Chienmortbb

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..

Uses the ICEpower ASX50 power module. ICEpower spec that at 100W into 8 ohms , 170W into 4. A bit underpowered I think.

Mine is very quite too so if you don't find it is due to your environment, try a replacement.

With regard to using PA cabs, are they not designed to give a good response on a pole? With the mids/top reduced to balance out the loss of bass. Then when you put them on the floor your FRFR response is changed. I am sure some have DSP setting for Pole Top and Stage Monitor but just to take a powered PA without DSP adjustment might mean you cannot get a good sound.

Agreed Bill, and credit to you for having the balls to publish the response.

I suspect that Stevie is talking about various cabs he has designed but currently the BC112 Mk2 as outlined in the thread below. It uses a 12" plus a compression driver/horn and custom crossover and is substantially flat.

Just short of 27kg and 1 meter tall.

I have selotape on at the moment and that works too.

Thanks

If you choose ta handle that requires a cut-out, you will need to brace around the cut-out. I have fitted the Adam Hall round handle http://www.bluearan.co.uk/index.php?id=ADH34062&browsemode=manufacturer I had to remove a large part of the top panel and some bracing.

Cabs side by side?

The problem is we have spent may hours and hours discussing this issue and while I agree it is unsatisfactory, it is clearly not indicative of the quality of Barefaced in general. It seems to me that there has been more noise about this than the awful problems Ampeg had with the PF500. That affected hundreds, maybe thousands worldwide. The solution is easy, Barefaced sort this problem and then let it rest.

I put a precision pickup away without noting which part was on top. Does that matter and would that explain why it buzzes when I touch the poles now it is reinstalled.?

Actually the British standard is A = Linear B = Log but of course the Colonials had to be different and their standard is the other way round. As they influenced all the rest of the world most pots are A = Log or as they call it Audio taper.

There’s are many that derive pleasure from having exotic brands that cannot except the some great products are made locally. The technically savvy on here,l think that Alex sometimes confuses engineering/science with marketing. Not unusual in this industry but if you put something in the public domain, you have to be able to back it up. In Alex’s defence there are others on here the other place that are far worse in that Barefaced cabs compare favourably with just about anything on the market. There are also some excellent technical articles on the Barefaced website that are very good reference documents.

I played one a number of times at my local store and regretted not buying it in the end. In the flesh It looks nothing like a Dimension. I have played one of those and IMHO the Kingfisher is a nicer bass to play.

Came to this late but back to the original post, why pay over £2K for any second-hand bass?

Downward firing port. I wonder what the issues are, if any, with it that close to the ground

The problem is that 4Khz from a 12 is both directional and can be a bit nasty. Using a properly designed crossover and Mid/HF Unit gets you there without the nastiness that a single driver can have (especially Eminence 12s) and avoiding the harshness of some tweeters. You may not need much above 4KHz but your 12 might need help form about 1.5KHz.

I had the 220 with the same pre-amp and found it great but it needed more power.

Could second as a DI and/or preamp too.

The Walkabout is rated at 165W into 8 ohms. I would guess that that would give about 118B with the Faital Pro driver. I will model; it soon but I am up to my ears at the moment.

Call it latency or propagation delay, the Dawson's one quotes 15Ms so twice as long as the Smooth-hound. I have been playing a Smoothound for over a year and never felt an issue. On Thursday, on a dark stage I had to bypass my pedal board that included Smoothound and plug in directly as I lost sound.* Playing with a cable did not sound noticeably different in a band setting. Someone mentioned the latency when plugging into a DAW? Why would you not go direct into the A to D input to the DAW? * I had disconnected a power supply cable when I trod on it. My fault, it should have been tucked out of the way.