Muzz

I play live a lot, and it's exactly what's been said above - all that searching for lovely bass tones in bedroom studio isolation goes out the window when in a band scenario - Schroeder cabs are a good illustration: they can be honky and unpleasant in isolation but they work really well with a band. You only have to hear, for example, Geddy Lee's soloed tone to hear how clanky and buzzy and gnarly it really is... It's also why all the navel-gazing and hand-wringing about tonewoods and fretboard materials makes me smile: it matters not a jot (well, maybe a jot, but a small one, at that) once the band starts playing. If you're a solo player, then yeah, knock yourself out, but with a live band (especially anywhere near a rock* band)? Nope. IMHO, YMMV, etc, etc... 😉 * Other genres are available, obv... 😁

Or sell them both and DI with in-ears....c'mon, someone had to say it... 😁

I've never noticed any mids cut with stacked cabs...and I've stacked all sorts. HTH 😊

Stack them, don't split them. You can angle the One10 on top of the SC, even better for hearing it to your ears if you're on a space-compromised stage area.

When I think British, I think Wals and Shergolds, and the Burns Bison. And possibly headless Statii, although they're a bit 80s Start-the-Quattro shiny suits and hitched sleeves for it to be entirely positive...and that's without all the LEDs... 😕😁

Awful. Thank the Lord for Cliff... 😁

Post-Savile? Don't even think about it...

For a small (and there's part of the the problem for reproducing the massive fundamental of a contrabassoon*, although I don't know how low that is) cab with maximum, erm, output, for want of a better word, I had a BB2 which was very very loud indeed, and could handle an awful lot of lows, whilst still being light... * Just a fantastic phrase to type... 😁

I use a BF Super Twin 212 with a Walkabout - 300w and it can drown the drummer and 2 412 Marshall 100w geetards. It goes silly loud... 😀

I'm with BRX in the James Randi camp here (without the cash, sadly ) - show me the actual, repeatable, provable science, and I'll believe it. Electronics, pickup placement, strings, design (in the extreme) yeah, everything else? What BRX said...

Hmmmm...Hunky Dory, LA Woman, Led Zep IV, Fragile, Aqualung, Master Of Reality (Paranoid and Black Sabbath were still in the charts), then for the non-rock-fan there's Curtis Live, What's Going On, Surf's Up, Joni's Blue, The Allmans at Fillmore East, Shaft, Bryter Layter. Whilst I fully agree Mr Daltrey is hitching his latest project onto a controversial statement, outside of the pop field there was an enormous amount going on in 1971... I think picking the top of the pops in any year can ruin its credibility...look at '78: in the midst of the Punk Revolution(tm), Paul McCartney spent nine weeks at number one, and Boney M's Brown Girl In The Ring was the biggest selling single of the year...

If you're wanting to gt away from the usual clones, then with your budget, definitely a call to one of our fantastic luthiers: Jon Shuker would be my choice every time, but I've owned a couple of very nice ACGs, too. Never seen a Dingwall fretless, though I have a fretted which is a fantastic instrument. You'll be in secondhand territory there, though. Depends on what you want: if you're confident and definitive enough to know exactly what you want, talk to a luthier and you'll get something unique which is exactly what you want. If you want to pick off the peg, then there's a lot of options for your budget in a similar quality bracket, especially secondhand...you'll just need to pick around the clones...

Compression is your friend to define the bass and give it some more 'punch' through the PA. The Behringer should be able to do that, although you'll have to do a little playing with it.

If we're talking about feel and playability, A Mike Lull Jazz with a P/J setup in Bass Direct when I was just faffing about was very nice, and also a Bongo I played once in PMT. I wouldn't have bought either, for the looks. Yeah, I'm shallow I really liked a BB2024, again in BD, but wouldn't have sprung the £2400 to buy it new. Other than that, I've never played anything I didn't own and would really, really want.

You're asking the wrong questions. Someone pointed out earlier than the BF cabs have a very wide response range, greater than many out there...FRFR was mentioned. The cab will put out what you put into it. If you EQ a lot of sub bass, you will find that's a bad thing for a bass backline cab in a band scenario. That has got nothing to do with Barefaced. I'd like to know what car you drive, because if it's capable of more than 60mph then by your reasoning it should have been avoided, because driving at 60mph in a car park will mean bad things will happen.

The point is if you put a lot of energy at 30hz into a bass guitar backline cab which is capable of reproducing it, you will get mud. If you took a top-of-the-line PA sub to your gig at the Dog & Duck and bunged a lot of 30Hz sub bass out, it'll sound like mud, even though it costs thousands of pounds. It's got nothing to do with Barefaced.

Hahahaaa...I play a lot of these songs, and though I wouldn't listen to them at home, I enjoy playing music to singing, revelling crowds who are enjoying themselves, and that elevates the song every time. Like it or not, Oasis are the anthemic band for a generation (or more). I see it every weekend

It's all a bit pointless from the perspective of backline, though - the 'large machinery' mentioned earlier in huge venues may well produce an awesome sound, but I'll bet a lot of money that the FOH engineer isn't going to be interested in someone's backline bass cab having a crack at sub bass. It'll sound rubbish in the Dog & Duck, that's for sure... I've always understood a 'floppy' B was the physical, tactile sensation of the guitar itself, removed from the actual reproduction via the cab...

This, in spades: one of the best bass cabs (actually I've had a couple) I've used in a live band was a Schroeder 1515L, which is a very small (for a 2x15"...in fact very small full stop) mid/low mid voiced cab - it sounded fairly unpleasant soloed, but live, it worked very well. With my Barefaced, I cut lots of very low frequencies and boost the mids/low mids, which works.

When you say 'picked it up'...?

We have 2 x 12" RCF tops (700w RMS) and a single 15" RCF (700w RMS) sub, and although we're only a trio, it's plenty for pubs and weddings/functions that aren't huuuuge (300+) halls, with everything going through it. We've never been asked to turn it up, anyway... I'd agree about EQing for punchy bass, though - it's a whole different world from voiced bass cabs...

In our function wedding trio it's FOH/IEMs. Brilliant for load ins and outs, some of which can make a pub fire escape look like a bowling green. For example, we played Crewe Hall on Satdy night, and while it's a magnificent Jacobean Mansion, when Sir Randolph Crewe was building it he gave very little thought to the problems of loading in and out to a gig in the Long Gallery on the 2nd floor. You could have offered me any backline bass rig in the world for the evening, and I'd still have told you to stuff it. Politely, of course.

Dunlop Nylon .88s I've been using them since forever (well, probably around 1979). I've been using my fingers longer, but mostly for picking my nose.

I used a LMIII and a 1515L for a good while, and that was a really good combination: I kept the 1515L for longer than the LMIII, and it did a great job with many different heads. Just a superbly practical cab in a band mix: not an attractive tone on its own, but it sat superbly well with the rest of the band. And for such a tiny cab, it could really project: we gigged up in Scotland in a club with a resident engineer, and at one point I saw him fiddling with a slider, looking puzzled. He came over and asked me if I could remember what channel he'd put me on, as he was trying to turn the bass down a bit. Then I reminded him he hadn't put me through the PA... I'm struggling to remember why I sold it now...