I have a Wizzy 12 and am thinking about getting a Wizzy 10 as well for smaller gigs, jams, etc.

Do these two cabs work together or would one dominate?

I'd be using them with a Clarus head, so the impedance wouldn't be a problem.

I have a Wizzy 12 and am thinking about getting a Wizzy 10 as well for smaller gigs, jams, etc.

Do these two cabs work together or would one dominate?

I'd be using them with a Clarus head, so the impedance wouldn't be a problem.

I'm wondering the same thing myself.

I pulled the trigger on one to use separately and to stack on top an M-line 12 w/ my Focus.

I'll let you know. If it works nicely I'll probably put up for sale one of my two M-line 12's and maybe even my '04 Polytone.

BG

If you are going to stack two cabs together, it's always best to use two matching ones(I stack two Bergie 112s). When you have two different cabs, there are issues due to differing sensitivities, impedances, and sometimes polarity. If you drive them with a regular(mono) amp, you have no way of adjusting and balancing them. On the other hand, they may just work well together. You won't know until you try the combination. You do have to be careful about the resultant impedance. If it's too low, your amp may have serious problems. Two 8 ohm cabs in parallel result in 4 ohms, but if one is 8 ohms and the other is 4 ohms, the result is too low for many amps. Remember that an impedance rating(ohms) is only an average, and at certain frequencies it may be considerably lower. If your amp is rated to handle 2 ohm loads, you are usually OK, unless you have two 4 ohm cabs which dip below.

If you are going to stack two cabs together, it's always best to use two matching ones(I stack two Bergie 112s). When you have two different cabs, there are issues due to differing sensitivities, impedances, and sometimes polarity. If you drive them with a regular(mono) amp, you have no way of adjusting and balancing them. On the other hand, they may just work well together. You won't know until you try the combination. You do have to be careful about the resultant impedance. If it's too low, your amp may have serious problems. Two 8 ohm cabs in parallel result in 4 ohms, but if one is 8 ohms and the other is 4 ohms, the result is too low for many amps. Remember that an impedance rating(ohms) is only an average, and at certain frequencies it may be considerably lower. If your amp is rated to handle 2 ohm loads, you are usually OK, unless you have two 4 ohm cabs which dip below.While these could be some good points in general, this thread is about using two specific cabinets from the same manufacturer (Euphonic Audio) together. The difference in sensitivity ratings for the Wizzy 112 and 110 is only 1 dB, so that's really not an issue. Same with polarity (phase). A speaker's impedance can be no lower than its DC resistance (and at any audio frequency it's usually substantially higher). The DC resistance of my Wizzy M and Wizzy 110 is about 3 ohms each, so the lowest load impedance these two in paralell could present to an amp is about 1.5 ohms, which should be plenty safe with a 2 ohm amp.

If you are going to stack two cabs together, it's always best to use two matching ones(I stack two Bergie 112s). When you have two different cabs, there are issues due to differing sensitivities, impedances, and sometimes polarity. If you drive them with a regular(mono) amp, you have no way of adjusting and balancing them. On the other hand, they may just work well together. You won't know until you try the combination. You do have to be careful about the resultant impedance. If it's too low, your amp may have serious problems. Two 8 ohm cabs in parallel result in 4 ohms, but if one is 8 ohms and the other is 4 ohms, the result is too low for many amps. Remember that an impedance rating(ohms) is only an average, and at certain frequencies it may be considerably lower. If your amp is rated to handle 2 ohm loads, you are usually OK, unless you have two 4 ohm cabs which dip below.

The Acoustic Image Focus 2R III is rated to handle 2 ohms and I've used a Wizzy M pair (each 4 ohms) many times and seems to work very well.

As I understand it the Wizzy M 12 AND 10 are both 4 ohms. Not sure if their sensitivity ratings match. Someone out there knows I'm sure.

I'll try to do a comparison w/ the Wiz M 12 and Wiz M 10 together vs. the pair of Wiz M 12's. The 10 just arrived :hyper:.

BG

If you are going to stack two cabs together, it's always best to use two matching ones...

You may be interested in this old thread (http://www.talkbass.com/forum/showthread.php?t=202328&highlight=stacking).

Tried the Wiz M-lines 12 and 10 together breifly in my studio. ABCed them each alone then together.

I've been playing extensively w/ the M-line 12 for about 14 months and still REALLY loving the sound of that cab alone.

The Wiz 10 alone is pretty nice, but like I always say , 'there's no substitute for mass' so I didn't really expect it to be as great as the 12. It is not. W/ the eq flat, compared to the 12 it lacked some fatness in the low end, but it is a great sounding Little/Light box. W/the lows pushed a bit and mids down some it really does sound great and much bigger than its size. I can see that along w/the Focus it will be a really convenient little Hi-Fi rig. I can now afford to lose one or more of my small combo amps which I generally take out when I think the 12 will be overkill or when space is very tight. Have to say though, that the 12 has a presence and low end that this tiny titan could never have. The 10 has more midrange and does not have omnidirectionality of the 12.

The 10 stacked on the 12: Very nice. Deffinately bigger than the 12 alone.
Makes for a huge sounding mini tower.
Seems to go very well together. I'm not
all that up on the ohmage technical issues, but w/the Focus there does not seem to be any problems. I only know what my ears tell me which is that the sound is GOOD. I have to try this out in the field to really tell ofcourse, but first impressions are favorable w/ BG as well, w/ a little added low end boost. :bassist: Next I'll AB this stack w/ the two M-line 12's.

robgrow, ever try your 12 and 10 together?

BG

Tried the Wiz M-lines 12 and 10 together breifly in my studio. ABCed them each alone then together...

robgrow, ever try your 12 and 10 together?

BGNice review Brian. And thanks for trying to cover the real issue here, which is how the Wizzy 10 and 12 sound together.

I would add that I've found the Wizzy 110's off-axis response in the mids to be quite good, if not amazing. I've also measured good response down to 40 Hz with the Wizzy 110, where most other small 1x10 cabs that I've measured cutoff at 60 or 70 Hz.

I haven't tried my Wizzy 110 and Wizzy M together, since I use a Walter Woods amp, which has a minimum load impedance rating of 4 ohms. Recently however I stupidly used a shorted speaker cable (zero ohms), and my amp is still alive and kicking, so I know it won't instantly self destruct the moment the load impedance falls below 4 ohms. Still it's not a good idea to abuse any amp and plan on running it below its rated minimum load impedance.

That's helpful info, Robgrow.

So, here's a related question...

If you had a choice between a Clarus/Wizzy 10 rig or a GK MB150 combo to be used for a variety of gigs on URB and EUB, plus some doubling on electric bass for acoustic music...which way would you go and why?

That's helpful info, Robgrow.

So, here's a related question...

If you had a choice between a Clarus/Wizzy 10 rig or a GK MB150 combo to be used for a variety of gigs on URB and EUB, plus some doubling on electric bass for acoustic music...which way would you go and why?

Oh, the Clarus/Wizzy 10 IMHO would be far better.

Although convenient, I've never really liked the sound of the MB150 or any GK
stuff that I've used over the years. It's a cold sounding metal box and if it breaks down (which mine did a couple of times) it's a major headache and expense to fix. No local repair guy could figure it out and GK wanted top dollar to fix it. To be fair that was a long time ago and I haven't tried their newer Backline Series, but everytime I have to play at a club that supplies a MB150 or a large GK rig as backline I remember how I dislike them. Yes, clean power but, cold and brittle.

AI and EA stuff is way better!
I haven't put my new Wizzy 10 thru the tests in the gig trenches yet, but just from playing it at home I know it will be great.

But if your gonna have one rig, you may want to check out the M-line 12, however. It'll work great w/ the Clarus and it's really not much bigger than the 10 and although heavier, still pretty darn light and convenient. It can get surprisingly loud and has more heft in the lows than the 10. I'm thinking because of this it'll be better for the BG and EUB.

I know I'm gonna find plenty of use for the 10 in lower volume acoustic gigs, cramped stages and hellacious NYC load-ins, schlepping blocks for street parking to avoid $45 parking garages:rolleyes:.
I'll let you know more about its' sound w/ the BG.

Bri

Ah, that's also helpful.

I already have a Clarus (series 3) and a regular Wizzy 12. This goes back to my Wizzy 10 + Wizzy 12 question.

If the two Wizzy cabs really do add up, then I'll be going for the Wizzy 10 for small gigs, jams, etc. The Wizzy 12 for somewhat bigger things. And then both together if that works out.

Cheaper to get the Wizzy 10 than a GK combo as well.

...I've also measured good response down to 40 Hz with the Wizzy 110, where most other small 1x10 cabs that I've measured cutoff at 60 or 70 Hz.

I'm curious-- how did you make these measurements and in what type of room?

Ah, that's also helpful.

I already have a Clarus (series 3) and a regular Wizzy 12. This goes back to my Wizzy 10 + Wizzy 12 question.

If the two Wizzy cabs really do add up, then I'll be going for the Wizzy 10 for small gigs, jams, etc. The Wizzy 12 for somewhat bigger things. And then both together if that works out.

Cheaper to get the Wizzy 10 than a GK combo as well.

Oh yes, ofcourse. But, you have the regular Wizzy 12, not the M-line, right?

I'm hoping to use them together at gigs where I have to play for cocktails in one room and a reception/ dinner dance in another, larger room w/a larger band. I often double on BG on these where I could already have the 12 set to go. Then it would be an easy transfer of the 10 into the 2nd room to stack them for the dinner/dance portion where the added presence would help. Prehaps I may separate the speakers on either sides of the drummer on larger bandstands to spread out the sound.

I think I have a gig like this coming up. I'll report back.
I'd imagine the reg Wiz 12 would work well for this as well.

Bri

T The 10 just arrived :hyper:.

BGNice. Quick too you maniac.

Surprising little box. Won't move walls or shake floors but when you want just a little something xtra past acoustic it's just the thing. Try it in a corner or up against and corner and a wall. That horn loads it and really makes it surprising.

Nice. Quick too you maniac.

Surprising little box. Won't move walls or shake floors but when you want just a little something xtra past acoustic it's just the thing. Try it in a corner or up against and corner and a wall. That horn loads it and really makes it surprising.

Thnx, Phil. Yeah, had to get it in to write it off for '07.

Hope you've recovered from your NJ/NY flu bug.

Bri

Thnx, Phil. Yeah, had to get it in to write it off for '07.

Hope you've recovered from your NJ/NY flu bug.

BriNot yet. I sweat and hacked up a lung through last nights gig and spent most of today sleeping.

I've been more sick since I had this child then ever in my life.

thx for the comparison bribass. i think you just convinced me to buy a 12. I've been going back and forth on this for ever, because the wizzy10 can sound great if you eq it just right, and the portability combined with the tone is unbeatable. However, i do miss the depth that a larger speaker delivers.

Just out of curiosity, has anyone out there tried the cxl 112 from EA with a double bass?

thx for the comparison bribass. i think you just convinced me to buy a 12. I've been going back and forth on this for ever, because the wizzy10 can sound great if you eq it just right, and the portability combined with the tone is unbeatable. However, i do miss the depth that a larger speaker delivers.

Just out of curiosity, has anyone out there tried the cxl 112 from EA with a double bass?

I took one out once- the first thing I did was turn the horn down, IMHO the in-yer-face horn just isnt necessary for URB. It's a very PA-like cab, very clean and neutral sounding with no real bumps of note. That kevlar woofer can get as loud as [insert your own expression], you'd feed back long before you can reach its limits. YMMV, etc., usual disclaimer that I sell 'em, etc.

Bob...can you pass along any experience for what happens when you put a Wizzy 12 and Wizzy 10 together?

tornado -- i have a w10, and should be getting an Mline soon. Frankly, I'm impressed with the w10 every time i play through it. It takes a bit of EQing, especially depending on the room, but it can sound really great, at least with my setup (ply, realist, clarus) and the type of playing i do.

I don't know if I'll keep them both when the 12 arrives. Having played a 12 EV cab for many years prior to the w10, I think it will be a difficult decision. There is something to be said about the tone produced from larger speakers that smaller ones can't match. Still, if there was ever a small speaker that sounded bigger than it's actual size the w10 would have to be it.

This is mere speculation, but I imagine the 10 and 12 together would produce a fantastic tone and be louder than an elephant in heat.

Also, thanks bob for the description the Cxl12 -- EA's "best" 12 inch cab. perhaps not best for upright bass.

thx for the comparison bribass. i think you just convinced me to buy a 12. I've been going back and forth on this for ever, because the wizzy10 can sound great if you eq it just right, and the portability combined with the tone is unbeatable. However, i do miss the depth that a larger speaker delivers.

Just out of curiosity, has anyone out there tried the cxl 112 from EA with a double bass?

I use a CXL112 and I love it! As Bob said, you need to turn the horn down. It really makes my upright sound great. When I need to play outdoors or in a real loud venue, I pair it with my 12 wizzy. The two together are a match made in heaven. Awesome sound, nice and fat with a nice articulate tone.

sorry to derail the thread a bit, but . . .

which 12? how would you compare the cxl with the 12 you have?

Not sure if the question is for me, I use the EA CXL112 and the regular EA Wizzy 112. I set the horn on the CXL at about 9:00. I run both cabs with a LMII and I use a KK Maxbass pick up.

Did you want to know the diffence between the wizzy 112 and the CXL112? The CXL is a little louder and pushes 350 watts and of course it has an adjustable horn. The wizzy pushes less watts but is almost as loud. It sounds a little more "vintage" to my ear and a little "rounder" if that makes any sense. I'm not sure I could pick one over the other. If you shoved me into a corner and jabbed me with a stick, I might take the CXL, but I'm not sure. At rehearsal tonight I'll play each one seperate again and let you know...

wingnut -- yea that was for you.thanks for your response. after checking out your profile, i'm curious about your general impressions between the wizzy10 and the 12 as well.

cheers.

Don't mean to derail this thread, but does anyone know of a dealer with the M-Line Wizzy in stock. I'm aware that they're scarce, but I can't seem to find any at all.

I use my wizzy110 for rehearsal mostly, but also for small low volume venues. The 10 has a more pronounced high end as you would expect. I just roll off some of the high end and let 'er rip. For as small as it is, the 10 is really loud and I have used it at a casino gig by itself w/ FOH support with no problems what so ever. The 112 has a "bigger" sound and can be pushed quite a bit harder with no trouble. The 12 is my come what may cab and I have used it for loud gigs w/o FOH support (200+ people) and the thing never broke a sweat. Basically the two cabs sound very similar, just with the 112 you get more of that sound. They are very clean cabs and do not distort easily, I've only had my 112 fart once. It was at a very loud (500+) gig and I had forgot to plug into the CXL, I discovered I wasn't hooked up to both cabs about halfway through the set (first time it farted). EA's customer support is top notch as well. About a week after I got my 110 wizzy, it just up and quit on me. I contacted John Dong at EA and he had me send it to them. They sent me the photos of the problem. The driver was totally trashed! I interogated my son and he copped to it. I told John what had happened and even though it was not a factory defect, they replaced the driver at no cost! Now that's customer service!

Don't mean to derail this thread, but does anyone know of a dealer with the M-Line Wizz in stock. I'm aware that they're scarce, but I can't seem to find any at all.

You can usually get them from Bob Gollihur at Gollihur Music or Mark at Bass Club Chicago. In my experience, if Mark or Bob doesn't have it, they will get it pronto. You can't go wrong with either one of them!

Thanks, wingnut! Will give 'em a shout.

Anyone have experience driving two Wizzy's. Would this suffice for medium to large clubs?

Depending on your amp and style of music, by all means. I'm in a four piece americana/rockabilly band now and it can and does get loud.

Thanks, wingnut! Will give 'em a shout.

Anyone have experience driving two Wizzy's. Would this suffice for medium to large clubs?


Chris has been using two w10s. check out his posts or give him a shout.

Thanks, wingnut! Will give 'em a shout.

Anyone have experience driving two Wizzy's. Would this suffice for medium to large clubs?

Yes, check my posts here: http://www.talkbass.com/forum/showthread.php?t=281431

and here: (post #64)

http://www.talkbass.com/forum/showthread.php?t=342221&highlight=bribass+wizzy+m-line&page=2

I just also picked up a Wizzy 10 and I'm hoping the 10 on top of one M-line 12 will do the trick as well. They sound great at home. I think I'll be trying that config on a gig this Sat.

I'll let ya know.

BG

Thanks bribass. Went through the old thread and found it very helpful.

Would all of the Wizzy's (M Line, and regular) positive attributes translate to electric bass for live pop/rock?

I'm thinking that mic placement (for live and in the studio)might be a bit tricky on the M Line because a single mic placed on the cone will miss out on the signal being pumped through the side vents.

And even on the regular Wizzy, subtle mic placement differences will have a dramatic effect due to the concentric cones. This could be a good or bad thing.

But this is conjecture and not based on my experience.
Any one have experience mic'ing these speakers?

I could be wrong, but w/ the M-line I don't think you'll miss out a huge amount of sonic detail by miking the cab in front and not picking up the sound directly from those side vents. As stated here (http://www.eaamps.com/2005/technology/transmission_line.htm), there are some very low freqs that do exit on the sides. But I think the TL design is more about improving the way the back wave of the woofer is handled inside the cab, and giving it a place to go besides back into the room through the woofer itself.

Heck, I'm no techie, I barely understand what I just said at a conceptual level, and thus I could be all wet. :)

I have the regular Wizzy 12 and an M-line, but have never put a mic in front of either one. I use the DI out from my amp on slab gigs where there is a PA.

But you did make me think about the nuances of putting a mic in front of a coax like the Wizzer. Not a new problem of course, and I bet there's plenty of good advice / guidelines out there somewhere on that topic too.

Thanks bribass. Went through the old thread and found it very helpful.

Would all of the Wizzy's (M Line, and regular) positive attributes translate to electric bass for live pop/rock?

I'm thinking that mic pacement (for live and in the studio)might be a bit tricky on the M Line because a single mic placed on the cone will miss out on the signal being pumped through the side vents.

And even on the regular Wizzy, subtle mic placement differences will have a dramatic effect due to the concentric cones. This could be a good or bad thing.

But this is conjecture and not based on my experience.
Any one have experience mic'ing these speakers?

I've used my pair of M-line 12's playing Rock and Pop w/ a AI Focus 2R III and a Music Man Sterling (an active bass)
and can get a really nice tone. W/ BG I usually push the lows a bit and scoop some mids. Can sound really big and loud for a stack that size. Ofcourse it's not like a much larger12/15 Epiphani or Bergentino stack that I've used. But for a load in of two small 33 lb. boxes that I can carry w/ two hands or small dolly w/ the Focus straped around my shoulder, you can't beat 'em. I've played plenty of loud gigs this way w/ no front of the house support. I certainly like the electric sound better than when I've used most any 4x10 config (Eden, GK, SWR) supplied as backline.

I have once recorded in the studio w/ the BG and the M-line miced in a closet. Came out nice as I recall. There may be a link I can post to that recording.

BG

I could be wrong, but w/ the M-line I don't think you'll miss out a huge amount of sonic detail by miking the cab in front and not picking up the sound directly from those side vents. As stated here (http://www.eaamps.com/2005/technology/transmission_line.htm), there are some very low freqs that do exit on the sides. But I think the TL design is more about improving the way the back wave of the woofer is handled inside the cab, and giving it a place to go besides back into the room through the woofer itself.

Heck, I'm no techie, I barely understand what I just said at a conceptual level, and thus I could be all wet. :)

I have the regular Wizzy 12 and an M-line, but have never put a mic in front of either one. I use the DI out from my amp on slab gigs where there is a PA.

But you did make me think about the nuances of putting a mic in front of a coax like the Wizzer. Not a new problem of course, and I bet there's plenty of good advice / guidelines out there somewhere on that topic too.Steve, You definitely have the right idea about transmission lines. TL's are fundamentally different than much more common sealed and ported enclosures. As for micing a Wizzy M, it really shouldn't be any different than close micing any other cab. I would think a mic with good low frequency response and maybe a bit of warmth such as a Beyer M88 or EV RE-20 would do well here. I played a show where I doubled a while back and the sound tech used a Shure Beta 52A to mic my Wizzy, which seemed to work very well.

Would all of the Wizzy's (M Line, and regular) positive attributes translate to electric bass for live pop/rock?Yes! Both the Wizzy 112 and the M Line sound fabulous for electric bass.

Now I'm thinking of heading toward a pair of regular Wizzy 12s for electric gigs and going smaller than the 10 for small stuff :hmm:

BTW, I had one restaurant patio gig with the Clarus/Wizzy and when our singer went to the back of the patio, she came back and said the bass needed to be turned down in the PA...but it wasn't in...oh, my!

Now I'm thinking of heading toward a pair of regular Wizzy 12s for electric gigs and going smaller than the 10 for small stuff :hmm:

BTW, I had one restaurant patio gig with the Clarus/Wizzy and when our singer went to the back of the patio, she came back and said the bass needed to be turned down in the PA...but it wasn't in...oh, my!

Gotta LOVE them Wizzies! Okay, I compared the CXL to the 112 Wizzy last night. The wizzy definately sounds more "vintage" to mine and my band mates ears. It has more of an old school thump to it when used for URB. When I use the MM Stringray, my guitar player said it reminded him of an old Fender bassman but fuller and with more definition, (what a smart guitard). The CXL definately has more balls and you can dial in the amount of high end you want to start with on the cab itself. It seems to like to be driven a little on the hard side. It really came to life when I had the LMII at around 11:00. Nice big bottom with very crisp high end, you can get a great blend of sounds from just this one cab. To a man, the whole band agreed that if I could only use one cab it would be the CXL. Then I played them together and they are a wonderful compliment to each other. If I didn't know better, it seems the two were made to be run together. The two tones together really are blissful. I ran the LMII up to 3:00 just for grits and shins and I got feedback before the cabs showed any signs of strain with the URB. With the Stingray you can really drive these cabs hard with no problem. I was able to get a really cool sounding pleasant GK growly tone out of them with very little trouble. Add some VLE and they got real warm, almost Jamerson sounding. I never realized how versatile these cabs were until I did this comarison for you guys, so have to thank you! I hope this answers some of your questions.

wingnut thanks for the write-up.

tornader, maybe you need a CXL and a 10 to go w/ your Wizzy. Three separate pairings, eh? :cool:

I have not heard a CXL in person. But based on what I've read it strikes me that the M-line might sit sonically some where in between the regular Wizzy and the CXL. The adjustable tweeter on the CXL seems like a key feature.

Bolo, you're the devil incarnate!

Here I am with gig money burning a hole in my pocket and with indecision on my brain.

And there you go with my least favorite multiple choice answer:

D. All of the above

I suppose you're in the loansharking biz, too, huh :help:

+1 to that! If you have the space and the need (and the cash!) One of each is perfect. Well it IS what I ended up doing...

Hey Tornado, If you don't mind a 37lbs cab, I would definately go with the CXL.

Just out of curiosity, has anyone out there tried the cxl 112 from EA with a double bass?

I have one,as well as a Wizzy 12 and they are two very different cabinets, with different strengths and weaknesses.
I had to get used to the CXL at first, it's a very aggressive sounding cab, very clean. But in a live situation, what a sound!
Cuts through like nothing else. Bad part is,It's almost twice as heavy as the wizzy, and less portable for my old back. The Wizzy, OTOH, is much lighter and portable, and seems to work better for my doubling gigs. I kind of like the old-school sound it gets.

Hey Tornado, If you don't mind a 37lbs cab, I would definately go with the CXL.

The CXL 12 is 44lbs.,
the Wizzy M-line 12 is 33lbs.,
the reular Wizzy is 29 lbs.

I have one [ CXL ],as well as a Wizzy 12 and they are two very different cabinets, with different strengths and weaknesses.
I had to get used to the CXL at first, it's a very aggressive sounding cab, very clean. But in a live situation, what a sound!
Cuts through like nothing else. Bad part is,It's almost twice as heavy as the wizzy, and less portable for my old back. The Wizzy, OTOH, is much lighter and portable, and seems to work better for my doubling gigs. I kind of like the old-school sound it gets.reedo35 thanks for the comparison. That "old school" thing gets me too. Kinda warm and velvety.

Bolo, you're the devil incarnate!

Here I am with gig money burning a hole in my pocket and with indecision on my brain.

And there you go with my least favorite multiple choice answer:

D. All of the above

I suppose you're in the loansharking biz, too, huh :help:Let's step into my virtual office. :D

It sounds crazy, but I want a third EA cab too. A Wizzy 10.

Then maybe I could actually respond directly to your O.P.

reedo35 thanks for the comparison. That "old school" thing gets me too. Kinda warm and velvety.

For that, I turn to the actual old school stuff. I've rehabbed a Bassman Ten from '71 (new tubes, new caps, new speakers) and have a Bassman 50 head (new tubes & caps) going into an early '70s black tuck'n'roll Kustom 2x12 cab with a pair of Eminence Betas.

BTW, the Wizzy 12 sounds good powered by the Bassman 50 head, too. But I don't plan on that becoming a gig rig :rolleyes:

And...I'm still waffling on the Wizzy 10 cab.

Anyone have experience driving two Wizzy's. Would this suffice for medium to large clubs?I have limited experience using a regular Wizzy and an M-line together. I stack the M-line cab on top and tilt it back. But I may not play what you consider "large" clubs with it, and if the gig is big enough for me to bring the second cab, there's usually PA support.

I seem to recall Mike Dimin and Tom Bowlus both commenting favorably on using two Wizzy's together (the regular 12") when they were first introduced. That was actually back before the Wizzy 10 and the 12" M-line models were available I think. Even more cool choices nowadays.

I took my Wizzy 10 out tonight on it's Maiden gig Voyage tonight and I was not dissapointed. It was killin'!

I'll post a full reveiw when I'm less tired and after another, but different small band gig tomorrow.

BG

Yea, at first I thought the w10 cab was too mid rangey, but the more I use it the more I like it. It really cuts through and, in a live situation, it delivers the low end as well. Bribass --I'm curious to your thoughts after putting the 10 through it's paces.

Yea, at first I thought the w10 cab was too mid rangey, but the more I use it the more I like it. It really cuts through and, in a live situation, it delivers the low end as well. Bribass --I'm curious to your thoughts after putting the 10 through it's paces.

Well I still haven't had the right type gig to stack the 10 on top of the Wiz M-line 12 yet, but I did use the 10 on two diff type of gigs.

One was a private event w/ about 90 guests in a small, but not tiny, nice sounding room at a NYC hotel. The band was a 4 piece; kys, bs, drms, and guitar/vcl.
The leader said it would be mostly Standards, Swing Jazz etc. w/ a bit of dance, Pop/Rock at the end so I didn't bother taking the BG and just took the DB->Focus->Wizzy 10 and took a chance that only the little 10 would cut the room. I parked down the block and wheeled the bass in one arm, Focus over my shoulder and left the cart in the car and carried the 10 and a bag 'o wires in the other hand. The 1 trip, cartless load-in realized! Really nice sounding room. The Prescott w/o amp was almost loud enough for the start of the party, but we got louder as the night went on. Wizzy was just great. I too thought it would be too middy, but it sat really well in the mix. At low vols, just outstanding, deffined, but warm w/a little bump in the lows. But what really got me was when we had to play the dance set. Usually I'd be bugged to play 'Hang On Sloopy' and a Barry White Medley (yes, on the Prescott, maybe a first in history;)) on a DB especially w/ a small amp, but the W-10 cut the room w/o a problem and I didn't feel I was too quiet or pushing the amp (or my chops) too hard. I get that simialr feeling to using the W-M-line in that the speaker seems to react more than others when you dig in. The notes that you want to accent seem to pop out w/o turning up the vol too much.
But, listen I'm not selling my W-M-line 12's 'cause in a bigger room I'd be missing the GIRTH, but for this gig the 10 was perfect.
Next day, Jazz brunch in a large-ish restaurant w/ a Qrt (sx,pn,bs,drm). I had previously played this room w/ the M-line 12, but I wanted to see what the 10 could do here. Again great eventhough though the drummer (a sub) was a bit too heavy handed especially on my solos :rollno:. Pn player (he owns an AI combo) was amazed at the bigness of sound from this little box. The pianist/leader from the first gig happened to show up to the brunch and said he could hear the bass really well from the back of the room. I didn't feel like I was playing loud either, under the band if anything. On solos when I did have to turn up a bit (again, the drummer:scowl:), I did detect some electricky tone, but certainly nothing terrible and this was w/ the synthetic core Evah Pirrazzis. I think my usual Spiro Mit/ SF G set up would be a bit better in this regard. BUT, I have to say I was really enjoying the EV's on both these gigs. I love the snap to them as you dig in. More on this in the EP thread later. Oh, I even played some arco solos and some arco rubato stuff w/o feeling the need to change any EQ settings (IMO don't try that w/ anything but a Realist). The audience really seemed to be digging the band and I was humbly thrilled to recieve several heartfelt compliments from several patrons :cool:, so I guess they were hearing me well w/o any PA support. Although I stand by my statement that if I needed only one box to do it all it would have to be the Wizzy M-line 12, but I'm certainly gonna find alot of use for this great sounding little box! My small combos that I usually use for lower vol gigs will prolly be getting a rest.

BG

I have tried the Wizzy 10 with the M-line Wizzy, and I found it to be a pretty good pairing. Kind of like a slightly bigger version of the double Wizzy 10 setup, and a tad more upper midrange cut relative to the double M-line setup.

I seem to recall Mike Dimin and Tom Bowlus both commenting favorably on using two Wizzy's together (the regular 12") when they were first introduced. That was actually back before the Wizzy 10 and the 12" M-line models were available I think. Even more cool choices nowadays.

Yes, I can definitely say that while, IME/IMHO, most cabs benefit from having two of them stacked (versus turning up one twice as loud, or whatever), but the regular Wizzy really seems to transform when you stack two of them. Combined with an iAMP 800, this is a killer, killer rig! :bassist:

I've been using one or the other exclusively now for months on all kinds of gigs.
Finally got to use both the Wizzy 10 AND M-line 12 together on a gig.

An outdoor concert on BG, mostly classic Rock, Blues and oldies. No PA support.

'74 Fender Jazz => AI Focus 2R III=> Wiz 10 on top of a Wizzy M-line 12.

Just great! Clarity and bottom even outdoors.

I stacked the two speakers a bit off axis to one another, w/ the 10 facing me more and the 12 facing a bit more towards the drummer and into the band.

This way I could use the 10 as a monitor and make sure I didn't push it too hard while running the fuller Focus wattage at 2ohms. Pretty thunderous. Loud enough for any gigs I do. Indoors it'll be HUGE.


BG

Oh, the Clarus/Wizzy 10 IMHO would be far better.

Although convenient, I've never really liked the sound of the MB150 or any GK
stuff that I've used over the years. It's a cold sounding metal box and if it breaks down (which mine did a couple of times) it's a major headache and expense to fix. No local repair guy could figure it out and GK wanted top dollar to fix it. To be fair that was a long time ago and I haven't tried their newer Backline Series, but everytime I have to play at a club that supplies a MB150 or a large GK rig as backline I remember how I dislike them. Yes, clean power but, cold and brittle.

AI and EA stuff is way better!
I haven't put my new Wizzy 10 thru the tests in the gig trenches yet, but just from playing it at home I know it will be great.

But if your gonna have one rig, you may want to check out the M-line 12, however. It'll work great w/ the Clarus and it's really not much bigger than the 10 and although heavier, still pretty darn light and convenient. It can get surprisingly loud and has more heft in the lows than the 10. I'm thinking because of this it'll be better for the BG and EUB.

I know I'm gonna find plenty of use for the 10 in lower volume acoustic gigs, cramped stages and hellacious NYC load-ins, schlepping blocks for street parking to avoid $45 parking garages:rolleyes:.
I'll let you know more about its' sound w/ the BG.

Bri

Relating to the issue of WZ10/Clarus versus GK combo rigs, I have a bizarre experience to relate. I, too, prefer the sound quality and versatility of the WZ10/Clarus rig over the GK combo, but I had the weirdest experience this weekend with it - with them both. It was with a piano trio at a legendary jazz club in NYC. On the opening night, I simply could not get "my" sound or any respectable sound with the great WZ/Clarus rig (and a great bass). No matter where I placed the rig, it was disappointing. No - maddening. I returned home with a major head-ache from stressing out over the problem. On the following night, I decided to dust off my 22 year-old (and recently "refoamed") GK-MB200. It sounded unbelievably great in that room from the get-go. In fact, I never remember it sounding so good. Go figure. I have no idea what acoustic dynamics were at play and would appreciate any input.

I've ended up with both a Wizzy 12/Clarus rig and a GK MB150E.

For smaller stuff, I'm enjoying both the sound and the size of the GK, but I know that the Wizzy/Clarus will have more of everything and a more transparent sound, too.

After switching to the GK, a band member in our acoustic blues trio asked if it was more powerful than the Wizzy/Clarus because it had provided more than adequate volume and bottom for the room :hmm: