Mine must be the SWR Triad I, 4 Ohm, 400W bass cab, equipped with 1x15" + 1x10" speaker units + high frequency tweeter horn.
The 15" speaker unit receiving the full range of the signal, and then a build in crossover making sure that the 10" unit mostly only receives the part of the signal that is between 100Hz and 5kHz, and that the high frequency tweeter horn then receives everything of the signal above 5kHz, with how much of this part of the signal is fed to the tweeter horn being adjustable via a build in tweeter attenuator.
Personally I have the attenuator set at noon, which according to the manual is the "normal setting", effectively meaning an about -4dB cut of the signal fed to the tweeter.
I use it for the musical project that has my main focus at the moment, a bass/vocals and drums duo, which music perhaps best can be categorized as a form of progressive psychedelic stoner rock, where I play a just 28,6" scale 4 string Ibanez GSRM20 Mikro bass, tuned G1 - C2 - F2 - A#2, as in G standard tuning, 3 half steps above regular 4 string E standard bass tuning, or 2 half steps bellow A standard baritone guitar tuning, and then beside other momentarily used effects (a heavy high gain distortion with a quite fuzz like quality, consisting of a Turbo Rat clone parallely mixed, via my Boss LS-2, with a Joyo Orange Juice overdrive stacked into a Boss MT-2 Metal Zone, having a big part to play), have the bass signal run through an always on TC Electronic Sub'N'Up Mini octaver, blending in an 1 octave above signal with the regular bass signal, using the default polyphonic octaver setting, but tweaking the EQ of the input signal of the octave engine as well as the EQ of the pitched signal via the Toneprint editor to make it sound more natural, giving an effect similar to that of playing an 8 string "octave" bass, with pairs of respectively bass and octave strings.
Here, beside my Mikro Bass, is my Peavey Solo Special 112, 160W guitar combo amp, having it's build in 12" guitar speaker disconnected and instead hooked up to my SWR Triad I bass cab, only using the poweramp section of the Peavey, having an EHX Black Finger, tube driven optical compressor, acting as much as a fairly light compression effect as as a tube preamp stage, placed at the end of my effect pedals chain, then going into a Zoom MS-70 CDR, exclusively using that as a multi band fully parametric equalizer, utilizing 6 of the multi effect pedal's 2 band parametric bass equalizer models, then finally going into a Behringer MIC100 Tube Ultragain tube preamp, before going into the Peavey's Effects Return effects loop input :
The SWR Triad I was one of the first real commercial attempts at making a full range bass cab, it's nowhere anywhere near flat response, but to me that doesn't really matter as I think it got just the right frequency balance as it is, with control of the upper frequency representation by the build in attenuator, as I mentioned previously, setting how much of the signal above 5kHz is fed to the tweeter horn.
The low end of the cab is tight and articulated as far as I am concerned, and I guess the cab is fairly mid-rangy, which I suppose makes sense with the part of the signal the build in 10" unit is responsible for, that is everything between 100Hz to 5kHz, and having the 15" unit, as said receiving the full range of the signal, overlap a great deal of those same frequencies, which by the way suits me fine too, as I like a rich mid-range presence.
Also, even with the tweeter horn completely off (since the 10" unit will still reproduce frequencies up to 5kHz without much roll off), but especially with the attenuator set at noon, which equals to an attenuation of about -4dB of the signal fed to the tweeter (5kHz and upwards), the extended upper frequency range, compared to say a regular 15" or even a 10" bass cab, gives the tone of the bass a certain light sense of openess or space to it, but seemingly without it causing any loss of sense of tightness, and without it ever sounding harsh in any way, even when using overdrive and distortion (mind though that the lack of perceived harshness may very well be due to me having sculpt the EQ so that it starts to roll off the top end from around 4kHz with a downward slope at about 9dB/Oct).
To me this cab reproduce the signal coming from my bass beautifully, couldn't imagine it any better, and even though I guess this type of cab is especially well suited for how I utilize it at the moment, I would not hesitate a moment using it in the context of a more traditional bass setup as well.
The´overall sensitivity of the Triad I cab is not really that impressive but still quite good with 98dB SPL @1W1M, and the frequency response spreads wide and deep with –6 db @ 37 Hz and 16 Khz.
Here's a link to the original manual:
https://www.manualslib.com/manual/621035/Swr-Goliath-Iii.html?page=17#manual (don't mind the link names the Goliath III cab, page 17, as is where the link leads, is the Triad I manual page)
Only downside to this cab really is that it weights half a ton (80lbs, or slightly above 36kg, to be exact).
Man it's heavy, and it's a bit unusual shape (it's deeper and a bit more boxy than it appears on the photo) makes transporting it even more cumbersome.
Greenboy Fearless F112 cab, Eminence Kappalite, immaculate condition, 3 months old, complete with Roksolid cover, anyone who knows about these, knows how great they are, only selling to fund another project, collection from Brentwood.