Chienmortbb

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..

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.