LukeFRC

This. I think given the choice @Al Krow most of us would have several big heavy rigs at home and then ask our roadies to take and set up the one we wanted on stage.... in the real world though it depends what you want- and I kinda think if FRFR becomes a fad then folk will waste money trying something that doesn’t suit them. First question is where do you gig, and what do you want your bass to sound like? If you want a big wide valve sound with traditional sounding cabs then that’s probably what you want... how do you get that sound to the PA - I guess the traditional DI. Most bass rigs, combo or separates work in this way. An amp that may or may not add its own colour, and a cab that will do likewise... Where FRFR comes into its own is if “your tone” doesn’t come from the amp and cab, but from something like a Helix or Zoom B3n in my case. what it means is that I can dial in my sound, say an amp and cab sim with a compressor beforehand, during practice using the FRFR speaker and then have a reasonable confidence that through a venues FOH it’s should be about where I set it. I once played a gig where the drum machine we used vis laptop had been “polished” by the guitard... we spent most the soundcheck trying to remove the Eq that sounded great in a pair of cheap headphones but really caused problems through a PA- same thing! So it depends on what you want... however if I were going FRFR a separate amp that could run without a load would give me a reasonably lightweight preamp option to feed into the FRFR which the combo wouldn’t. So in summery, it depends what you’re trying to do, and the answer is probably IEMs...

Doesn’t the K12.2 and the Quilter bass block share some similarities power module wise?

Lucky booger

There's 101 different amps around 700w, and to be fair 500w would do you well so you *could* add them to your list. The main question @Misowaki I think is what kinda bass tone are you going for? And what kinda gigs are you using it for?

Rant over!

You’ve already shelled out for an an upgraded Status neck, I would Take the neck uncut, and either flog it or build a second bass with it. Then move on, yes Fender should have done more to help, but life’s too short and the lesson for all of us is buy Status not fender! I think I wrote on here years back whenever it was the AVRI ‘75 model (which I wanted) got replaced with the AVRI ‘74 model ... I tried all the new fenders in the shop and thought the necks were poor. I had been researching a custom build at the time and done a load of reading on how luthiers pick wood for necks... the Fender necks I tried didn’t meet any of the basic advice I was reading interns of straight grain lack of knots etc. And they were covered with a very thick layer of laquere ... while they do make some good basses (you have to try a lot) but honestly don’t know why you would buy a Fender vs the great value Squier stuff, anything G&L are making (now they have their new distribution with PMT Dawson’s GuitatGuitar etc) or even a early 80s Japanese copy bass...

Aye I saw that!

Early Tecamp Puma did, used their Digimod units. Sounded great. I've always thought of it linked to how the amp supplies power, solid state amps with big old capacitors in the power section are better equipped to supply power too to shift big bottom end. With many class D we can see that they have the initial burst power and then it drops off. In theory that's not a problem, but I wonder if it affects the way we perceive it. Mind you I think that's based on design choice rather than topology as the Tecamp Pumas with the powersoft units seemed to be way more low mid biased than some of the other units I've tried with the high mid bias that @Dood just mentioned

So cHambered MDF with alder top and back- makes sense if you’re going for lightweight.

To me too

I used to play at a church with a big old Allen and heath desk and loads of ME1 boxes to set your own personal mix. Quite good. Anyway a year later we’re going to a different church which is much smaller - and they have an smaller Allen and Heath desk and the monitor mix is controlled from your phone via a Qu-you app - this is amazing! Not only do you get to group things and have easy sliders to change volume, but you’ve got master eq and compression for your monitor mix... it’s pretty good and I think simpler to tweak live. Anyway - half relivent to the topic

Dear Doug I have no idea what that all means, but look there's a code tag you can use to keep all your formating!

Well jel

I’ve been renovating my garage and clearing out the previous house owners junk found the remains of a carbon fiber fishing rod - boy is that stuff stiff and light. I started thinking that one could use carbon fiber box sections as a framework to stiffen cab in a lightweight way... but by the time you’ve done that you might as well make the whole cab out of fibreglass composite panels and having enough stiffness that you wouldn’t need much bracing.

But a bit of colour can look so nice.... https://goo.gl/images/KQb5Kq

Natural or with a colour stain?

How do I never find these ebay auctions!

I for one have appreciated your input

12cm on the width then. My take would depend on How narrow the stairs are. If wide enough I would build the tried, tested and measured simplex design and invest in some good handles. If narrow I wouldn’t. I had a lovely GK combo for a while but it was literally was the width of the staircase and had no room for your hands.

How much off is the simplexx size wise for what you need to do? The beauty in using a design someone’s already done is that you can build it and never need to think about port end correction, or baffle step or anything like that...

What’s the mechanics behind it and being able to quantify it? I’ve read so many cab build design threads and never seen people discuss calculating it. Like the 2/3 of ‘dead weight’ plywood on the spinning Barefaced model I’ve always took as how they have engineered in using 9mm panels

Approach 4 is to make it out of composite fibreglass and it will be rigid enough not to need much or any bracing...

I think there seems to be a few different approaches I've seen to how bracing is used. Approach 1 is like Fearful cabs, where they use 12mm ply and then use the splines to stiffen individual panels. Which are then joined. Logic I think being that the panels themselves are braced and you're making up for the lost 3mm of thickness vs 15mm. It makes me think of an acoustic guitar top but less scallops... Approach 2 is like I think I've seen you recommend in the past where braces run from opposing panel to opposing panel. I've seen dowels used in that kinda thing before. Simplex, and Mesa use the corner ports as bracing too. Approach 3 is when you go a bit crazy, build some matrix structure, a shelf port too and can use 9mm ply. This should be an image of someones fearful build (found here: http://www.sumitdas.net/fEARful_build1/) This should be a simplex 210 (designed by bill) and found on a random site: Barefaced bracing

I have a Zoom B3n I typically don't use much in the way of effects. But do use compression and the amp and cab sims. My only gripe about the B3n is how difficult I find it to set everything for unity gain in my patches. (Mind you I probably end up adding way more than I need to patches 'just in case' so it's not like it's a 3 block patch) (Why don't more of these boxes have some kind of visual signal monitoring like a digital desk?) Based on that kinda use... worth the extra you think?