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Baer Amplification Megathread!

#3,481
nostatic said:
For the jazz gigs I only use one cab, and never have FOH. I use the second cab when I gig with louder bands and sometimes for outdoor gigs (though a single cab does surprisingly well). It does make a difference for instance when I play with the Steely Dan tribute band. I need to cut a wider path with the bass there and make sure I'm driving the band. The second cab give about 4x the armadillos - I think it is a power function rather than linear. I did run the Baer/Berg stack at the last gig but I will likely run the Baer pair at the next one. I keep one of the ML112s in the car all the time. Not sure I'm going to keep the one CN112 I still have as it becomes a second haul and the last time I wanted to run really small I took a QSC K8 and that did fairly well (jam with acoustic guitar).
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LOL ...I used a QSC K10 at a gig recently ..when one of the preamp tubes died in my bass amp. (didn't have time to unscrew the cover and replace the tube) The QSC was surprisingly musical. Ha!

Yeah I understand not wanting to deal with the 'second haul'. That's why I wait on my decision about the second Baer ML112. Time will tell.
 
#3,482
I've gigged a K10 a few times. It sounds pretty good if you've only got another instrument or two, but once the mix gets a bit busy I find it gets lost.

The "second haul" aspect is more about single cab gigs. One ML112 is always in the car. The thought was that the CN112 is a bit smaller/lighter so if I had a gig that was really tight I'd take that. But then I have to move it from the house and I've still got the ML112 in the back. And it isn't *that* much smaller than the ML112 so only advantage is if I have to hand carry a long distance or up stairs (form factor is a bit easier to carry). If I'm playing a bigger/louder gig, I'm going to have to haul a second cab from the house so I'd rather have it be a second Baer.
 
#3,483
nostatic said:
I've gigged a K10 a few times. It sounds pretty good if you've only got another instrument or two, but once the mix gets a bit busy I find it gets lost.

The "second haul" aspect is more about single cab gigs. One ML112 is always in the car. The thought was that the CN112 is a bit smaller/lighter so if I had a gig that was really tight I'd take that. But then I have to move it from the house and I've still got the ML112 in the back. And it isn't *that* much smaller than the ML112 so only advantage is if I have to hand carry a long distance or up stairs (form factor is a bit easier to carry). If I'm playing a bigger/louder gig, I'm going to have to haul a second cab from the house so I'd rather have it be a second Baer.
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Makes sense Todd. I'd prefer the matching aspects of a pair of Baer ML112's also. (Based on my experience with one ML112 ...and know how a pair of cabs is somewhat exponential in the enhancement you get from a pair)
 
#3,484
GRoberts said:
Makes sense Todd. I'd prefer the matching aspects of a pair of Baer ML112's also. (Based on my experience with one ML112 ...and know how a pair of cabs is somewhat exponential in the enhancement you get from a pair)
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Isn't Exponential Enhancement playing Coachella? I heard they were opening for The Trouser Armadillos?

(Sorry, but I gave to get one in there every now and then)
 
#3,488
Had my first opportunity to use my 112 at a gig last night - have been sidelined due to shoulder surgery, so my only experiences have been at home.

Details - fairly small bar gig, trio with guitar, drums, and me (played my Rob Allen MB-2 through a Streamliner 900). It was all around, a really great experience. A few observations:

1. This is a boomy room. I've played it numerous times before with different cabs (LDS 12/6, single 10) with electric as well as upright bass, and its always been pretty nasty - hard to get the woof out. But last night was different - with a little bit of eq fiddling, I was able to get a nice, clean sound that I could hear as could the audience. I had several comments about how good my bass sounded, from musicians and non-musicians alike - as if they were noticing the sound of the Rob Allen for the first time.

2. Volume - was able to play at a much lower volume then ever, with greater clarity (even had the guitard ask me to turn down after the first song - never happened before).

3. Load in - did I say how easy it was to load in/out? Amp and etc in backpack, bass in one hand and cab in the other.

Just placed my order for ML112 #2. I love the modular approach, and think that I've found the ideal solution for me.

Thanks Roger, for such a great product!
 
#3,489
bherman said:
Had my first opportunity to use my 112 at a gig last night - have been sidelined due to shoulder surgery, so my only experiences have been at home.

Details - fairly small bar gig, trio with guitar, drums, and me (played my Rob Allen MB-2 through a Streamliner 900). It was all around, a really great experience. A few observations:

1. This is a boomy room. I've played it numerous times before with different cabs (LDS 12/6, single 10) with electric as well as upright bass, and its always been pretty nasty - hard to get the woof out. But last night was different - with a little bit of eq fiddling, I was able to get a nice, clean sound that I could hear as could the audience. I had several comments about how good my bass sounded, from musicians and non-musicians alike - as if they were noticing the sound of the Rob Allen for the first time.

2. Volume - was able to play at a much lower volume then ever, with greater clarity (even had the guitard ask me to turn down after the first song - never happened before).

3. Load in - did I say how easy it was to load in/out? Amp and etc in backpack, bass in one hand and cab in the other.

Just placed my order for ML112 #2. I love the modular approach, and think that I've found the ideal solution for me.

Thanks Roger, for such a great product!
Click to expand...

Awesome Report! I am finding the upper mids and highs are incredibly sweet, liquid and Lyrical.

Oh yeah, Note to Nostatic and Roger: Liquid and Lyrical are going into the studio soon to cut their first record.
 
#3,490
bherman said:
Had my first opportunity to use my 112 at a gig last night - have been sidelined due to shoulder surgery, so my only experiences have been at home.

Details - fairly small bar gig, trio with guitar, drums, and me (played my Rob Allen MB-2 through a Streamliner 900). It was all around, a really great experience. A few observations:

1. This is a boomy room. I've played it numerous times before with different cabs (LDS 12/6, single 10) with electric as well as upright bass, and its always been pretty nasty - hard to get the woof out. But last night was different - with a little bit of eq fiddling, I was able to get a nice, clean sound that I could hear as could the audience. I had several comments about how good my bass sounded, from musicians and non-musicians alike - as if they were noticing the sound of the Rob Allen for the first time.

2. Volume - was able to play at a much lower volume then ever, with greater clarity (even had the guitard ask me to turn down after the first song - never happened before).

3. Load in - did I say how easy it was to load in/out? Amp and etc in backpack, bass in one hand and cab in the other.

Just placed my order for ML112 #2. I love the modular approach, and think that I've found the ideal solution for me.

Thanks Roger, for such a great product!
Click to expand...

1) Easy for a Rob Allen + Streamliner to be boomy in tough rooms. I think the reason the ML112 works so well in those situations is due to the fact that is has zero low-mid push or wool, and has very present and articular upper mids. It is anti-boom.

2) Mids, mids, mids. Especially with a Rob Allen. No other cab I've owned/gigged has been as articulate (without harshness) as the Baer.

3) While I still wish for 3" inches of depth and 10 less pounds, there is no free lunch. That said, it is a far easier carry than any other cab considering how big it sounds and how large a gig it can pull off.
 
#3,491
nostatic said:
1) Easy for a Rob Allen + Streamliner to be boomy in tough rooms. I think the reason the ML112 works so well in those situations is due to the fact that is has zero low-mid push or wool, and has very present and articular upper mids. It is anti-boom.

2) Mids, mids, mids. Especially with a Rob Allen. No other cab I've owned/gigged has been as articulate (without harshness) as the Baer.

3) While I still wish for 3" inches of depth and 10 less pounds, there is no free lunch. That said, it is a far easier carry than any other cab considering how big it sounds and how large a gig it can pull off.
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This is probably the worst-sounding room (for bass) that I ever play in. Can't wait to hear how it sounds in a more bass-friendly setting! I appreciate your observations about the mids - that's what makes this cab so legible. yet the bottom was there when needed.
 
#3,492
One way of elevating an ML112. And it all fits in the trunk nicey nice.... :) ImageUploadedByTalkBass1367447303.760802.jpg
 
#3,495
I always thought that progressive rock bands in the 70's elevated "Rock and Roll" to it's natural progression, if you will. Bands like Rush, Yes, Kansas, Genesis, ELP, etc... took simpler rock to the next level with more elaborate compositions and musicianship. Much to my surpass, it just kind of ended there. So sad, that, IMO, rock never went beyond that point!
 
#3,499
GRoberts said:
I covet thy Puma. :-)
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I have coveted it for a while too! :) I sold a few items here to raise some money to purchase it. I'm very impressed with what a 3lb amp can do. Eventually my intention is to use it as a backup to a Monique/Valkyrie setup.... But what a pro backup to have! I love the use of the taste knob sparingly but only clockwise of 12 o'clock. It really gives you that old school thump. And the mids from the puma are a perfect match with the Baer Mid driver. I'm able to get a wonderful growl out of it with just a little boost in the low and high mids on the Puma. This micro IME/IMO for me blows all the other micros I have owned/tried out of the water... But it is also double the price of all the other micros too!
 
#3,500
nostatic said:
When rock turns into math it no longer rocks. When jazz turns into math it no longer swings or grooves.
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Nostatic I highly respect your opinions here on TB and also respect your playing from the clips you have posted, but I have to disagree with you on this one.

I think there is a place for all types of music and I always try to keep and open mind and embrace it all if I can. For me, it's not about the style of music per se, it's about does the artist make me believe and feel what they are trying to express. I think bands like YES and RUSH were iconic and were very deep lyrically and musically. Can you compare it to the harmonic structure of "My Funny Valentine", definitely not. The old standards for me are amazing compositions from the musicianship to the chord structure and melody, but so are some of the prog rock bands in their own right. I think all these styles spawn other styles and varieties of music, but I do agree that sometimes it can go too far. For instance a band like Dream Theatre is way over the top. I do respect that they are tremendous musicians, but the songs (with the exception of maybe their first album when they had Kevin on keys) don't tell stories (for me at least) like YES and RUSH did.

I think it would be hard to convince musicians that Neal Peart can't rock.

With that being said, if I had to pick a drummer for my band, I would pick Dennis Chambers over Neal Peart any day of the week.
 

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