ACME sound Low B-1 User manual

Owners Notes Low B
-
2 and Low B
-
4 Systems
1
Low B Series II
Systems from
Acme Sound
Owner’s Guide
Low B
-
4
Rev 10/02
Acme Sound Ltd USA
Low B
-
1
Low B
-
2

Owners Notes Low B
-
2 and Low B
-
4 Systems
2
Table of Contents
Introducing the “Series II” Models
.
.
.
.
.
.
2
Introduction
.
.
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.
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4
“Owner’s Notes”
.
.
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.
.
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4
IMPORT
ANT TO READ BEFORE YOUR FIRST USE!
.
.
4
Guidelines for Use
Impedance and Amplification
.
.
.
.
.
.
5
Placement: Low B
-
2
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6
Placement: Low B
-
4
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6
Placement: Low B
-
1
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7
Cables
.
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7
Stands
.
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7
Equalization
.
.
.
.
.
.
.
.
8
Biamping
.
.
.
.
.
.
.
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8
Care and Maintenance
Lint
.
.
.
.
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.
8
Covers
.
.
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.
8
Flight Cases
.
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9
Cats
.
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.
9
Duct tape
.
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.
9
General Info
rmation/Overview
A Full Range System?
.
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9
Midrange
.
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9
Tweeter
.
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9
Handles
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10
Trooubleshooting
General
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10
Distortion
.
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10
Midrange Attenuator
.
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11
Tw
eeter
.
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.
11
Fuse/Bulb
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12
For the Technically Curious
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12
Marketing?
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13
Warranty
.
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14
Forms of Abuse Not Covered
.
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14
Address/Phone
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14

Owners Notes Low B
-
2 and Low B
-
4 Systems
3
Owner's Notes
Acme Low B Systems
Series II
Acme Sound Ltd USA
Rev July 28, 1999
Introducing the Series II Models
Since the int
roduction of the original Acme Low B
-
2 in December 1993, and the Low B
-
4 in September
1994, the speakers have remained unchanged
until now, with the exception of a rust
-
proof powder
coating on the front grilles. The original period of development of these
two models was long and
painstaking, and I believed at the time of their introduction that nothing could be done to improve them
.
In the ensuing years, with the distribution of the speakers all over the United States and six continents (no
customers in An
tarctica yet), we have had the opportunity to receive comments and feedback from a very
diverse group of individuals. Most of th
e suggestions had been anticipated during the design process, and
weren’t particularly helpful. Some advice has been valuable, h
owever, and was filed away until such a
time as a number of small improvements could be incorporated into a different enough spe
aker to justify
a new designation: “Series II.”
The incorporation of these changes has been concurrent with the development of
our new Low B
-
1 1x10”
model, which is being introduced as part of the “Series II” line, even though no previous 1x10”model
existed.
One other reason these several small changes have been “saved up” for their simultaneous introduction
into a design wh
ich I believed to be essentially perfect years ago is that the manufacturer of our little
tweeter, Audax, actually discontinued
this marvel of high
output and cost effectiveness in mid 1996, shortly before
Scott Malandrone, of “Bass Player” magazine discov
ered
our products and introduced them to the bass playing
world in the November 1996 issue.
After the review in BP was publishe
d, we scrambled for
tweeters, and bought every one we could find in the
United States and Canada. A sizable pile of tweeters it
was. But not any more. We’ve used them up.
Interestingly, after examining a great many tweeters
from a great many manufacturers
since then, we were reaching a point of total frustration when,
viola
, in
mid 1998 we were able to examine samples of the lates
t high
-
sensitivity models from, you guessed it,
Audax.
They say the fruit doesn’t fall far from the tree, and in this case they
are right
-
our new tweeter of choice is
the model from Audax which superseded our beloved shallow horn. The new model is a slig
htly deeper
horn. It has a larger voice coil, a rare
-
earth neodymium magnet, handles more power, and in fact,
exhibits slightly
less coloration, and better projection than our original tweeter, which was quite good.
Like it’s predecessor, it is a marvel
of high output in a tiny package. Unfortunately, it’s a little more
expensive, but it sounds better too, so that’s OK.
(The in
corporation of this new tweeter into an existing design is what made development of the 1x10”
model take so long. It required an
enormous computer model to “exactly” duplicate the response of the

Owners Notes Low B
-
2 and Low B
-
4 Systems
4
original system through passive equalization. Extensive passive EQ is difficult, because it has a way of
making the impedance dr
op too low for most amplifiers to handle. The job was devilishly difficult, but in
the end was quite successful.)
What are the
other changes which distinguish the Low B Series II from the original? Several things.
The distinctive metal edges which gave
our speakers such a conspicuous appearance were considered
important in the early days of the company because, frankly, we were
trying to be noticed. This isn’t a
concern any more. In fact, we have heard of TV producers who actually balk at the idea of hav
ing such a
glaring piece on their soundstage.
After we upgraded the bare metal screens to a powder
-
coated finished version, i
n 1997, as a rust
preventative, it became clear that eventually the metal edges would benefit from a similar treatment. The
Seri
es II models have a new charcoal black powder
-
coated steel edge protector. Better.
The original Low B crossovers had a design d
rawback which has been corrected in the new models. The
attenuators, which control the output of the midrange and tweeter were u
nprotected. In cases of stupidity
or accident (about 3%
-
4%) it was possible to burn one or both attenuators out. It had never oc
curred to
me that this would be a problem, and even though it has been an unusual occurrence, it has been
annoying and frustrati
ng for manufacturer and customer alike.
Not any more, however. We found a way to add a component to the crossover which actual
ly introduces
itself gradually into the circuit as the attenuation is increased, and it is now all but impossible to damage
the attenuators. The trade
-
off is that the midrange and tweeter output can only be reduced by 20 dB,
which is equal to 99% power
reduction, instead of being totally shut
-
off.
Another change which has been made to the crossover is that instead of being su
pplied with twin 1/4”
input jacks, as before, the Low B now comes equipped with a single 1/4” jack, banana jacks, and a
Speakon connector. Both banana and Speakon provide greater electrical integrity than the more common
1/4” phone
-
type connector,
and the industry seems to be aware of this, so I’ve decided to jump on this
bandwagon.
Handles. I’ve been internationally cond
emned and universally chastised for my choice of small, recessed
handles for the Low B systems, particularly in the case of the
large B
-
4 unit. (See section on Handles later
in this publication.) I know when I’m licked. I admit that the handles I’ve used o
n the B
-
4 are essentially
useless, other than providing internal support for the ports, and I’ve caved in to popular demand
-
the
Low
B
-
4 Series II now has larger, heavier, and more useful handles. It’s the best example of this type of
handle I’ve been able
to find, and they aren’t cheap. The B
-
2 still has the small recessed handle, because it
hasn’t been such a problem with this sm
aller speaker.
The Low B
-
1 is equipped with a Fender
-
type strap handle. It is a great handle in terms of preserving
cabinet int
egrity, and serves the second function of helping avoid obstruction of the speaker’s side
-
mounted port. More on this below.

Owners Notes Low B
-
2 and Low B
-
4 Systems
5
Acme Low B Systems for Bass Guitar: Introduction
Congratulations on your purchase of what I believe is a unique product in
a crowded field. The Acme Low
B systems were introduced because I felt the existing products in their class were inadequate in
performance and rather expensive. And as a free
-
lance drummer educated in physics, I've had a unique
opportunity to be exposed t
o a wide variety of bass guitar equipment, and to understand the causes of
the coloration and distortion present in most.
How
often have you heard a bassist say, "The best sound I get is when I'm in the studio?" Why is this?
When in the studio, running d
irectly into the board, the biggest difference isn't in the electronics. Any
quality bass amplifier is capable of producing a lo
w distortion, wide
-
range signal to drive a speaker.
The difference is in the speaker itself. When “running direct,” a bassist
hears his instrument reproduced
not through a typical limited
-
bandwidth "bass guitar speaker," but through a low
-
distortion, wid
e range
studio monitor. It stands to reason then, that this "perfect" sound could be duplicated onstage only
through the use of
a speaker of similar characteristics. This is the concept behind the Acme Low B systems.
My basic approach to this business is
, “If it ain’t broke, don’t fix it.” The high cost and ho
-
hum
performance of many popular bass speakers though, offered an excel
lent opportunity for a small
business to fill a niche. Frankly, if I had sensed a similar need for a better PA, or a better hi
-
f
i, or you
-
name
-
it speaker, the first products bearing the Acme Sound name would have been of another type, not
bass guitar equip
ment.
But for now, this is what Acme Sound has to offer. The Low B systems for bass guitar.
Happily, the same laws of physics
govern the performance of all different types of loudspeakers. And I
hope to find other needs to fill which are as obvious as w
as the need for better compact bass guitar
speakers. I've had my eye on ultra
-
compact PA speakers to compete with the Elite Micr
ons and similar,
which sound good, but are somewhat lacking in bass and are quite expensive. The new Low B
-
1 model
competes in t
his area quite nicely.
"Owner's Notes"
Early on, it was anticipated that a definitive owners manual would emerge as questions w
ere raised by
musicians using the speakers. It has become apparent with the passage of time, however, that creating an
owner's m
anual is more of an ongoing process than a one
-
time job; it'll never be done as long as people
can think of other questions to a
sk, or I think of other things to say (That could take a while!). So this is the
latest version of "Owners Notes," subject to ch
ange without notice! The purpose of this guide is to
anticipate some questions and provide basic information on use of your syst
em to help you use it to it's full
potential. I will further amend this guide to answer questions as they come in, and ask for y
our help in
knowing what to add.
IMPORTANT TO READ BEFORE YOUR FIRST USE!
Two very important points of information which will
optimize your woofers for maximum power
handling, and increase your speaker’s chances for a long, trouble
-
free life.
1.
The woo
fers in our Acme Low B Series II models have a break
-
in period. The surrounds on these
woofers have a higher stiffness new
-
out
-
o
f
-
the
-
box than they do after some hours of use. This has two
real
-
world consequences.

Owners Notes Low B
-
2 and Low B
-
4 Systems
6
The first is that the ability of the systems to reproduce the lowest notes doesn’t reach it’s full capability
until the surroun
ds have been loosened up by being used.
The second, and perhaps more important consequence, is that when driven to their maximu
m excursion,
the woofers are much easier to damage when they are new, than after they’ve been broken in. It is more
likely that
the cones will be overstressed the when the speakers are brand new, than at any time after
they’ve been used.
How much break
-
in
time is necessary? I have broken them in using a sine
-
wave generator in less than
three hours. I believe that whan playing bass
, it is very difficult to predict how long it would take for a
specific person to do it. It depends on your style, and how loudl
y you play. My best advice is to start
slowly, and work you way into it. Within reason, of course, the longer, and the more grad
ual the better.
But please do your best to loosen up the woofers before you get into any serious slammin.’
The reason I have c
hosen to point out these concerns about breaking the speakers in, is because just
lately, I have had two customers damage their
woofers within the two
-
week trial period. This was
unheard of just several years ago. The woofers are the same. But I believe th
at the availability of
incredibly powerful amplifiers, even more than just a few years ago, has sort of changed the landscape.
Which brings me to the second IMPORTANT warning...
2.
A little bit of information about the level controls on power amps:
I’ve
had unfortunate conversations with an alarming number of people who have made the same
mistake:
A great many people, I’ve lear
ned, believe that a 1000 watt amplifier becomes a 500 watt amplifer once
the level controls are set to “halfway up,” “12 o’clock
,” or “only at 5,” if you catch my meaning.
I would prefer not to have this conversation any more, because it usually is with s
ome well
-
intentioned
kid whose woofers are in tatters, and who can’t understand what he did wrong.
So, read this twice if you
have to: Lowering the setting of the Level, or Volume control on your power
amplifier does not limit it’s ability to produce it’
s full power! If a 1000 watt amplifier is only turned
halfway up, it does not become a 500 watt amplifer! It is still able to pr
oduce it’s full 1000 watts if it gets a
“hot” enough input signal.
Read it again.
Thank you.
Guidelines for Use
Impedance an
d Amplification:
These speakers have a reputation for being power hungry, handling large amounts of power, and being
very loud
for their size. Although all of these things are basically true, it’s interesting how some users will
focus on one of these qual
ities and others will concentrate on others. For example, I’ve had people ask if
their 1800 watt amp will be enough for the 700
watt
-
rated B
-
4! The answer is yes.
After reading the admonitions about power in the magazine review (Bass Player magazine, 11/
96), some
people think they need incredibly huge amplifiers to hear the speaker at all! Implicit in that assumption is
that the
speakers will handle infinite power. Both of these ideas are exaggerations of the truth.
The Low B
-
2 is rated at 350 watts RMS
continuous. It has been used with success with 100
-
500 watt amps.
One customer here in Denver has managed with only 100 watts,
although it seems impossible to me. It is

Owners Notes Low B
-
2 and Low B
-
4 Systems
7
recommended that you use at least 300 watts for comfortable operation. In some situations, with certain
players, power requireme
nts can be surprising. You have doubtless already been warned.
Cut these numbers in half for the Low B
-
1 1x10” model.
We rate
the Acme Low B
-
4 at 700 watts RMS continuous. It has been used with success with 200
-
1000
watt amps. At lower levels you may fi
nd amplifiers of as little as 200 watts acceptable, but again, it is
recommended you use at least 300
-
500 for comfortable operat
ion.
These systems are aligned using Thiele
-
Small technology to minimize distortion in the lowest half
-
octave
(down to the "Low
B") but this alignment increases amplifier current requirements at these frequencies. As
a general rule, when distortion is hea
rd from these speakers, it will be eliminated by increasing amplifier
power. This is the unfortunate price we pay for low distor
tion, extended bass from a compact enclosure.
High damping factor solid state amps are recommended for greatest cone control, bu
t if you have a tube
amp, results will generally be acceptable. Several users report excellent results with the Ampeg SVT head
and large Mesa
-
Boogie tube amps, with no
negative consequences resulting from the high
internal amplifier resistance associated
with
all tube amps.
Placement: Low B
-
2
Because of the position of the midrange and
tweeter, a vertical p
lacement is suggested for
the Low B
-
2, with those units up off the floor.
For people who want to use a single speaker
in a hori
zontal configuration, it is
recommended that you elevate the system on
a chair or similar object, with the midrange
and tweeter
toward the top.
When using two Low
-
B
-
2 boxes together, I have recommended placing them side by side in the vertical
orientatio
n. Several customers have tried stacking them end
-
wise, column style, and have really liked the
raised midrange speaker, and the
way it disperses very evenly around the room.
In either case, place your amp or other heavy object on top to help anchor your
system to the floor. As the speaker cones move in and out, they will have a
tendency to cause the enclosure to vibrate in oppos
ition to the movement of the
cones. (Newton’s second law of motion.) This effect is present in competing designs
as well, and th
is is good advice when using any speaker, not just these Acme
models. It is to your advantage to minimize this effect by using a
s much weight as is
available on top of the speaker, Walter Woods notwithstanding.
Also, as the ports are located on the back
of the box, you should leave at least 6"
between the speaker and any wall. Restricting the ports will increase distortion and
decrease power handling.
Placement: Low B
-
4
The Low B
-
4 has rubber feet on what is designated the “bottom” of the speaker. The
idea, again, is to raise the midrange and tweeter off the floor, and allow these higher frequencies to
disperse into the room. I
n fact, to locate the midrange in the center of the front panel would provide a
more perfect and coherent source, but in the rea
l world, it was judged to be more important to cover the
room.
When using two B
-
4 units together, some users have achieved goo
d results by stacking the two speakers

Owners Notes Low B
-
2 and Low B
-
4 Systems
8
on their sides, with the midranges and tweeters oriented on a common vertical axis. Acoustically, this
orientation offers a bett
er “line source” than stacking the two boxes upright or side
-
by
-
side.
Experiment.
Placement: Low B
-
1
At first glance, the Low B
-
1 looks a little strange. As was mentioned above, the speaker uses a Fender
-
type strap handle. The port is apparently located o
n the top, next to the handle. Unusual.
In fact, however, the port and the handle are located on the
side
of the speaker. They
are placed on a
common surface to discourage the user from stacking another speaker (or anything else) over the port,
thereby ru
ining the operation of the port, and placing the woofer at great risk. As was mentioned in the
section on placement of the B
-
2,
blocking the port(s) greatly reduces system power
-
handling, and is to be
avoided at all costs.
As a consequence, the disadvant
age of this type of handle for use on the Low B
-
2, limiting stacking
options, is a necessity on this smaller speaker, and allows
the use of this excellent handle on the B
-
1.
Place the speaker with the midrange and the tweeter toward the top.
The port and
handle will be on the side, correctly, and the top of the box will provide an open surface for
placement of your amplifier, or f
or stacking a second Low B
-
1.
Cables
As a design goal, internal system
resistance has been kept to a
minimum. To maintain the s
ame
level of electrical integrity, short,
heavy gauge cables are best. Don't
run out and spend a fortune
however, unless you're
certain that
what you have is inadequate. I
recommend a cable of under .3
Ohms, and the larger the cable the
better.
Stands
Som
e customers have successfully
used the Low B
-
2 systems as PA
speakers. This has led to the idea of
using the units elevated on s
peaker
stands. Be warned: There are only
two small places on the cabinet
where a recessed receptacle can be
mounted, and you don
’t know
where they are. To cut holes
anywhere else in the box will do
irreparable harm to the enclosure.
This is because of the
orientation of
the special bracing that is used to
stress the enclosure. DO NOT CUT
HOLES IN THE ENCLOSURES FOR THE
PURPOSE OF I
NSERTING SPEAKER
STANDS WITHOUT CONSULTING
WITH US FIRST! If you need to do
this, please call before you destroy
Port Placement: Front, Rear, or Side?
Bass players seem to enjoy discussing the merits of front or rear placement of ports.
Based on their experiences, many players and manufacturers alike are convinced that
front placement has distinct advantages over
rear placement, or vice
-
versa.
When asked to justify their opinions, these partisans will invariably refer to vague
impressions
and gut feelings. They will never talk about wave propagation or
Helmholtz resonation. In fact, a bass
-
reflex enclosure, at the
frequencies where the
port contributes to the system’s output, is a pressure device, as opposed to a wave
device. So the intera
ction of the enclosure and the port, and the port's position with
respect to the woofer, itself, are unaffected by any direction
al activity. Direction is
utterly unimportant. By way of illustration, examine another pressure
-
related model,
a balloon. As you
inflate a balloon, does it expand on one direction only, or in all
directions at once?
Only after a port’s output leaves the c
abinet, and enters the environment, does it
assume the characteristics of a wave, one of which is direction of propagation.
Direction does assume importance when speaking of waves. Only, however, at
frequencies where the size of the source is large com
pared to the wavelength under
consideration. The highest frequencies at which the port in our Low
-
B systems
contribute to system
output have wavelengths of 14 feet or so. The speakers are
obviously quite small compared to these wavelengths, and the port ou
tput is
omnidirectional. Again, port placement is irrelevant to system performance.
Why does the B
-
2 have ports in the back? Be
cause that’s where they fit. Why does the
B
-
4 have its third port in the front? Same reason.
The B
-
1 system could have been cor
rectly tuned with a shorter, smaller diameter port
located in either the front or the back, if location mattered. But it doesn’t
. The
drawback would have been that at higher power levels, excessive port friction would
have resulted in diminished power hand
ling capability. This larger diameter, longer
port fits when installed on the side of the box. Plain and simple.
Tell your frie
nds that the reason your B
-
1 system sounds so good is that the
tremendous innovation of a side
-
mounted port results in some type
of magical
quantum
-
leap in performance. In fact, the truth is much less exciting: a high
-
quality
woofer in a solid and correctl
y
-
tuned enclosure. Feel free to let other people lose sleep
over where their ports are located. Now you know the truth.

Owners Notes Low B
-
2 and Low B
-
4 Systems
9
anything.
Or send your speaker back to us, to insure that the job will be done right.
Either the Low B
-
2 or B
-
1 systems are av
ailable with receptacles installed for use with common “Ultimate”
style tripod stands. The charge for this option is $30 per cab
inet.
Equalization
Thiele
-
Small modeling predicts a
-
6dB point of 31 Hz, below which response rolls off rapidly. In many real
-
world situations, with walls and floor nearby, perceived response will seem very flat to this point, and no
low
-
end boost will b
e desirable. In situations where equalization may be necessary (such as when
elevating the speaker on a stand with very wide ran
ge program material, or playing outdoors), 6 dB of
boost at 31 Hz will result in a theoretical near
-
perfect flat response. (Spea
ker
-
geeks will recognize this as
a classic “sixth
-
order alignment,” a concept pioneered by A. N. Thiele, and put into production
by Electro
-
Voice. But I digress.)
The speaker is designed to withstand high power in this region, and should easily handle mo
st demands.
CAUTION: Cone excursion increases rapidly below 30.87 Hz (Low B), and any low end boost below this
frequency decreas
es power handling, and could damage the woofers.
See “Forms of Abuse Not
Covered.”
Biamping
Speakers capable of producing only
a limited bandwidth (frequency response) need to be used with a
second speaker, and can benefit from biamping. Full range system
s, such as the Acme Low B systems do
not.
Other two
-
by
-
ten and four
-
by
-
ten systems are designed with limited bass extension, an
d can benefit
greatly from the addition of a larger woofer. (You are probably aware of our B
-
2W and B
-
4W units which
can work ni
cely in this application.) The Low B systems are full
-
range systems, however, and biamping
would only serve to restrict them. BI
AMPING NOT RECOMMENDED.
Attenuators
The attenuators which control the output levels of the midrange and tweeter on the Low
-
B sy
stems are
calibrated on the back panels in
dB of attenuation
. Some customers have called in confusion, commenting
that they seem
to be backwards.
A typical amplifier will have level controls marked “1 through 10.” The higher the number, the louder the
sound. A level control calibrated in dB of attenuation seems different
-
zero attenuation can be considered
“full
-
blast.”
Physi
cally, both schemes result in highest output when turned to maximum clockwise position. The
operation of the two differently cal
ibrated level controls is, in practice, the same. It is only the markings
on the dial which are different. The attenuators on yo
ur Low B speaker operate just as any level controls.
They are simply marked, or calibrated, in the opposite fashion. Zero dB of
attenuation is synonymous
with maximum output.
Care and Maintenance
Lint
Depending on your circumstances, lint can collect on
the carpet covering your Acme speaker. It is easy to
remove it though, and to restore the unit to it’s original good looks. The
easiest way is with simple
cellophane tape. Just put the tape over the dirty area. When you remove the tape, the dirt/lint will
come
with it. If your speaker is covered with a large amount of lint, you can use wide cellophane packaging
tape to clean it up
quickly!

Owners Notes Low B
-
2 and Low B
-
4 Systems
10
Covers
Vinyl covers for the Low B systems are now available. We’ve contracted with a leading manufacturer of
same, Tuki, to ma
ke them for us, and you can buy them directly from Acme. Standard covers are $50 for
the B
-
2, and $54 for the B
-
4. Padded covers
are $75 for the B
-
2 and $81 for the B
-
4.
Flight Cases
I am at a loss to make a recommendation. Most of the companies I have
talked to who manufacture flight
cases charge about as much for them as we charge for the speakers themselves. If at some time w
e can
locate a manufacturer who is able to offer a quality product at a fair price, we will arrange to stock them
for our custom
ers. Until then, you’re on your own. If you, as a customer, are able to share with us the
name of such a manufacturer, please do
so. I and others will be grateful.
For B
-
2 owners, it may be helpful to know that your speaker will fit perfectly into a case
made for the
older SWR Goliath system. (I’ve always admired SWR’s ability to think of catchy names for their
products.)
Cats
On
e user has reported damage from an over
-
aggressive tabby. Until you're sure your kitty isn't inclined
to use your speaker as a s
cratching post, you'd best keep the two separated.
Duct Tape
Duct tape will leave a residue on virtually
any
surface. The popul
ar carpet covering often found on
professional sound equipment, and on these Acme systems, is a particularly nasty material from
which to
remove duct tape. It is recommended that you
not
apply duct tape to your speaker. If someone puts duct
tape on your sp
eaker, common lighter fluid (Ronsonol) can be used to remove the gooey stuff.
General Information/Overview
A Full
-
Range System?
When I began this project, I had no idea how important the upper octaves were to the sound of the bass
guitar. I was surprised
at how bassists responded to the addition of a low
-
coloration midrange and a
tweeter capable of brilliant reproduction of high h
armonics. Modern active pickups have a very wide
-
range signal. Surprisingly, even older basses, with passive pickup systems, hav
e enough output in the
higher audio frequencies to make our little tweeter worth having. But this fact wasn’t discovered by
divine revelation, or a flash of insight on my part, it was rather a result of trying enough different
approaches to figure out
what sounded best, with a lot of help and feedback from some very patient
local bassists.
Midrange
One of the reasons the Acme
Low B speakers are three way systems is the wide variety of preferences of
bass players. Through extensive on
-
stage testing it
was found found that even among top players, some
prefer the midrange all the way up, and some like it to be virtually off. Sui
t yourself. This is an extra
adjustment parameter with which you can experiment as you perfect your sound, and it might take som
e
time for you to get used to it.
For keyboards or PA, a position of
-
5dB has worked well. This is, of course, subject to your
personal taste
and the acoustic properties of your room. It is reasonable to expect to make changes frequently if you
perform i
n very different environments. As with any new tool, you will become more skilled in its use as
you gain experience.
Tweeter

Owners Notes Low B
-
2 and Low B
-
4 Systems
11
In average rooms, flattest response will be found in about the
-
2 dB position, but most people like it all the
way up. Its effec
t can be subtle for bass guitar, but some round
-
wound players insist the tweeter makes
all the difference in the world. Again, e
xperiment.
Interestingly, the extended high end of our midrange driver made it possible to add an excellent tweeter
at a low e
nough cost to make the Low B an outstanding full
-
range system, comparable in performance to
studio monitors. The Low B
-
2 has be
en proven to be excellent for use as a PA speaker in smaller rooms
and when very clean reproduction is important, as when amplif
ying acoustic instruments.
The addition of this quality European tweeter is one of the unique things about the Low B
-
2 and Low
B
-
4
systems. What was a very good bass guitar speaker has become an outstanding all purpose/bass/
keyboard/PA. It is a better hi
-
fi speaker than many commercial stereo rigs, and nearly as true as some
popular studio monitors.
Connect a pair to your keybo
ard rig, stereo, or studio system, and see if you agree about the versatility
of this unique product. One gentleman in South Car
olina has even used the Low B
-
2 as a subwoofer in a
biamped system with Magnepan planar loudspeakers! He said it was the only sy
stem he’d found with
enough speed to keep up with the “Maggies,” and low end extension worthy of this audiophile class
system.
Handles
Acme Low B
-
2 systems use miniature, recessed handles because they require a very small hole in the
enclosure. Consequent
ly, the superior structural properties of the Acme enclosure are minimally affected.
The handles are located directly over the c
enter of gravity, so the system can be carried without tilting.
For aging baby
-
boomer musicians, minimum back strain will be acc
omplished with the screen facing the
person carrying the system. Unless you can get somebody else to carry it, which is the idea
l solution!
As was mentioned before, I have succumbed to popular demand, and made a larger, more useful handle
standard equipme
nt on the new Low B
-
4 Series II. This very high
-
quality handle will, I hope, meet with
your approval, and it’s thick, strong con
struction only minimally affects the sound.
The strap handle is used on the Low B
-
1. What is a disadvantage on the B
-
2, limitin
g stacking options, as
mentioned above, is a necessity on this speaker. The location of the port, on the side of the unit, makes
it
important to discourage stacking or laying anything on this surface, and the strap handle helps to ensure
that this will not
happen.
Troubleshooting
As questions have come in about potential trouble, I have attempted to compile some answers to possib
le
concerns in this section.
General
Many people, when they hear their instrument reproduced through these lower
-
distortion s
peakers, are
alarmed at the difference compared to what they are used to. There are several reasons for this.
One reason is the
wide range, low
-
coloration sound. You might be surprised at the wide range of
frequencies produced in the harmonics of your bas
s.
Another reason is the power requirements of the Acme units. A 200 watt amplifier, which is more than
adequate to power a JBL
, can seem gutless when used with these speakers, the 8 ohm models in
particular. Low power can obviously be a source of trouble
. Even with higher
-
power amps, a slightly
different approach to using your equipment can be helpful. See the section on “Distort
ion.”
In addition, the increased clarity of reproduction can reveal things about your bass and amplifier that you
haven’t heard
before. An example could be a high
-
frequency “hiss” in your amplifier that wasn’t

Owners Notes Low B
-
2 and Low B
-
4 Systems
12
noticeable before. Or, your pickups might exhibit a “peakiness” that hadn’t been noticeable when used
with a peakier speaker.
Distortion
Distortion, when introduced by any part of a sound system, will be heard from the speaker. If, for
example, an amplif
ier has a weak tube, the effects of that weakness will be heard as distortion
from the
speaker
. Sometimes, then, to say “the spe
aker is distorting,” can present a false picture.
A couple of gents had their Low B speaker disassembled before they realized t
hat their effects processor
had a low battery. Another fellow sent frantic email asking help in diagnosing his faulty speaker, b
efore
realizing the battery in his bass was nearly spent, and he hadn’t noticed with his old speaker. A new
battery fixed his sp
eaker!
The point, then, is that when you hear distortion, you must isolate the cause of it. If your instrument is at
one end of
a chain, and your speaker is the other end, distortion occurs when any link in the chain is
overdriven. To
overdrive
any compon
ent is to expose it to an input signal of sufficient strength to exceed
it’s capabilities.
Sometimes, when faced with a speake
r of lower efficiency, such as the Low B systems, a player will,
without thinking, boost the volume control on his/her instrumen
t to compensate. To do this though, is to
risk overdriving the preamplifier, by exceeding it’s input capability. Similarly, to t
urn the volume control
to levels that would try to squeeze 200 watts from a 100 watt amplifier is to (over)drive the amplifier i
nto
distortion. To push 1000 watts into a 500 watt speaker will obviously overdrive the speaker.
So, having explained that, if
you hear distortion, proceed as follows:
(1)
Increase the volume setting on your power amp, if you have one. Compensate by dec
reasing the
volume on your preamp.
(2)
If distortion persists, increase the setting on your preamp’s volume control,
and compen
sate by
decreasing the setting on your instrument’s volume control.
(3)
If distortion persists, check all of your batteries, an
d make sure any
ancillary equipment is
operating properly.
(4)
If distortion persists, and you’re not playing very loud, you mi
ght not have
enough power. If
you’re playing quite loud, you might have too much
power, and could be overdriving the speaker (Ye
s,
it
is
possible.) Try with
another amp.
(5)
If distortion persists, call Acme, and we’ll talk about it.
Midrange Attenuat
or
The midrange attenuator, while rugged and generally quite nice, can have a “scratchiness” if you listen
to it while you turn
the control. Don’t be alarmed. This isn’t a sign of a defect. That’s just the way they
are. I believe it’s as a result of a manu
facturing residue of some kind, as it tends to go away as the
attenuators are adjusted repeatedly.
Tweeter
The tweeter in these
speakers is crossed over at a very high frequency. In some circumstances, there will
very little output from the tweeter, becau
se there will be no substantial signal from the instrument in the
very
-
high harmonics. This has led to the conclusion by some th
at their tweeter is either blown or
malfunctioning.

Owners Notes Low B
-
2 and Low B
-
4 Systems
13
Before you jump to this conclusion, listen to a wide
-
range program source through your speaker, such as
a CD. With this source,
the output from the tweeter will be much more obvious than with some bass
guitars, particularly older, passive models.
The ver
y high crossover point makes it nearly impossible to damage this tweeter. It is very unlikely that
you will destroy it no matter
what you do. If you suspect damage, please perform the test described
above before making up your mind.
Fuse/Bulb
The midran
ge and tweeter are protected by an automotive light bulb which acts as a fuse. A bulb has a
distinct advantage over a simple fus
e, in that rather than simply failing, as a fuse does, a bulb will intrude
into the circuit gradually, and limit input current w
ithout failure. As input current decreases to safe levels,
the bulb will cool, and effectively remove itself from the circuit.
This is another concept pioneered by Electrovoice, to the best of my knowledge. In all honestly, the finer
points of the process
of a bulb’s intrusion into the circuit, and the resultant changes in impedance and
frequency response were researched for these
Low B models to a point far beyond the work done in the
past by anyone else. The crossover was designed with the variable
-
resis
tance bulb considered an integral
part of the circuit, and has been compensated for in the choice of crossover components to a d
egree never
before approached in other designs.
You will know when the bulb/fuse in your Low B system has failed: both the midr
ange and the tweeter
will stop functioning. This is a rare occurrence. Even more unusual is the failure of the midrange, the
tweeter, or either attenuator. The degree of protection afforded the drivers and attenuators in the Low B
SeriesII is nearly abs
olute. The crossover circuit ensures that only the bulb/fuse will fail.
In the event of bulb failure, you can find a replacemen
t at any grocery store or service station in the
United States, or any automotive parts store in the world. The bulb is a #1156
12 volt bulb, the most
common single
-
filament automotive bulb in the world.
For the Technically Curious
What is the differe
nce between the Acme Low B and countless other two
-
by
-
ten inch clones? Why a three
-
way system? I’ll try to explain the concept w
ithout getting mathematical.
The most important design goal of the Acme Low B systems was to reproduce the extreme bottom end o
f
a five
-
string bass with a compact enclosure. Consequently, superior low
-
end extension with low distortion
was the main criteri
a of woofer design.
Unfortunately, the characteristics that give a woofer good bass also decrease its midrange output
(specifically, rigid cone, low resonance). Consider, for example, the venerable JBL E110. This is an
example of a 10” speaker ca
pable of exceptional clarity, efficiency, and power handling in the
midrange. A thing of beauty to be sure, and a
great
guitar s
peaker! But as a tool for reproduction of low
bass it’s worthless. It’s built to do a different job!
The Acme woofer (a custom
Eminence) in the Low B systems is designed to be a BASS driver. It has a
heavy, stiff cone, with a long voice coil, and very co
mpliant suspension. Great for bass, but necessarily
limited at the top end. Therefore, ironically, a midrange speaker is necessa
ry to make superior bass
possible!
If one were to consider the JBL E110 at one end of the “bass
-
scale,” and this Acme woofer at
the other
end, then the woofers in the average two or four
-
by
-
ten system would be about in the middle. This
assertion is parame
ter
-
related. The difference can be expressed in numbers, and is not a matter of
subjective judgment.

Owners Notes Low B
-
2 and Low B
-
4 Systems
14
So, the obvious difference between the Acme Low B and similar looking systems is the midrange speaker,
instead of the ubiquitou
s horn tweeter. This is just, however, one characteristic of a fundamentally
different approach to the one, two, or four
-
by
-
ten
inch bass speaker. This speaker was designed "from the
ground up" around a different type of woofer. It’s designed first to do
the things the others don't do, and
that's the
important
difference.
I encourage you to compare this system head
-
to
-
head with
any
type of bass guitar system. Listen in
particular to the crop of systems which use ten inch speakers, and play your five
-
stri
ng. See how a three
-
way system can free a little woofer to reproduce the low notes on your instrument. Play a four string or
keyboard. Experiment with the attenuators and fine
-
tune your sound with a new degree of control. (And
tell your friends!)
Comp
are the quality of low bass to the enormous biamped system with an eighteen
-
inch woofer being
used by your muscular young friend
. Does your Acme box give up
anything
on the low end other than
power requirements or maximum volume? Is an eighteen or fifteen
inch woofer as “fast” and responsive
to your instrument as this puny little Acme box?
I've heard no conventional bass speaker
regardless of size, that can approach the overall quality of
sound of the three
-
way Acme Low B, particularly in the lowest regio
n of the five
-
string. Search for another
system which can envelope you with this big, warm, low frequency sound, while maintaini
ng the
quickness and precision we associate with a ten
-
inch woofer. After listening to the Low B systems from
Acme Sound, I beli
eve you'll be as disappointed with what's available elsewhere as I was.
Marketing
I've tried to sell these speakers through mu
sic stores, and the response is always the same: "Great
speaker, but we want something cheaper." While I understand their need t
o preserve their exorbitant
profit margins, the fact is that they generally have a store full of cheap stuff already, and really
don't
need more.
These speakers, however, were designed with one thing in mind
-
optimum performance. A small
business, obviou
sly, could never compete, for example, with Peavey or SWR in terms of price, simply
because of the numbers involved in high volu
me manufacturing. The only thing then, that a smaller
operation, such as Acme can offer, is superior performance. In fact, these
Acme bass systems are
more
expensive to produce than competing systems, and are competitive in price only because of direct sal
es
and low profit margin.
Because of the lack of exposure that would be gained by widespread placement in retail outlets, this
has
been a largely word
-
of
-
mouth enterprise. Considering this fact, the increase in sales over time has been
satisfying.
If you
experience any problems, it is in the best interest of Acme to have your unit working correctly and
back onstage as quickly as
possible. It is not in Acme’s interest to find a way to “beat you” out of a few
bucks in your time of crisis.
Although we do th
e best we can to identify and remove any potential problem before shipment,
nobody’s perfect, and occasionally someone will get
a weak woofer. Eminence does a great job for us,
but they’re not perfect either.
When warranty issues have arisen, my policy h
as generally been to give the customer the benefit of the
doubt. More specifically, if we sold you a bad part, obviously it shou
ld be replaced for free. Several
customers have sent back woofers that didn’t fail for any evident reason. My policy has been to
replace
them for free as well.

Owners Notes Low B
-
2 and Low B
-
4 Systems
15
With units which have been obviously damaged through some type of catastrophic event or long term
abuse, the policy has been to
replace the speakers for a nominal charge based on the customers attitude,
and more importantly, to try to identify the cause of
the damage, so it can be avoided in the future.
It’s most important to me to get the speaker operating properly, so all the w
orld will know how great it
sounds! But we’re unable to subsidize destructive behavior by replacing for free anything you can fi
nd a
way to damage. If, for example, your amplifier fails, and sends something hideous through the speaker,
or you like to pound
on your strings at full volume to massage your back, please, I beg of you, don’t send
me back woofers whose cones are in tatter
s with the expectation that they will be replaced for free,
because this type of horrible damage cannot be construed as a “defec
t” in the product you were sold.
Forms of abuse not covered:
(1)
Blown Speakers. A woofer which was shipped to you with a def
ect of some kind will not show
signs of physical destruction when it fails. If, for example, you can see a “creasing” around the
circumference of the cone, your speaker has been overdriven, exposed to a DC component, or been fed a
distorted signal by an ov
erdriven amplifier. This is not a defective woofer. If your voice coil has been
burned to carbon, please don’t bother to make yo
ur case that it was received with a defect.
(2)
Pounding on your strings with your palm. I
know
it sounds cool, but that’s not
the point. Power
handling decreases
drastically
below 31 Hz (B), and
string pounding can send near
-
DC through the poor
thing.
If pounding is an integral part of your playing style, you shouldn’t be using a vented
cabinet, but
would be better off with a
sealed
-
box system, such as an SVT. I believe Bag
-
End has one or two sealed
models as well.
(3)
Amplifier DC offset. Because of
the long woofer excursions necessary to produce this quality of
bass from such a small enclosure, these Acme speakers are sensit
ive to poorly adjusted amplifiers.
Any
speaker is likely to be damaged by a DC component, and the Low B is not an exception to t
his rule. If you
have any doubts about the integrity of your amp, test for a DC voltage at the speaker terminals when no
signal
is being amplified. A
reading of more than several hundredths of a volt can be a sign of trouble,
and you’d best have the amp
looked at.
(4)
Burnt voice coil. The best way to destroy a voice coil is to continue to play at a higher volume than
either the
amplifier or speaker will handle. If either is pushed beyond its limits, damage to the speaker
could occur. Listen to your syst
em carefully. Inordinate distortion, regardless of the source, is a sign that
you’re pushing the envelope, and could damage your
amp, speakers, or both.
(4)
Drop/smash. No explanation necessary.
Please remember if you have any trouble, that I’m mostly
interested in solving your problem as quickly
as possible, and saving whatever money can be saved by either or both of us!
I ho
pe this information makes it possible for you to get the most from your speaker. Again, if you have
ideas to make this guide mo
re useful, please let me know. Thanks for listening.
Warranty
Acme Sound Ltd warrants this speaker to be free from defects in materials
and workmanship for a period of two years fro
m date of purchase. This
warranty includes cost of any covered repairs and shipping one way.
Warranty not to cover repairs neces
sary as a result of abuse. Warranty
voided by any attempt to modify, improve, or reverse engineer the
speaker.