funkle

Posted my own review. [url="http://basschat.co.uk/topic/221992-barefaced-bf-big-baby-2-review-bergantino-ip112er-and-acme-b1-content-also/"]http://basschat.co.uk/topic/221992-barefaced-bf-big-baby-2-review-bergantino-ip112er-and-acme-b1-content-also/[/url]

Hi all I have been lucky enough to score one of the new Big Baby 2's Alex is making. A beauty of a cab. I will lay out some thoughts as a review. It is wonderfully light. The website says 29lbs, my bathroom scales say 31 lbs. The textured finish feels tough, and the new handle and corner hardware looks professional. The new grill looks extremely good and brings up the looks compared to what I thought about previous Barefaced cabinets. The port has a Barefaced logo countersunk inside, which is a nice little touch. It looks good. I would have no qualms about recommending ownership. The sound. This is going to take a bit longer, and I have made comparisons to my smaller but heavier Bergantino IP112ER (50 lbs, 500W into 8 ohm, DSP circuitry, specs as per [url="http://www.bergantino.com/ip_series.htm"]http://www.bergantino.com/ip_series.htm[/url]) and my smaller but inefficient Acme B1 (31 lbs, 175W into 8 ohm, specs as per [url="http://www.acmebass.com/pdf/b1.pdf"]http://www.acmebass.com/pdf/b1.pdf[/url]). I have used my Streamliner 900 variously as combo head, preamp only, and poweramp only (depending on the setup), with variously trying out the Zoom B3 as preamp at various times. I have also pumped full range material through all cabs to compare also. The Streamliner 900 delivers 500W into the 8 ohm BB2 neo driver. The Berg IP112ER delivers 500W into it's ceramic driver and tweeter. Test basses were Celinder J Update (ash/maple) and Celinder J Classic (rosewood and alder). Both 4 strings. For reference, I play mostly jazz, fusion, funk, and occasional function band deps. I'm not in a rock band with two guitarists - tends to trios, 4 or 5 piece units, good drummers, big bands sometimes, that sort of stuff. I often used the looper on the Zoom to be able to play a piece of music and then be able to swap set-ups, so as to keep the source constant. Using the Zoom B3 as preamp into the Streamliner power section, or using the Streamliner set flat (Talkbass has instructions on how to do this), the Big Baby 2 has a very even frequency response from top to bottom. Really clear and beautiful high end with the horn turned all the way up. Full range music sounds clear. Bass sounds very clear. Very similar to the Acme sound, to me, anyway. With the horn turned full up, the BB2 has a clearer high end than the Berg, no doubt about it. Full range music confirmed this as well as listening tests. It had less low end set flat than the Berg IP, but about the same as my Acme B1. [I tend to like a very large low end, R'n'B or upright bass jazz style as opposed to lean finger funk]. EQ'ing in low end is very simple and the cab responds well to bass EQ, no farting out. I think the Streamliner is a good match to this cabinet. The Berg IP has two settings for how the cab is set (one a 'dry'/flat setting and the other a 'Bergantino EQ' setting', but both of them employ the onbaord DSP - it cannot be turned off. I have confirmed this with Jim Bergantino). The low end is very meaty and punchy on the Bergantino, and a bit more even on the BB2 by comparison, though EQ can set this to taste. However, even using compression and EQ on the BB2, I couldn't quite replicate the low end of what the Bergantino can do - it just has a certain voicing wired in. It is extremely loud. Ear shatteringly loud, unbelievably so. I could barely touch the bass when I maxed out the volume and gain controls on the Streamliner. I couldn't make it fart, even with slapping. I think Alex's claims to max volume and power handling appear to be valid. I could easily fart out the Acme with the Streamliner, of course - it's not a very efficient cab. The Berg IP was able to achieve the same volume level to the BB2 also without farting out or sounding nasty (using either the Zoom B3 or the Streamliner as preamp), but of course it uses DSP wizardry to do so. I suspect a bigger amp than what I own could push the BB2 to even more stupendous volume levels. I genuinely have been spending a few days working out what to do with this top-line cabinetry. The Berg is heavy, more compact, has a meatier low end built in from the DSP, is as loud as I've ever heard a 1x12" be, and has a very slightly less sweet top end. The BB2 is larger, much lighter, is at least equally loud, takes EQ extremely well, and has a very sweet top end. It also worked well in a stereo set up with the Berg or as an extension cab to it (that was just....ridiculously loud. What a feeling though.) . I originally ordered the BB2 in July as a replacement for my Acme B2. I scored the Berg IP112ER meantime as a chance lucky find. For my particular needs, I am probably going to stay with the Berg as my 'big rig'. I like its voicing, its compactness, and it's about as loud as I could ever imagine needing to be. I have preamps which work well with it. It does have a massive low end which needs taming on some stages with EQ. The BB2 beats the pants off my Acme B1 whilst having a many sonic similarities. But, for when I need a very small rig (some pubs around here), the Acme B1 remains unbeatable in size; the BB2 is considerably bigger. The Big Baby 2 is really a very fine piece of engineering. I regret not being able to keep both the Berg and the BB2. It sounds great, is very very very loud and sounds good at high SPL, and is very light. If I hadn't scored the Berg IP112ER whilst waiting for it, it would be my #1 'big rig'. I have very little doubt about the claims Alex as made for it and I think it could easily match some of the 2 x 12" setups I have heard (e.g. Vanderkley - I previously owned 112MNT and have played through a stack of 2). Anyway, that's my 2p for now. I'm very tempted to try out Alex's Super Midget which is nearly as small as my Acme B1 and see if it simultaneously works as a small jazz gig cabinet and extension cab for the Berg IP112ER. Tall order, but it does have his fancy 12XN550 driver in there too... I'll add some pics of relative sizes of everything later. Pete

Anyone know of a P pickup set that allows for closer string spacing but still gives the traditional thumpy alnico sound? I have a custom P I'm working up that needs pickups which allow for 17.5mm spacing...

[quote name='skychaserhigh' timestamp='1383405089' post='2264142'] Is waveguide just a fancy name for a horn or is it something different ? [/quote] I think it is a fancy name for the horn. But this horn does sound good, perhaps it merits the fancy name.

Just got mine. Number 9. The grill looks much improved over G1 efforts (the last time I tried a Barefaced), finish and fit look good, and it sounds really good in the mid and top end. Tried my Streamliner 900, then Zoom B3 into the STL900 effects return to bypass the STL preamp. I'm still breaking in the woofer so currently it needs more bass than I usually EQ in. A little tighter in the low end than the Berg IP112ER I have, at least at the moment. Full range music sounds accurate through it. Effects sound good through it. The octaver is usually a good test. Overall, my first impressions are that it sounds as good as the Berg. However I need to turn it up this weekend and see how it goes at high volume. Then band rehearsal next week. 29 lbs is it's reputed weight - feels about right, but I'll weigh it on the bathroom scales this weekend too. The cosmetics are good, and I am fussy about that. I would change the silver screws holding in the waveguide and woofer to black, but that's my only comment. The handle looks classy. Looks like a winner to me. Pete

Not trying to muddy the waters, but the Zoom B3 can allow recording with direct monitoring and you can also use the effects/amp sims/etc and of course take it out on a gig. Just saying! I use the B3 to allow direct monitoring while I play along with YouTube, Transcribe, etc. I've also recorded into Audacity with it. Of course, you could only record bass (or at a stretch guitar) with it. For the record, I also have a proper set-up with an M-Audio 2496 and a mixer.

I've done it with the Berg IP112ER and in the l Fx return in on my GB STL 900. No problems. I think Talkbass users say no problems with it either. Sounds great thru the Berg. So does my B3!

I have literally just figured out how to use the HPF built into the Ac Bs Pre, which is a clone of the Fishman Pro. See http://www.talkbass.com/forum/f36/zoom-ms60-b3-para-eq-help-999053/#post15028110 I hope that is helpful. I can't answer your other questions. Pete

I've just bought Dave Liebman's DVD - The Improviser's Guide To Transcription' - http://www.jazzbooks.com/mm5/merchant.mvc?Screen=PROD&Store_Code=JAJAZZ&Product_Code=D148#.UmbAFBBbSIA - to see what it may offer in terms of concept. I'll report back after it arrives and I get time to review it.

[quote name='ratman' timestamp='1382394213' post='2251763'] I just recieved mine today. I spent a couple of hours playing it so far and I've had no noise/whining issues. I'd get yours replaced ASAP. [/quote] Trying to. The seller (from Amazon Marketplace) is being a tool.

I've definitely noticed it, but only when using the amp sims, and even then you have to have the gain turned up high and the cab mix high too. Once I was able to reduce the gain, it got better, even when I mixed cab simulation back into the amp sim. This may be a fault in my unit...I may replace it with another one for comparison.

Can hardly wait for mine now!

[quote name='fretmeister' timestamp='1381437267' post='2239227'] What's the expected waiting time? I quite fancy one of them. [/quote] [quote name='DiscoTetak' timestamp='1381438138' post='2239241'] I ordered my Big Twin 2 three months ago and I'm still waiting . [/quote] Yep, that's about right...I ordered in July. Delivery soon I think though.

Big Baby 2 on order. If all goes well, could basically be a one cab solution for just about any situation for me. We'll see how it pans out.

[quote name='Dr M' timestamp='1381148271' post='2234911'] Because he's been making world-class instruments for over 30 years, and is therefore likely to know all the sales tricks? He's hardly likely to say "I think this instrument should have an ebony 'board 'cause it would look nice and I just got a really good deal on a stack of blanks." [/quote] Skepticism is healthy, I think - though it can cross over to cynicism? I would simply say that I have heard from other luthiers whom I respect and who know a great deal more than I do that neck woods do make a difference. They generally go on to say everything makes a difference, though of course relative contributions of the various bits vary. I am now at a stage where I think most of the tone of an instrument resides in the neck as opposed to the body. A slightly unusual point of view, perhaps. Took me a while to come to this conclusion, and it's based partly on observations of others and partly on my own (e.g. By swapping necks about, trying necks with graphite rods, trying fully graphite necks on basses I own, necks with steel rods, necks of different dimensions, necks with different boards, etc, plus a lot of modding of pickups and preamps and bridges and tuners and whatnot). I'm not aware of any well run double blind studies in this area. They would probably help.

My Celinder alder Jazz has a Braz Rosewood board. Feels lush and I think a bit snappier than the rosewood on my Squier CV Jazz and Precision (?Indian on both?? Hard to tell). All the rosewoods though sound nothing like a maple board to me. Maple has a 'dry', 'tight' sound to me that I find difficult to define in other words.

I defer to the expertise of Mr. Sadowsky in this area. http://www.sadowsky.com/pop/roger_talks.html Text below: 'This is my opinion, based on building over 6000 NYC basses and guitars during the last 30 years. Fingerboard woods from brightest to warmest: MAPLE: Tightest and brightest. Best for slap. Can produce more string and fret noise than others. Requires a finish to keep from turning dirty and grey. EBONY: Not as bright as maple. Most immediate attack and punch of all our fingerboard woods. Note is more fundamental with less overtones. Best for fretless. Pure black ebony from Madagascar is limited. African ebony has some grey mottling but is still very beautiful. These photos are representative of our current stock of ebony: http://www.sadowsky.com/stock/stock_images/nyc/lg/6030_full_lg.jpg http://www.sadowsky.com/stock/stock_images/nyc/lg/5973_full_lg.jpg http://www.sadowsky.com/stock/stock_images/nyc/lg/5327_full_lg.jpg http://www.sadowsky.com/stock/stock_images/nyc/lg/5968_full_lg.jpg Bob Taylor Video: http://www.youtube.com/watch?v=anCGvfsBoFY MORADO (also known as Caviuna, Bolivian Rosewood or Pau Ferro): Morado is not a true rosewood, but I have been a fan of this wood for fingerboards for 30 years. Also used a lot by Stu Spector. Grain is very tight and smooth. More warmth than maple or ebony, but tighter than East Indian Rosewood. Excellent wear resistance, even on a fretless. For fretless, produces a somewhat more acoustic/upright tone than ebony. MADAGASCAR ROSEWOOD: A less expensive alternative to Brazilian Rosewood. Many boards have the spider-web like grain of Brazilian. Rich reddish brown colors. Can be more open grained that some others. Tone is in the same ballpark as Morado and Brazilian. New supplies are limited. AMAZON ROSEWOOD (Dalbergia Spruciana): A new alternative to Brazilian Rosewood. A true cousin to Dalbergia Nigra, Amazon Rosewood is more similar to Brazilian than any other wood. BRAZILIAN ROSEWOOD (Dalbergia Nigra): For me, the King of tonewoods for fingerboards and acoustic guitar sides and backs. Beautiful browns and blacks. Wood has very high oil content. Banned from export out of Brazil in log form since 1969. Currently protected by the CITES treaty which prevents shipment between countries without intensive permits. Same treaty that protects tortoise shell and ivory. We can only ship instruments with Brazilian Rosewood to a US address. No longer recommended to musicians who travel internationally.'