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Baer Amplification Megathread!
- Thread starter KJung
- Start date
One more gig under my belt with the Baer ML112. I swear it might be sounding better and better! Tonight what I noticed was how my right hand touch was being relayed with exceptional acuity through the Speaker. I could make my tone deep and round, add some bloom with playing toward the neck and the fleshy part of my finger, or move back toward the bridge and get growl and midrange bark where I could hear the windings of the strings.
I played a ton of solo's tonight in this particular line up and WOW. I was so inspired by the tone of the single Baer ML112. I couldn't wait to get home and shoot off a quick report.
This cab is REEEEAAAAAALLLY GOOD! Tone, soul, punch, growl, depth, clarity, well balanced voice with plenty of high end information!
In fact, I am rolling back the passive tone a little more than usual with the Baer ML112 versus other cabs. Interesting. I did not see that coming. But I can easily get exactly what I want with plenty of high end definition.
Mad Love for the Baer ML112 ...again. (And I have an intimate gig Saturday night as well!) I expect more of the same.
Thx again Roger! Well done!
I played a ton of solo's tonight in this particular line up and WOW. I was so inspired by the tone of the single Baer ML112. I couldn't wait to get home and shoot off a quick report.
This cab is REEEEAAAAAALLLY GOOD! Tone, soul, punch, growl, depth, clarity, well balanced voice with plenty of high end information!
In fact, I am rolling back the passive tone a little more than usual with the Baer ML112 versus other cabs. Interesting. I did not see that coming. But I can easily get exactly what I want with plenty of high end definition.
Mad Love for the Baer ML112 ...again. (And I have an intimate gig Saturday night as well!) I expect more of the same.
Thx again Roger! Well done!
I played a small theater last night... it was the hardest I've pushed the cab by far, and it didn't even break a sweat.
On smaller gigs I normally have the treble on my Streamliner at about 1 o'clock, mids dialed back to 11 o'clock @ 600K and bass set to noon or even cut a little bit. My gain switch is always engaged and the gain and volume are set at 11 and 1 respectively. I've never had to have the master any higher than 9 or 10 o'clock.
On this gig I had the master fired up to noon! It was juiced! Once we started soundcheck I actually had to dial back the treble to just shy of 12 (who needs a tweeter?) bump the mids @ 220K to 12, and then bump the bass to 1:30 or so... I think keeping the cab on the casters at that volume really let the high-mid drivers shine, while the woofers might have benefitted a little from having some coupling with the stage.
Lesson learned there, but even still, it just sound soooooo good after some tweaks. I thought about popping the casters off, but after I added the bass, I fell in love.
Effects included octave, overdrive, envelope filter and phaser and everything was just so balanced and even. I just kept losing myself in the moment over an over again... such a pleasure to play.
Here's a shot of the rig before I was totally situated and another from the stage while we were setting up.
All in all it was a fun gig... but being able to play through gear that you're in love with just really brings the experience to another level of awesome.
Can't wait until next time!
On smaller gigs I normally have the treble on my Streamliner at about 1 o'clock, mids dialed back to 11 o'clock @ 600K and bass set to noon or even cut a little bit. My gain switch is always engaged and the gain and volume are set at 11 and 1 respectively. I've never had to have the master any higher than 9 or 10 o'clock.
On this gig I had the master fired up to noon! It was juiced! Once we started soundcheck I actually had to dial back the treble to just shy of 12 (who needs a tweeter?) bump the mids @ 220K to 12, and then bump the bass to 1:30 or so... I think keeping the cab on the casters at that volume really let the high-mid drivers shine, while the woofers might have benefitted a little from having some coupling with the stage.
Lesson learned there, but even still, it just sound soooooo good after some tweaks. I thought about popping the casters off, but after I added the bass, I fell in love.
Effects included octave, overdrive, envelope filter and phaser and everything was just so balanced and even. I just kept losing myself in the moment over an over again... such a pleasure to play.
Here's a shot of the rig before I was totally situated and another from the stage while we were setting up.
All in all it was a fun gig... but being able to play through gear that you're in love with just really brings the experience to another level of awesome.
Can't wait until next time!
Addison, those Zons blow my mind! Stunning. Cool report. I'll bet the 212 is indeed a thing of beauty and sonic magic. Cool!
I bet you are dialing the tone back pretty much the way you would in the studio? I really tried to dial the mid drivers in so that your tone in a live mix, sounds a lot like the tone you hear coming from your bass in the studio with your headphones on.
Absolutely the best compliment we can get. Players loving their tone so much that they just forget about the gear and lose themselves in their music! I'm really starting to understand why these luthiers do what they do for such small financial rewards. It's such a great feeling to realize we are part of the process of others making music!
I'll have to chime in with agreement. I had a doubleheader last Sun and then another show Thu. I was thoroughly enjoying myself on all of the gigs, in no small part due to the tone I was getting. The Yin Yang sound flat out perfect through these cabs - can't think of a better combination with the P pup. Similarly, the Rob Allen also sounds better through the Baers than any other cabinet I've tried. I've got cabs with more low end, but none are as articulate and give me the edge I'm looking for without any harshness. Tweeters often just make me cringe especially when I'm leaning into the bass. Not so with the Baers. And I so don't miss that high frequency hiss 
From Thu. The recorder was on a bar *behind* the band, pointing out towards the crowd.
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From Thu. The recorder was on a bar *behind* the band, pointing out towards the crowd.
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That is absolutely right Roger. I was dialing in a warm, fat articulate sound that would record well in a studio. It worked great in my live music mix as well. Never thought of it that way, but that notion is exactly right! and the fact remains that while I was dialing down the passive tone on my Nordy VJ5C, sonically speaking, I had plenty of 'everything'. Its easier to subtract to get to the sonic balance that is just right. (same is in a studio)
This thread probably doesn't need yet another picture of a Baer ML112, but here it is anyway. Notice the platform with wheels. (Bought from Carvin 8-10 years ago for $35! ..best $35 I've ever spent!)
The wheeled platform elevates the Baer just a touch more. Not needed but works great just the same as well as making rolling in a breeze. The Baer ML112 sounded great and I gigged all three sets like this. There were my tools of choice at my gig last night.
Just did a gig for a charity event and received many compliments on my tone. There were a few musicians in the audience and were asking me questions about my rig, especially about the Baer. So I spread the good word Roger, and I think you may be getting a few more calls.
I love the 6" driver in this cab. It is soooo damn punchy. I'm now using a korg g5 synth pedal, and created a patch that has a lot of attack and punch, and the 6"driver handles it extremely well and makes it even more punchy. I also like when playing chords how even articulate and round they sound. The cab definitely seems to have a 3 dimensional effect to it. Amazing.
I'm glad elevating the cab worked for you Gary, but that didn't work for me. When I tried elevating it, I wasn't happy with the low end loss or at least the feel of the low end lost. I definitely prefer it on the floor or just angled up a tad. I do understand why you want it elevated because you want that mid driver closer to your ear which is so thick and sounds sublime.... I guess that's why some people get 2!
I love the 6" driver in this cab. It is soooo damn punchy. I'm now using a korg g5 synth pedal, and created a patch that has a lot of attack and punch, and the 6"driver handles it extremely well and makes it even more punchy. I also like when playing chords how even articulate and round they sound. The cab definitely seems to have a 3 dimensional effect to it. Amazing.
I'm glad elevating the cab worked for you Gary, but that didn't work for me. When I tried elevating it, I wasn't happy with the low end loss or at least the feel of the low end lost. I definitely prefer it on the floor or just angled up a tad. I do understand why you want it elevated because you want that mid driver closer to your ear which is so thick and sounds sublime.... I guess that's why some people get 2!
2.5 hours of Cabpallooza this afternoon with steubig. NOTE: non-scientific and totally subjective session. The players:
ML112 (pair)
TC212 composite
TC112
BigE 4x6
Monique/Minnie
Puma 900
ShuttleMax 12.0
Random Foderas (4 and 6, fretted and fretless), Rob Allen Deep 4, Shen SB190 with KK BassMax piezo. We tried most every combination including some mix/match with the cabs. The short stories:
ML112 - most articulate, best "rock"cab by far (of course depends on what you like)
TC212 - huge sound - made the TC112 sound small by comparison. More relaxed in the mids, more "hi-fi".
BigE 4x6 - best with the upright, more of a low-mid push, and it has some really interesting things going on with dispersion.
Lot's more minor impressions with them. Really three very differently voiced cabs. I can say that despite my comment earlier, the pair of ML112s sounds different than the single cab. Not just louder, but also more beef. We also tried them vertical, horizontal, and L-configuration. Subtle differences, steubig like the L-config best, I'm still clinging to the vertical.
Actually the surprise hit was the ML112 with the BigE 4x6 on top, stacked vertically. Kind of a yin/yang thing going on there - articulate upper mid cut with the Baer, some low-mid push with the BigE. Sounded huge and nasty together.
ML112s are staying - they still are my favorite as I prefer the mid-forward presence and the ultra-articulate sound.
ML112 (pair)
TC212 composite
TC112
BigE 4x6
Monique/Minnie
Puma 900
ShuttleMax 12.0
Random Foderas (4 and 6, fretted and fretless), Rob Allen Deep 4, Shen SB190 with KK BassMax piezo. We tried most every combination including some mix/match with the cabs. The short stories:
ML112 - most articulate, best "rock"cab by far (of course depends on what you like)
TC212 - huge sound - made the TC112 sound small by comparison. More relaxed in the mids, more "hi-fi".
BigE 4x6 - best with the upright, more of a low-mid push, and it has some really interesting things going on with dispersion.
Lot's more minor impressions with them. Really three very differently voiced cabs. I can say that despite my comment earlier, the pair of ML112s sounds different than the single cab. Not just louder, but also more beef. We also tried them vertical, horizontal, and L-configuration. Subtle differences, steubig like the L-config best, I'm still clinging to the vertical.
Actually the surprise hit was the ML112 with the BigE 4x6 on top, stacked vertically. Kind of a yin/yang thing going on there - articulate upper mid cut with the Baer, some low-mid push with the BigE. Sounded huge and nasty together.
ML112s are staying - they still are my favorite as I prefer the mid-forward presence and the ultra-articulate sound.
That's just immensely cool. Curious to know how each of those three amp set ups worked with the Baers particularly. Curious as to which you felt would be the most versatile....from Jazz to hard rock and anything in between. Obviously effects, etc can be added, just wondering overall which head can run the gauntlet the best....punch, bottom fatness, articulation/speed of response, etc, etc.
Don't mind me, I just took an Ambien and may not remember even asking tomorrow, but I want to know. So thanks Todd for the wisdom and inspiration.
Don't mind me, I just took an Ambien and may not remember even asking tomorrow, but I want to know. So thanks Todd for the wisdom and inspiration.
I think the consensus is that Monique/Minnie is spectacular. 3D sound, very sweet top end, nice punch. By contrast the Puma is edgier and was a bit too much of a good thing with the ML112s set flat. It does have a lot more flexible eq though. The GB was eq'd with steubig's typical sound which isn't...ummm...most people's typical 
He'll be the first to admit that. His ability to extract sounds from a bass, either his 6-string Foderas or my RA or upright, is astounding.
We did most every config of the ML112s - vertical, horizontal, L-shape, side-by-side, and 90 degree side by side (surprisingly good sound that way actually). Each has a slightly different character. And just to emphasize - the pair sounds different than the single cab. Louder, bigger, more, more, more. But still controlled. Basically reinforced my previous gig experience with the pair - I can drive a 10-piece band with that setup.
He'll be the first to admit that. His ability to extract sounds from a bass, either his 6-string Foderas or my RA or upright, is astounding.We did most every config of the ML112s - vertical, horizontal, L-shape, side-by-side, and 90 degree side by side (surprisingly good sound that way actually). Each has a slightly different character. And just to emphasize - the pair sounds different than the single cab. Louder, bigger, more, more, more. But still controlled. Basically reinforced my previous gig experience with the pair - I can drive a 10-piece band with that setup.
The GB was eq'd with steubig's typical sound which isn't...ummm...most people's typical
well, thanks for the words.
yeah, my eq on that head is always sorta made for where i practice and get moved around when i play . . . and i'm a tweaker, so what i liked two days ago may not be my thing tomorrow (or this afternoon at todd's). it's a work in progress . . .
the baers sounded great. i remember really liking them at namm years ago and nothing has changed. as i mentioned in another thread, i wish one could attenuate the smaller speaker as it's too much of a good thing for me.
p.s.
the minnie as a power amp definitely had a "something" i can't quite describe. we spent a lot of time listening to note decay and the overtones of a close-voiced triple stop (A-E-F), and the difference between the minnie as the power amp for the monique versus using the puma power was pretty astounding—and unexpected.
we also used a first-gen demeter pre for a while—very different from the monique.
the minnie as a power amp definitely had a "something" i can't quite describe. we spent a lot of time listening to note decay and the overtones of a close-voiced triple stop (A-E-F), and the difference between the minnie as the power amp for the monique versus using the puma power was pretty astounding—and unexpected.
we also used a first-gen demeter pre for a while—very different from the monique.
- Apr 3, 2003
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That jives with my observations, as well. Yes, pretty much every cab gets bigger and beefier when you stack an identical cab on top. But there seems to be some additional sonic mojo going on when you stack two ML-112's.
