB and 143.5dB peak

Low response:
One cabinet :
43Hz -3dB
39Hz -6dB
35Hz -10dB
Four cabinets :
38Hz -3dB
34Hz -6dB
29Hz -10dB

Recommended high pass filter: 34Hz 24dB/oct Butterworth
Ports are properly sized to not hear air noise at high pressure level.

After being retired from use for some time, Santana’s original, snakeskin-covered 100-watt Mesa/Boogie is back onstage with the master. Santana also plays through a pair of Dumble Overdrive Reverbs and a pair of Bludotone Universal Tone heads, one of which is a prototype.

The amps drive a pair of paisley-covered PRS 4×12 cabs. One cab is loaded with four Celestion Vintage 30s, the other sports two Celestion Vintage 30s and two Celestion G12-65s.

This handbook covers all the major kinds of cab types you’re likely to want to try and build. Anything from horn-loaded subwoofers to 4×12 guitar cabs, along with advice on dimensions, fixings materials and construction.

There are useful sections on porting and crossover design including some basic scientific theory to help you make the right choices for your application.

For more advice on choosing PA speakers, click here.

For more advice on choosing guitar speakers, click here.

As developers of the world’s first dedicated guitar loudspeakers, many Celestion speakers have been in production for a long time, helping to define the sound of popular music along the way.

During these periods, the precise design and raw material specifications have changed to accommodate new manufacturing techniques and technologies as they have become available. Typically, the shape of the coil former might be simplified to reduce waste material, the adhesive used on the dustcap would be changed to a faster curing and sweeter smelling type, and the dustcap material itself would be changed as suppliers came and went. Magnet sizes changed when standards were altered and even the formulation of the cone edge treatment changed over time as easier-to-apply and better performing compounds were discovered.

The effect of each of these entirely worthwhile developments on the sound and response of the speaker was almost imperceptible. But taken collectively the shift was more significant, resulting in a thriving market for the limited supply of ‘original stock.’

We begin the Heritage process by deciding which ‘version’ of a speaker to re-create. Then, the exercise is to re-visit as closely as possible this example of the speaker by regressing speaker development back to its fundamental origins. In doing this, we strip away the changes like those listed above to recapture the particular tonal qualities of the speaker of that era.

The discovery of a large archive of information, drawings, blueprints, parts-lists and specifications during a factory move in 2003 proved invaluable in this process. We were also fortunate to be able to call upon the expertise of a former Celestion engineer who was able to qualify much of this archive information.

The original adhesives are no longer available, and have been superseded by modern equivalents. With some record of what compounds had been used in the early years, we are able to replicate with a reasonably high degree of accuracy the formula that would have been used at the time. Of course, the methods of application, drying time and so on are kept as close as possible to how it would originally have been.

Similarly the original edge treatment is no longer available. Thankfully, Celestion has a great deal of experience in tailoring edge treatments to specific applications and so we are able to mix a very similar sound-alike formula here in Ipswich.

The magnet assembly is critical to the tone of any speaker and any variation in magnetic flux (the amount of magnetism produced) will affect the sound. Accordingly, considerable time is spent finding exactly the right kind of magnet and perfecting the magnet assemblies, better to replicate the magnetic effect and hence the original tone.

Listening forms a vital part of the Heritage process. The objective is to replicate the tone of these speakers as they would have sounded out of the box many decades earlier but even an original sounds different as it is played in and suffers changes in humidity over time. Even so, we spend hundreds of hours in our purpose-built listening room, auditioning speakers of the era and comparing them with Heritage models in development.

We also speak to a wide range of interested and knowledgeable parties; former and long-standing Celestion engineers, customers who have used the original speakers and our Partners in Tone who, through listening and playing experience, have strong ideas about what the tonal qualities of these speakers should be. Input from Robben Ford, for example, was highy influential in shaping the final tone of the G12-65.

Finally, manufacturing and assembly processes are conducted by hand at our facility in Ipswich, England, and are largely the same as they were in the 1960s. Indeed some of the production staff have been working at Celestion for more than 30 years.

The result of this painstaking process is a range of speakers that evokes the sound of some of the most influential guitar speakers of all time. The Celestion Heritage Series currently comprises of four models; the G12M, G12H (55Hz and 75Hz version) and the G12-65.

Replacing a speaker or speakers in your cab can be a really cost-effective way of significantly upgrading your tone. If you’re thinking of swapping out speakers yourself, then you’ve come to the right place! It needn’t be a difficult operation, but it’s important to be aware of how the speakers are connected up, as well as some of the implications of wiring up multiple speakers together. Before you get to re-loading your cab.. take a moment to read through the important background information below and get ready to take a step closer to great tone!

Single Speaker

The most basic cabinet configuration is a single speaker.

1 x 8 ohm Speaker = 8 ohm load
1×16 ohm speaker = 16 ohm load

Two Speakers

Remember:
1. Match impedances (ohms) – all speakers in the same box should have the same impedance.

2. Power handling – as a rule of thumb, when mixing speaker types in a two speaker cabinet, maximum power handling is 2 x the lowest rated speaker (e.g. for 30-watt & 60-watt speakers, max power handling = 2×30-watt = 60-watt)

There are two ways you can wire a two speaker cabinet.

Series: 2 x 4 Ohm Speaker = 8 Ohm Load;

2 X 8 Ohm Speaker = 16 Ohm Load;

2 X 16 Ohm Speaker = 32 Ohm Load

Or, in Parallel: 2 X 4 Ohm Speaker = 2 Ohm Load;

2 X 8 Ohm Speaker = 4 Ohm Load;

2 X 16 Ohm Speaker = 8 Ohm Load

Four Speakers

Remember:
1. Match impedances (ohms) – all speakers in the same box should have the same impedance

2. Power handling – as a rule of thumb, when mixing speakers in a four speaker cabinet, maximum power is 4 x the lowest rated speaker (e.g. for 2×30-watt & 2×60-watt speakers, max power handling = 4×30-watt = 120-watt)

There are two ways you can wire a 4×12 (or 4×10 for that matter), the main one is Series/Parallel: 4 X 8 Ohm Speaker = 8 Ohm Load; 4 X 16 Ohm Speaker = 16 Ohm Load

Different speaker manufacturers use differing methods to determine power handling. At Celestion, every speaker is rigorously power/longevity tested using an in-house developed noise source. From this test, we find out how much power the speaker is capable of using and how much will destroy the speaker outright. By skilful analysis of the test data, we calculate a suitable power-handling figure.

The value chosen is low enough so there’s little or no risk of damage, but highenough for the speaker to fulfil the application it was designed for. It is NOT an absolute limit above which you must never go, more like a “speed limit” You can exceed the limit if you want, but it’s not recommended and if you do, theremay be trouble ahead…Generally, you can safely run a 60-watt Celestion speaker at 60 watts and it’ll keep going all day long.* Connect it up to 100 watts and it might work for anhour or more before it incinerates. “Over-power” any speaker and it’ll workfine for a while; just don’t bank on it lasting.

(* Extreme use can break a speaker at lower-than-rated power levels. Forexample a sustained drop-tuned Metalcore pummelling through vintage-typespeakers would almost certainly cause damage.)

Power Handling for Combined Speakers

If you mix different speakers with different power ratings in the same cabinet, it’s important to be aware of the combined power handling of the cabinet itself. Unfortunately it’s not quite as simple as adding together the two power handling values.

As a rule of thumb, the cabinet power handling should be calculated as a multiple of the lowest rated speaker. For example in a 2×12 containing a 60-watt speaker and a 30-watt speaker, overall cabinet power handling is 2×30-watt = 60-watt. In a 4×12 containing 2×60-watt speakers and 2×30-watt speakers, overall cabinet power handling is 4×30-watt = 120-watt.

In summary:

• Plywood or real wood construction is preferable
• Strong, rigid construction means no buzzes or rattles
• Size is not critical
• Ensure the speaker is adequately mounted and protected
• Avoid air leaks if using sealed box construction