Chienmortbb

As I said, I have a lot of respect for Alex, and he makes great cabinets, but at the end of the day, Barefaced use similar drivers to many others. Thee laws of physics dictate that a ported or bass reflex cabinet cab only output so much noise, and unless the sea air in Sussex has magical properties, they cannot be significantly louder than any other bass reflex cabinet with the same drivers.

Applying your finish with wire wool will give you that finish. I am not sure whether it works best with oil or lacquer/stain. The Crimson Finishing Oil is apparently better than Tung Oil.

Don't fall for the marketing BS. Barefaced are fine cabs, but there is no magic fairy dust.

They have a weird mid response. I don’t know if it is a phase issue or a dip in the response at the crossover frequency but having hear them live with “solo” singer ( paid karaoke singers) there is something so don’t like.

One day I will take my 8 to rehearsal, just to see the look on their faces. They were shocked when I initially turned up with a single 12.

Those switches have mains voltage lamps, not LEDs. If they are OK, then the internal lamp (mains) may work without connection to the resistor.

You are correct but we must all try to think of an HPF as a necessary pre-shaping of the bottom end rather than an effect. The ultra low end of bass is not musical and an HPF cleans up the mud and stops excess power being sent through the amp to the speaker. This means that the speaker runs cooler* as does the amp if you are using a Class A/B amp. It also means that the drivers do not over extend. It is win win! *As speakers warm up they gradually quieter due to a phenomenon called power compression.

As long as people pay me to play, I will. As for fighting, I'm a lover......

Got it in one.

Little Mark on top of a Gnome? I found a picture of Little Mark on a Gnome's shoulders!

When I am not gigging, you will find me at The Legion on a Saturday watching other bands. The bassists are invariably more accomplished than me, but I often get cross because of fills. So many good, or at least very competent, bassists that seem to put fills in songs that really don't need them and in one case, the fill was actually too long and meant he was always late getting out of the chorus. Now, I get bored playing root and fifth occasionally, but does the song need a fill? Does it fit? I am not saying that I always get it right, but when I do, the drummer smiles. I have instant feedback. Now I would say I am a member of the Mediocre Bassist Club on Talk Crap (I can never remember the name of that site) and there is little chance of me leaving it due to an amazing leap in technique. However, I do try to get the bassics right.

I have done hundreds of gigs with class D heads and they have never missed a beat. The only reason I have returned an amp was to get a fan mod done. It did not fail but was very noisy in my practice room.

I get emails from Lemonrock telling me about gigs in my area and I have found venues that I was unaware of. My question is, is it worth joining, do you get gigs from it?

I believe this is what most Semi Pro Karaoke singers charge too. My club of choice, the local Legion, does try to put bands on, but the budget sometimes dictates a week or two of solo Artistes. Presumably that pays for us and other groups at other times. January is a write-off for bands, although we have one gig booked.

Well that last paragraph sums me up.

Well there are 5 of us. To be honest I an happy with £250 or £50 each. Last NYE @ and Xmas Eve we got £600. Our best payer came about as a fluke. I contacted them and gave them a price of £300, them realised it was further than I thought and upped it to £400 thinking they would say no. They were happy and we now do there 2-3 times per year and it is the best venue we play. If on,y all clubs were that well run, it even has a dressing room👍.

My main band is a 60/70s covers band, playing pubs and clubs mainly. We charge £250 if we want to get in somewhere and £300 for rebooking. In the New Year we intend to increase this by £50 to £300 and £350 respectively. We are based in the greater Dorset Area and one of our gigs pays £400. Has anyone else tried to increase their fee recently, and what response did you get?

Zoom's use of composites has been a discussion point for years, but every one I have owned has never had a problem. In fact, I would say that they have all been very robust.

Nostalgia ain't what it used to be. The old stuff my band plays goes down well where we play, and although many of the songs are approaching 60 years old, the younger ones love them too. It is weird, but nice, to hear a bunch of 20 somethings singing their heads off to I Want To Hold Your Hand or Born to Be Wild. I went to see Black Country Communion a couple of years ago and Glenn Hughes' voice was as good as ever. It's a shame that his old partner in crime, David Coverdale, is not the singer he was. IMHO Burn was one of the classic rock albums, in a way that none of the other Purple albums were. Much more drive and superior vocals from the two of them. Now, if people want to pay £250, that is fine. Elton John, Paul McCartney, Cliff Richard all lost what voices they had many years ago, but people still go to see them, so good luck to them.

There are HPFs out there. Sadly, many only for the DIYer. I know my friend @Passinwind is planning a variable HPF. You can also get it on some multi effects units.

You are correct but it is worth pointing out that the amount of fundamental we hear is negligible. Some highly respected cabinets have -3dB points in the 60-70 hz region. I believe that the Thumpinator was originally designed to filter out the FoH low end. In my opinion it is too low for bass although it will help. if you have a variable HPF to hand, try a cutoff of 50Hz at 24dB per octave. You will be surprised how much “bass” is there, whether playing a Low E or Low B. As for a destined 6 string, don’t be silly.

The point is that the sensitivity across the board is -2dB compared to the other speaker. There is no loss of relative volume at the low end, compared to the rest of the audible spectrum. To put it into perspective, at full power, that Gnome would be capable of driving the 12" to 119dB and the 10" to 117dB SPLs. With a 600 watt rated speaker, there would be little thermal or power compression. Surely enough for an acoustic gig?

It's all science and engineering until you start playing and using the stuff, then it's art. Unless you play like me, then is various noises. If it works for you, it is right.

One ting I would suggest is not to get too hung up on driver size. The work that @Phil Starr and I have done on smaller drivers, inspired by @stevie from LFSys, suggests that there is little to differentiate between some good 10s and even the best 12s. If you look at the LFSys range, for example, there is only 2 dB difference between the 12" Monaco and the 10" Monza with the same frequency response. I believe that @stevie has been investigating other drivers. Now 2dB between friends is not a lot, but you may find that on an 8 ohm speaker a Warwick Gnome would not put enough out for you, but our recent amp shoot-out suggests otherwise.