Chienmortbb

The think is that both changing your cab or adding a second might do the job. Yesterday we fine tuned my Basschat 1x12 and compared it to Stevie’s. Mine is fitted with the Beyma SM212 and Stevie’s has the Fatal Pro PR320. The Beyma goes lower but the Faital Pro is much louder. So the right single cab could be OK or you might find two cabs of the right sort could suit better. The best way to try cabs is at a bass bash.

i re-read the thread and realised that you had already confirmed it.

Are you bringing your F112? If so can we use it in the cabinet shootout?

My guess is that the Four indicates the 4 rotary controls.

The range was called dogs BLX at trace and the prefix is a abbreviation of that. As I write I feel sure that someone is going to tell me it is an urban myth.

Has anyone ore-ordered the Four yet? The B1on is a great bit of kit. As with all the digital multi effects units I have had or tried, it can be noisy at extreme settings . My only real gripe with it is that you have to go into a patch or effect to change volume or EQ. The Four seems to have that covered as all four controls are analogue (OK they may be rotary encoders rather than analogue pots, but they are physical knobs). The real feature I like is the Editing software. It is a PITA to programme any digital multi effects unit from the knobs and buttons on the front. I also have a Korb AC3000B and that is a breeze to programme from a computer. What is missing? A DI out. Not a big thing for me as the DI on my amp is excellent and I have an Orchid DI on my pedal board. One final thing about noise. The B1on is digital and like many digital effects units will cause noise on the power line if you don’t use a truly isolated power supply. Almost every digital pedal does this.

At the risk of being called a hypocrite for making the thread even longer......I agree about the IEM thread.

Strangely I believe this was the extension cab to the BLX 130. Strange because it looks nothing like the 130. Of course you know what BLX stands for.....

Just a thought, this thread is now so long that it is of little use if you come in “cold”. On the other place they restrict threads to 1000 posts. It is time for FRFR part 2?

I agree, go Ashdown or Trace second hand. The old Mag Combos were great and the RM combos are worth a look although might be pricier.

Not true a contract is a contract, however it is more difficult to prove that a contract exists if it is not written down.

We are hoping to do an updated cab shootout again. The Basschat 1x12 has evolved and again we would like to compare it to the older iterations and some of the other cabs on the market. Anyone with a commercial or boutique 1x12 tweeter? More details as we make them up.

Never noticed that myself. Will try it later.

Probably not BUT for some people that have the luxury of good PA support, an Active FRFR is adequate.

Backing track? What infamy is this? Seriously how a we persuade people to book live bands when Dolly Daydream or Billy Blowave can turn up with a cheap and cheerful FRFR and an iPad and sing all night? I suppose my question is why do you need a backing track?

Yes that should be fine.

You should be OK at 9V if the unit is designed correctly. The important things about pedal supplies is that the cheap ones (sub £30) don’thave isolated outputs. That is fine for most analogue pedals but digital pedals can send noise back down the power lines. Although the cheap power supplies say they are isolated, it actually means they have protection on each output.

Of course these were in effect a line array. I loved WEM gear.

I agree, you cannot get heft from a valve amp. Stick with Class D. 😇

Choice of materials is interesting. I believe that Barefaced use a composite with poplar inner and birch outer. The poplar is light but the birch resists damage better. That would be hard to find though. We used 15mm poplar for the basschat design. We got it from Timbmet cut to size and they have a branch in Glasgow. http://www.timbmet.com/uk/contact-us/find-a-depot/glasgow/

One of the problems with cabinet designs, as Bill rightly says, is that much of the so called information out there is wrong. It is difficult to use maths/physics to design cabinets. The work of Thiele and Small took the guesswork out of much of the work cabinet designers do, i.e. cabinet dimensions and tuning, but cannot account for the fabrication or material. Much of the work has to be empirical, trial and error. All credit to Bill in that he does publish graphs to show the performance of his designs. However the work Alex Claber and Stevie cannot be discounted. All three have gone beyond what almost all commercial manufacturers have. However when you put your views out there as an expert you have to back it up, and sometimes accept that you don't have the monopoly of knowledge. The problem is that if you put it out there, you must be prepared to justify you opinions. Whatever design you decide to build, in my opinion, you need to test it to ensure that the cabinet has as few resonances as possible, as described by Phil Starr above.

Oops looks like I forgot to say I was coming. Put me down and I may bring the +1. Equipment. Bugera Amp (the MosFet one) Fender Aerodyne Jass Bass ( P/J) Grrg Bennett Semi Acoustic Bass (Samick) Basschat 1x12 cab.

Stevie will be the best person to answer this but as far as I know, two identical cabinets would not be ideal. We had discussed this and this current full range cabinets would be best on top with an Identical cabinets below but with it's frequency response restricted so that only frequencies below 800 Hz reach the lower 12 inch driver. This would ensure maximum benefit and minimise interactions between the drivers in the two cabinets. So the lower cabinet would have no tweeter/horn and have a low-pass filter restricting its bandwidth. I must stress that we have not tried yet.

From memory they use a good old fashioned MOSFET class A/B output stage very discreet and very fixable (usually).

Having used the Mk2 design with the Beyma driver for well over a year. I can tell you that it is not like a normal cab with a tweeter. The horn is wide angled and on the new design arranged v erticall , you can hear yourself more clearly but there is no nasty excessive top end ( yes i had my hearing checked on Tuesday, all OK). I play a P/J but almost always have the J pickup off, simulating a P. The reason for the tweeter is that above about 1KHz, all the sound goes into your knees and the audience with a 12" speaker. It is even worse with a 15". I don't know if anyone has done any research on the subject but I think the main reason people have stacked cabinets is so they can hear themselves. The top cabinet will be raised to the point where you can here the mids, and that is where the clarity is. However that is also where the 12" drivers start to have a very strange response. That is why the Basschat design crosses over at 2Khz. Most low cost cabs with tweeters ( i am not calling any manufacturers out here) traditionally use a piezo tweeter with just a resistor instead of a crossover. Some add an attenuator but this does not work well for the reasons stated above by Stevie. Just a word about piezos. They are not as good as a really good tweeter or compression driver BUT they do get a bad press mainly because the are misused. They have to be properly crossed over and that means that some of their benefits (ie low cost) are lost. However the really good professional Motorola ones of old cost a lot more than the cheapos put in many bass and PA cabs. A really good horn/compression driver is not much expensive..