WinterMute

The Big Twin absolutely does, it's really remarkable how good they are at reproducing the B string. As to volume, in terms of raw SPL, the BT2 puts out roughly the same level per watt as an 8x10 or a very good 2x15, and that includes the extended LF. I really can't praise Alex's work enough in this respect. I'm a veteran studio engineer, been recording and building studios for 30 years, and bass response has alway been a big issue for me, I'll only use a HPF where the recording has noise in the LF, I do set a very steep HPF at about 23Hz on kick drums and bass instruments in a mix but only if I have bass issues. To be honest, most "studio" monitors don't reproduce much below 50Hz, and those that do accurately are very expensive, and then the room comes into play as well, it's a minefield. Notable monitors for me currently: Unity Audio Rocks Mk2 and Mk3, Amphion One 18 and Two18, both of which will set you back nearly £3k a pair, but both have excellent LF reproduction. I don't like using a sub in the studio, but I have a ATC 2.1 hifi system, go figure.

I'm a bit suspicious of DSP in monitor systems generally, I don't like it in studio monitors. The QSC I tried was the K12 and I also tried a couple of FBT and Nexo wedges after the idea was floated in the FRFR thread (which I don't think I contributed much to TBH.) I've spec'ed RCF PA's but never tried one against a backline rig. Dispersal wise, the wedges are fine if you're static, but move around any and they get a bit hit and miss I find, the vertical stacked cab design favoured by BF (and others) provides better coverage on larger stages. I'll freely admit I've never used a wedge based FRFR in anger on a stage mind. It's not the HF, it's the LF and the low mid that is projected really well by the Barefaced, I find most cabs with a tweeter or horn will chuck enough HF at you as not to be a problem. If I was looking at small venues or a very portable system I think the FRFR route might have merit. I have a PJB Super Flightcase in the studio now, which works brilliantly as a monitor and a recording option as I don't record loud.

The Big Twin doesn't have a coloured tone, it is essentially a boutique FRFR cab, so I saw no reason to shift over, despite the QSC being cheaper. My rig was also louder with better dispersal onstage, the only downside being the size of the thing, although it;s a one hand lift into the car. So not enough gained benefit to change.

I tried it, stayed with the BF Big Twin. My guitarist went FRFR from Valve combo backline and a truss... As I said earlier, if I go back to playing live I will look at the FRFR options, but I will also look at BF's newest designs, and whatever else the market has to offer.

Fair enough, I tune to B, and have to contend with a guitarist that seems to want to induce continental drift... Fundamental frequency of an E string is 41.2Hz, it's 31Hz for a B. 32.7Hz for drop C. And whilst fundamentals aren't the whole story, I like a speaker capable of delivering the fundamental of the lowest note I'm likely to play. Your milage may vary.

PJB do 2 cabs, a little 100w and a big 300w http://pjbworld.com/product_powered_pb100.html http://pjbworld.com/product_powered_pb300.html

Talk to Alex Clabber at Barefaced, the Big Twin goes down to 30Hz, and whilst that doesn't sound like a lot lower than 45Hz, the OP states he uses extended range basses and I know from experience that running bass through a speaker designed for general PA use (the QSC and RCFs etc.) does not give the same response as a properly tuned bass cab, not without using a sub, which is exactly why all PA designers offer a sub... This is not to say that a QSC K12.2 or an RCF 735A won't be a good replacement for a "traditional" backline, because anyone with sense will know that it is, the wedge shape and size is a good tradeoff if you're playing small venues. It will come down to personal choice, and the OP stated he's looking at backline, not FRFR. I moved my Big Twin on because I'm not playing live anymore and it was taking up a large amount of room in my small studio, but if I went out live again I'd consider the QSC K12.2, but not before I'd had a serious look at what Alex was up to...

The Barefaced Big Twin is a monster, I suggest you take a listen to the Gen 2 if you can, they've come a long way since the prototypes. Yes, the looks are a bit spartan, and they do not have a "signature" sound, but if you;re looking for a cab that'll show off your amp and bass tones, I haven't heard anything that works quite as well. I ran 5 string fretted and fretless through mine and did all the tone shaping in the pre, including wedges of distortion and filter effects, the variable tweeter (compression horn in the Gen 2) allows you to set the cab up for a room without having to mess about with your sound. Never had a better stage sound.

Well, it works, but it still leaves you with issues to deal with... The ideal is that you spend minimum time administering your computer and maximum time making music, in my experience Windows PC's and Hackingtosh's require more admin than Macs, the relative cost notwithstanding. Each to their own I guess, but I'd recommend a proper Mac unreservedly for music production.

PJB do a powered cab that connects to the line out. Any combo with an aux input will also work.

If you can afford it, a Mac Pro Cheesegrater is the way to go, I've been using Macs for music production for decades now, and they are intrinsically less hassle than PC's, but they do cost an arm and a leg. My 2012 17" MBP died at the beginning of the year, needed a new motherboard, £500 thanks very much, so I bought a second had 6 core Mac Pro pedal bin with 64Gb or RAM and 2 TB of SSD, cost north of £2k but I'm not short of power or storage now, or at any point in the future I suspect...

To be fair Si, you're also really nosey...

Barefaced all the way for me, despite having sold my Big Twin earlier this year, I think their range is brilliant. I used a lot of modelled tones onstage and the BT just ate it up, the Big Baby is a magnificent little all-rounder, very similar to the FRFR, worth a look.

Same with the Beatles, great songwriters, I mean truly great, but I can't stand their whiney nasal racket... I have changed my mind about a few bands over the years, I genuinely detested Steely Dan as a youngster, but I find them fascinating now, same is true of Country and Western.... No, wait, I still hate Country and Western.

I always thought I really should like Muse, the guitars, that bass work... Nope, although their cover of a Feeling Good isn't bad. This.

Never mind bloody albums, how about bands? The Beatles, wrote some great songs, ruined every single one of them. Coldplay, waste of carbon. Rolling stones, why? But then I loved Grace, apart from Lilac Wine, Jaco Patorius with Joni and the last Rush album Vive la difference!

Al Murray used to play in a Jewish heavy metal band called Guns n Moses. It wasn't very PC... Their set appeared to be a very loud and fast version of Hava nagila...

Proxy Music is an obvious stand-out. Blobby Williams? Deft Leppard? Lez Zeppelin? All real apparently...

Yes, sits at 800hz normally and switches to 1.4Khz when you pull the pot up, if memory serves. Yes, it's a Bart branded pre. it has the stacked HF and LF pot and a passive active push/pull on the volume.

I'm going to be seeking a finders fee for owning the pig that started all this, just saying...