warwickhunt

[quote name='Bobthedog' timestamp='1461518476' post='3035332'] Guys, as i said in my post, there is no "plunge". Although I have yet to test it, the site states and others have pointed out elsewhere, there is a 30 day trial period, which appears to allow gig play as well. Try it, if you do not like it, return it. Other than some inconvenience t send it back, I do not see there being an issue. [/quote] That's a definite plus point. Just for clarity though it does require you to pay up front and wait for build/delivery and if you don't like it you do need to pay £30-£40 to send it back. To some a small price to pay and to be fair it could get costly if Alex had to take it on the chin for the cost of every return but it isn't a trial without any cost. A small point is that you do need to actually speak to Alex about your needs otherwise the 30 day trial is negated.

[quote name='Grangur' timestamp='1461483014' post='3034890']Have you ever heard or read of anyone not liking a Barefaced cab?[/quote] I've not liked any that I have tried, they 'lack' a quality that I don't hear in them and that included the ceramic loaded cab that did the rounds BUT that is just my personal taste. I have no axe to grind with Alex or his company and there are a LOT of folk who do love the BF sound, I do however think that in the early days there was lots written about the fact that Alex was revolutionising cab design and building them from the ground up (my words) rather than copying badly thought out dated designs that had no basis in acoustic design. I recall many threads before BF was even thought of where I would hear Alex, Bill et al rip into poor cab design and give us valuable insight into how it 'should' be done; hence Alex went off to plan BF and many of us waited to see what would transpire. Several years down the line we have a BF 4x10 that looks exactly like every other 410 and yet that very design was criticised and lambasted by Alex et al for being the antithesis of all that was bad with bass cabinet design. Alex has every right to cater to what others want/expect but for me personally other than maintaining the use of the lightest materials and superb bracing to make a cab uber light (is the 410 light?), BF has drifted from where I imagined it would go. Just my own personal view of the BF story.

The ones that I've tried don't do it for me but each to his own.

WoT's perspective may be different to mine but I've found that whilst Class D equipped amps patently have as much volume as they are rated at (OK, most of them ). However, when used in a full band setting they suddenly lose presence... heft/punch/kick call it what you like. They have bottom end but it lacks authority when used in anger. I think Dave Funk (Thunderfunk) described it as some amps throw cannonballs whilst others throw doughnuts (there's a hole in it somewhere). Those that favour Class D have argued that the lump of iron in the Class A/B doesn't have anything to do with it; though it is becoming apparent there are reasons why there may be a counter-argument!

Damn! Wish I'd said '(heat) sink'.

[quote name='wateroftyne' timestamp='1461430903' post='3034618'] Having played Class D heads extensively for over a decade, and spotted a pattern, I've learned to trust my ears :-) [/quote] Ditto... though it takes longer for things to sink in with me!

[quote name='luckydog' timestamp='1461423634' post='3034539'] It can all be taken care of with proper design... [/quote] Therein lies the rub. Afaik a lot of these amps share the same module which I imagine is bought off the shelf to install into 'many' (patently not all) of these mini/lightweight amps and common sense dictates that they will be bought for (among other things) their cost effectiveness. It is interesting that some folks declare that some/many Class D amps are 'lacking' in something and there is actual science to back up those layman's observations.

[quote name='Chienmortbb' timestamp='1461405503' post='3034340'] If we ignore valve heads, the power stages of bass and PA amps are no different. [/quote] It would be lovely to think that the design and components in a Pro PA power amp were exactly the same as those in an integrated bass amp... not sure that a power amp, whose sole purpose is just that (and costing several thousand £) will simply be a higher power 'identical' unit to those fitted to integrated pre/power bass amps where one of the primary factors on its design is price point! BTW absolutely no criticism of the Aggie AG500, plenty positive responses here and I've not owned one... I've owned plenty other Class D amps but not this one!

[quote name='Twincam' timestamp='1461361982' post='3034131'] What exactly do you mean? [/quote] He means most Class D (bass) amps are... not as good as they could be.

[quote name='Dad3353' timestamp='1461359776' post='3034111'] Playing bass through a DI into the PA, the public could well be hearing the 'heft' of a Crown K2, whatever is used on stage. [/quote] Absolutely... so long as you are going DI into a PA with Crown K"'s. However, plenty of bassists using backline as FOH and not going through Pro PA.

[quote name='Passinwind' timestamp='1461357242' post='3034092'] Class T is essentially just ad-speak for a Tripath chip based Class D amp. IME various amp classes don't generally have specific characteristics like "heft" (whatever that means), although we may find that certain ones with a lot of commonality in design tend to lend themselves to our perceiving and/or measuring things that way. I've never heard anyone dismiss a Crown K2 as lacking heft, for instance. [/quote] I'm not sure the component/spec of top quality PA gear is the same ball park as bass amps.

Likewise seen a few tweets/reports but it could be one of his entourage at his place. Sad either way!

Oooh wait a moment, a BF 4x10 you say; I bet the speakers are stacked vertically to make best use of... in a cabinet large enough to... Oh... it's one of THOSE 4x10's!

I've got the fretted version of this (x2 P pups) and you need to be aware that the pup placement on this bass will have a massive effect on the tone... a warning if you like.

I may be knocking at your door to have a skeg.

How many times?

I've been waiting 20 years for Warwicks to go up in value and you can still pick up used german made NT bass for £700-£1000. That's pretty much exactly where it was back in the 90's and it really is immaterial of age/vintage. I 'personally' prefer basses from the first 10 years of production regardless of whether they are maple or cherry body / wenge or maple neck / 1 or 2 piece bridge. They have a better overall level of finish IMHO, particularly the rolled fingerboard edges. However, I appreciate that CNC production makes for consistency... though I've never noted inconsistencies in the early basses. In the meantime I may elect to start buying up all the old Streamers that I can find... again!

Mike bought my Demeter Minnie; nice easy transaction and paid promptly.

Can't say I've seen one of those at all!

[quote name='Bobthedog' timestamp='1460052522' post='3022186'] I do think audiences in general are louder as less people go to a pub to specifically listen to the band. My father's band in the 70‘s often played to pubs in total silence as people stopped talking just to listen. They applauded solos and were there for the band. Nowadays I think more people are in the pub as a coincidence and just talk to each other with the music as background. [/quote] It may not be the main reason for altered perceptions of volume but it is a bugbear of mine. I elected to play in a 4 piece harmony 'acoustic' band (not technically acoustic at all as we all plugged into a small PA) with a cajon player rather than drummer due to my dislike of increasing volumes. Our intention was to play venues with a bit more finesse rather than a sledge hammer; often rock songs but done 'unplugged' style. Really hacked me off when we were asked to turn up because the people at the back of the room (seated around the corner) couldn't hear us for the noise of the pub! They could easily have moved further down the pub rather than sat 50m away around the corner of the L shaped room but instead we had to go from a comfortable experience for those at the band end of the pub to the point where we had 700w of active Mackie speakers cranked up so that we could be heard at the back of the room over the general chatter.