warwickhunt

[quote name='JTUK' timestamp='1433070734' post='2787459'] Sounds a very interesting cab... don't see too many about tho. They may be a discerning secret...? [/quote] Wasn't too long ago when they were cropping up but we've now moved onto the 12" period of bass goodness.

Black headstock face, maple tuners and truss rod plate... sorry, they don't work for me at all.

It'll do neither amp nor cab any harm but lending gear for a festival... rather you than me!

Michael will probably own 100% of the Maruszczyk basses by the time we organise a bash!

Shame we don't have a 'like' button!

Don't you need to get a permission certificate before you do that... or is that Ric?

Upside - less hassle for you and anyone involved in set-up/strip down. Downside - how will it sound, will it be shagged... who gets the blame if it goes pop or there are problems the next day.

Who in their right mind would buy it for £4 never mind £40!

Do a quick search on BC for 'boundary reinforcement'.

I have my own Mackie 300w 1x10 powered speaker/monitor and they are great but lack on-board EQ (make that a consideration) but I've seen them for £150-170 used. However I also regularly utilise a pair of Wharfedale Titan powered 12s for my acoustic band and they trump the Mackie as they have EQ (basic but better than nothing), I'd have thought that they could be found used for a small budget.

Anything outdoors/open-air/marquee/tent should really have the PA supporting the instruments. If the PA is so small that it is vocal only, then the whole band should be rethinking volume.

On the subject of expensive v cheap, I'd just add that the cheapest instruments tend to have equally low budget electronics (whether passive or more so in active) and signal to noise ratio is 'generally' less of a problem on better quality instruments.

I remember talking to a guy some years back who worked for the Fender distributor and he had the chance to try a whole rack of fresh out of the box USA Strats and he ran them through an amp and though they all sounded like a Strat there was the odd one that just sounded better than the others (he bought the best one), same strings pups factory set up etc! I've no answer as to why but would offer the suggestion that it was density (or even lack of) that made the one he chose 'speak' that bit better. I've certainly owned enough Warwick Streamers to know that all basses are not equal even when set up the same (as near as humanly possible), with the same component parts; I could argue with myself that I may have tried to play the 'prettiest' one better than the others but I doubt that could account for the difference.

I can see this going OT but 'if' the body material (generally wood) didn't have any affect, then every instrument fitted with type X, Y or Z pup and preamp would sound the same... unless the fingerboard material had an effect but then everyone knows that is nonsense!

[quote name='chris_b' timestamp='1432627927' post='2783275'] I know guys playing instruments that sound pretty good, and I dislike the sound of when I play. The OP has discovered a preference. I wouldn't read any more into it than that. [/quote] Agreed but the OP has identified as many have done that the greater the value of an instrument doesn't in and of itself, guarantee a tone or playability that is any better than a lesser value instrument... to the individual.

I had a pair of Warwick Dolphin basses; one, the NT top of the range German Pro I jobbie (approx £4000 in today's money) and a Far Eastern BO Pro II (I paid a couple of hundred for it)... for both playability and tone I chose and still own the Pro II and have sold the Pro I.

[quote name='JTUK' timestamp='1432572615' post='2782831'] Always thought vertical was a myth for low frequencies ( dispersion ) so I found it quite funny to see the argument 'persued' [/quote] If I'm following this correctly we are talking the full range signal passing through the bass guitar cab (either with this .5 driver arrangement only sharing LF or a FR pair with horn/tweeter), so essentially it isn't the LF dispersion that we are only talking about... yes?

[quote name='Bill Fitzmaurice' timestamp='1432571982' post='2782822'] If you put a single cab horizontal the full range speaker is playing to your calves, not your ears. If you stack a pair horizontally that's not bad, but stacked vertically places the uppermost full range driver closer to your ears, which is better. But you want the full range drivers adjacent, if separated you introduce combing and cancellation issues on the vertical plane. That won't bother the audience, being too far away to be affected by it, but it will make what you hear quite different from what they hear. [/quote] The only flaw being that a pair of such cabs stacked vertically would, by default, have the full range drivers (one from each pair) together as the centre pair of a vertical line of 4. I have this issue with a pair of TC RS 210 cabs whereby I stack the pair vertical BUT this means that the dual centric driver is numbers 2 & 4 if you were to number the drivers 1-4 starting from the bottom; I thereby get the HF driver closer to my ear but paired as you've suggested would give me them in positions 2 & 3... does that make sense?

[quote name='Bill Fitzmaurice' timestamp='1432566485' post='2782726'] It's not a crossover in the usual sense between a woofer and tweeter. Only one of the tens runs in the upper frequencies, so there are no cancellation issues. The two drivers operate in tandem only in the lows, where the wavelengths are long enough that the two drivers will only compliment and never fight each other. Still, if using one you should have it vertical, with the full range driver on the top. When using two they'll work best vertical, mirror imaged, so that the two full range drivers are adjacent. [/quote] So they are horizontally aligned in the cab but for superior/best results should really be used vertically?

[quote name='Beer of the Bass' timestamp='1432566271' post='2782721'] I think they're using what's referred to as a .5 alignment, where both drivers handle the lows but only one driver gets the upper mids and highs. So in the frequency range where horizontally arranged drivers would affect the dispersion it behaves as a 1x10" cab. [/quote] So if you put two horizontals on top of each other... horizontally, you'd still have an issue?

[quote name='bassman7755' timestamp='1432426048' post='2781423'] Its multiple signal sources at high frequencies that cause problems with dispersion so yes I imagine the crossover makes a difference. If you were using two of them you'd still want to be stacking them one on top of the other though (but you could use either orientation for the individual cabs). [/quote] Still puzzled as other commercially available horizontal, multi-driver cabs have been singled out as flawed and most have a crossover in them. Not that I am fussed but it seems odd to have had so many years of posts deriding the horizontal alignment of drivers and then along comes a BF cab of the same design. I've no doubt I shall be learning something new re. this matter very shortly.

Spector NS / Warwick Streamer Musicman Sterling - smaller than Stingray/Jazz/Precision Bass Collection/Tune bass

[quote name='alexclaber' timestamp='1430833226' post='2764987'] We designed the Two10 so you'd get that same superior dispersion when horizontal as you'd normally only get when vertical (it has a crossover in there). However if I wanted something punchy I'd rather use our 12XN cabs than the warmer softer sounding 10CR models. [/quote] Puzzled! I thought you (among many) always advocated the vertical stacking of drivers as the horizontal was an inferior/flawed design and that the 'science' behind the reason was pretty conclusive. So are you saying that horizontal is as good as vertical... so long as there is a well designed cross-over?