Hey guys, there isn't much information on this. How does the horn crossover on the ampeg410HLF work? Is it a true cross over where everything under 4hz goes to the speakers or do the speakers receive the full frequency range and the horn only receives high frequencies? Hate using the horn because it is not mic'd on stage. I'm a guitar player who uses a lot of octave and fuzz effects and keep destroying guitar speakers, so trying out a bass cab for awhile to experiment. Seems like Im not getting any brights without the horn on. JW If that is just de facto bass cab rolling off the highs, or if the cross over is preventing them from reaching the speakers and if I should or could bypass/disable it.

Thanks! Dan.
Since the user's manual does not say anything about the high frequency control selector (go figure, Ampeg?), your best bet is to contact Ampeg directly:


Let us know what you find out from them.
"Maybe this world is another planet's hell?" - Aldous Huxley
The signal hits the crossover first. Anything below 4kHz will go to the 10" speakers, everything above will go to the horn. This is in a perfect world though, there will always be crosstalk, but it will be minimal in a working design crossover. The L-Pad sits behind the crossover and is basically a volume control for the horn. You won't get anything meaningful above 4kHz at all if this isn't dialled up, as it's only affecting the already split signal.

If you want the full range (up to the horn's limits) you need to turn the L-Pad up. The only way to get the 10" speakers to receive the full range is by removing the crossover. However, most 10" speakers are very poor at high frequency reproduction- the ideal real world unit for high frequencies is low mass, high rigidity, like aluminium, synthetic diamond or pulled-taught silk tweeters on hifi speakers. The higher the mass, the harder it is for the speaker to start and stop vibrating at the required frequency (at higher frequencies).

Another thing to consider is that you aren't hearing what the audience is hearing. Being up on stage with the amplifier behind you, you're getting a lot of the reflections from the room, out of time. Next time you soundcheck, walk out onto the floor, or have someone play some stuff while you listen. I guarantee you will hear a difference, and you may find the tone is just fine without the horn being miked.
Last edited by Deliriumbassist at Feb 7, 2015,
You have three options, as I see it. You can rip out/bypass the crossover in your cab, but it's unlikely to have a vast amount going on above 4kHz anyway. You can try experimenting with mic positions - you likely aren't pointing the mic straight at the centre of the driver (don't do this), so try pointing it off axis at the driver near the horn, angled in such a way that a good amount of the horn bleeds into the mic. A final, more expensive option, would be to buy something like a Palmer speaker emulator and DI from that into the desk, also running a parallel out into a personal monitor on-stage.
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If one mike isn't enough, use two.
Better yet, rig a DI.
A horn tweeter's job is two-fold. One is to take the pressure off the 10's to produce a full range by themselves (which can result in an unpleasantly distorted output), another is to increase the dispersion of high frequencies. 4x10's are actually poorly designed (well, they were never "designed," actually) cabinets. Because dispersion of various frequencies is based on cone diameter and because a 4x10 box acts like a single 25" diameter speaker, above 600Hz they're beginning to beam treble frequencies. A 1" tweeter with a wave guide help take up the slack.

You're best off to send the full range to a DI and then to the PA rather than attempting to single mike a cabinet that uses crossover-divided speakers.