+1 Once I get the eq about where I need it I get all other voicing needed from this simple and effective technique. Once things are dialed in where they need to be it's all in the hands after that.
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Baer Amplification Megathread!
- Thread starter KJung
- Start date
+1 Once I get the eq about where I need it I get all other voicing needed from this simple and effective technique. Once things are dialed in where they need to be it's all in the hands after that.
Running some effects through it today. The MXR Blowtorch gets fun, and reacts more in the upper mids and highs than I'm used to with the PH cabs. The Dunlop bass wah also has some cool new-to-me nuances. My personal favorite was the SubDecay Noise Box Noisebox | Subdecay
This little guy can get easily buried in the live mix and make your bass fall off due to the way it distorts (very "square" sounding). The articulation of the mid driver in this cab gives it a stronger character.
Full band jam tomorrow! Can't wait.
This little guy can get easily buried in the live mix and make your bass fall off due to the way it distorts (very "square" sounding). The articulation of the mid driver in this cab gives it a stronger character.
Full band jam tomorrow! Can't wait.
Loaded up and ready to do some full band jams tonight. I am bringing my Dingwall ABZ and my Warwick $$ Corvette. I'm going to use the studio head (Ampeg, I think). Any last minute suggestions? If not, I'm just going to rip it up and have fun.
I did spend some time last night going back to my Mesa PH115. The beefier cab certainly makes it more muscular at low volumes. In a perfect world, I'd take both cabs with me to A/B at band volume. I did start toying with the Player Control Network on the Mesa. I normally turn the horn all the way down with the crossover in the middle position. After hearing the Baer mid driver, I got curious about trying to mimic some of the sounds.
Knowing they are very different animals, I'll say at low volumes, I like the Mesa better with my Dingwall ABZ, primarily because of how it works with the passive PU signal. My Warwick 2-band and $$ PU allows for a hotter signal with a bit of a bass bump, which I can't seem to EQ in at the amp when using my Dingwall (even in the hottest PU setting). I'm curious about how the cab will open up as I drive it harder with the amp tonight.
I will also say that the Baer is a dream to lift and load in the back of my Scion xB. I was uncertain about the single strap handle, but it worked fine on my short carry to the car today. In a perfect world, I might have gone with a different material/shape handle for max comfort, but that is a pretty small issue.
I did spend some time last night going back to my Mesa PH115. The beefier cab certainly makes it more muscular at low volumes. In a perfect world, I'd take both cabs with me to A/B at band volume. I did start toying with the Player Control Network on the Mesa. I normally turn the horn all the way down with the crossover in the middle position. After hearing the Baer mid driver, I got curious about trying to mimic some of the sounds.
Knowing they are very different animals, I'll say at low volumes, I like the Mesa better with my Dingwall ABZ, primarily because of how it works with the passive PU signal. My Warwick 2-band and $$ PU allows for a hotter signal with a bit of a bass bump, which I can't seem to EQ in at the amp when using my Dingwall (even in the hottest PU setting). I'm curious about how the cab will open up as I drive it harder with the amp tonight.
I will also say that the Baer is a dream to lift and load in the back of my Scion xB. I was uncertain about the single strap handle, but it worked fine on my short carry to the car today. In a perfect world, I might have gone with a different material/shape handle for max comfort, but that is a pretty small issue.
Just home from the jam.
ABZ 5 Dingwall --> GK 600 Backline --> Baer
EQ, gain, and master all set at noon, but for the low mid set closer to 1 o'clock.
Drums, vox, and guitar (Gretsch into a Line6 combo).
I got there early and plugged in to the Baer and then the GK 410 in the room. At the same settings on the amp, the 410 was certainly louder, but boomy and muddy in the low end. In contrast, the Baer had a lean low end, not scrawny thin, but lean as in no flab. I noticed a considerable amount of fret clank when digging in. The clank and twang from the mid driver was more noticeable standing away from the cab, and disappeared as I walked closer to the cab. It also showed up solo, but went away when the rest of the band kicked in. There were moments before we started where I thought it would be a little too thin and not loud enough, but the cab filled the room and could be heard through the studio walls (so say my buds as they went out for bathroom breaks).
I'll say, this was one of the best mixes in the room, without the boom I'm used to from bigger cabs. I did find myself wanting a 2nd cab for reinforcements. Though it wasn't absolutely necessary, it would have made me feel better, considering how hard the 12 was pumping. We weren't thrashing metal, more of punk-ish Indy rock, and droning shoe-gaze pop.
We switched instruments and I was able to get behind the kit and hear each of the two other guys play. I felt the sound was quite muscular, though not juice-head big, and articulate.
I did notice the dynamics and tone range from hand placement and picking style were very wide. Up by the neck could get very mellow and round, and down by the bridge could cut through the mix like a razor. I noticed a distinct Motörhead feel at times, though a touch less fuzzy with the settings I was on. My bud heard Chris Squire of Yes.
I lament not playing with the amp EQ to see the range of changes that would make. I also didn't plug in my Warwick Corvette $$, and this was my first band jam with the ABZ.
Overall, I think there is tons to like about this cab. I'm not madly in love with it, and I'm not sure it is 100% "my sound", but it has my brain working on what two of these would be like in the room, and trying to dream up what Roger has in the pipeline with his amp.
ABZ 5 Dingwall --> GK 600 Backline --> Baer
EQ, gain, and master all set at noon, but for the low mid set closer to 1 o'clock.
Drums, vox, and guitar (Gretsch into a Line6 combo).
I got there early and plugged in to the Baer and then the GK 410 in the room. At the same settings on the amp, the 410 was certainly louder, but boomy and muddy in the low end. In contrast, the Baer had a lean low end, not scrawny thin, but lean as in no flab. I noticed a considerable amount of fret clank when digging in. The clank and twang from the mid driver was more noticeable standing away from the cab, and disappeared as I walked closer to the cab. It also showed up solo, but went away when the rest of the band kicked in. There were moments before we started where I thought it would be a little too thin and not loud enough, but the cab filled the room and could be heard through the studio walls (so say my buds as they went out for bathroom breaks).
I'll say, this was one of the best mixes in the room, without the boom I'm used to from bigger cabs. I did find myself wanting a 2nd cab for reinforcements. Though it wasn't absolutely necessary, it would have made me feel better, considering how hard the 12 was pumping. We weren't thrashing metal, more of punk-ish Indy rock, and droning shoe-gaze pop.
We switched instruments and I was able to get behind the kit and hear each of the two other guys play. I felt the sound was quite muscular, though not juice-head big, and articulate.
I did notice the dynamics and tone range from hand placement and picking style were very wide. Up by the neck could get very mellow and round, and down by the bridge could cut through the mix like a razor. I noticed a distinct Motörhead feel at times, though a touch less fuzzy with the settings I was on. My bud heard Chris Squire of Yes.
I lament not playing with the amp EQ to see the range of changes that would make. I also didn't plug in my Warwick Corvette $$, and this was my first band jam with the ABZ.
Overall, I think there is tons to like about this cab. I'm not madly in love with it, and I'm not sure it is 100% "my sound", but it has my brain working on what two of these would be like in the room, and trying to dream up what Roger has in the pipeline with his amp.
Hey Adam,
Thanks for taking the time out to try the cab. While I'm certainly proud of what this cab can do, I also realize that no one cab can be all things to all players. If you are used to a Mesa 212/115 stack, a single 112 cab is simply going to sound, well...smaller. The ML112 was designed to be a easy to transport cab for those guys that can make do with a single loud 112, or plan to use it as part of a modular system. Two ML112's will give you more volume and punch, but the overall tone isn't going to change.
From my experience, the Dingwall basses have amazing clarity and zing to them. The same can be said for your Mesa M6, which if I remember right, has a decent bump in the upper mids and top end, that makes it one of the brighter sounding Mesa's. Combine that with all the extra upper mid detail the ML112 provides, and it sounds like the cab may not be the best match for your playing style, or tone goals.
I certainly do like it, and may still end up getting one. You have me listening for things I didn't hear before, and the ABZ is so new to me. I honestly think going from the active Warwick to the passive ABZ is a big part of the experience. Perhaps I need to put an EQ pedal or signal booster in the chain before the amp to get dialed in to what I think I want in my head. I certainly didn't expect the bridge pickup to be my favorite setting, based on my living room test, but at band volume the guitarist and I both liked it the most.
I just need to meditate on what I heard and what head I think I want to go with. The clarity and lack of boomy low end last night was awesome in the space. The "Motorhead" vibe scores major points. I've been more of a sub-player, and the Barefaced 215 dub would probably get me what I used to dig. The quality per pound of the ML112 is just silly good. I also know that my needs are unusual and changing. One of the things about it I appreciate is how it handles the rounder bass-heavy sound that comes from playing higher frets on the lower strings, since it is still hard for me to get down to the 1st-6th fret positions. My old Warwick Thumb and Mesa cabs get/got wooly and boomy at bigger volumes.
I'm honored to have had a chance to test pilot one of these and get so much input from you.
I just need to meditate on what I heard and what head I think I want to go with. The clarity and lack of boomy low end last night was awesome in the space. The "Motorhead" vibe scores major points. I've been more of a sub-player, and the Barefaced 215 dub would probably get me what I used to dig. The quality per pound of the ML112 is just silly good. I also know that my needs are unusual and changing. One of the things about it I appreciate is how it handles the rounder bass-heavy sound that comes from playing higher frets on the lower strings, since it is still hard for me to get down to the 1st-6th fret positions. My old Warwick Thumb and Mesa cabs get/got wooly and boomy at bigger volumes.
I'm honored to have had a chance to test pilot one of these and get so much input from you.
The passive Dingwalls really are so smooth down low they cry out for a way to boost your upper bass. This is easy to do with a pedal thankfully if you're into pedals.
If you're not into pedals, juicing the low mid and turning the bass down should get you closer than you'd think with the Backline. Cut the upper mids and low bass, boost the lower mids. That was my typical sound with the GK tone stack anyway.
With the GK heads that have a contour knob, it can sometimes be cool to take some bass out and then put it back in with the contour knob (This same trick works pretty well on Markbass heads with the VPF too it seems like).
If you're not into pedals, juicing the low mid and turning the bass down should get you closer than you'd think with the Backline. Cut the upper mids and low bass, boost the lower mids. That was my typical sound with the GK tone stack anyway.
With the GK heads that have a contour knob, it can sometimes be cool to take some bass out and then put it back in with the contour knob (This same trick works pretty well on Markbass heads with the VPF too it seems like).
+1 I find a slight bump @80Hz and a slight cut around 1k to 2k, can really warm up the cab and fatten up the low end considerably while keeping the low end tight sounding.
He guys. I was emailing back and forth with Roger, given that I liked the ML112 enough to consider purchasing the ML212 when it comes out.
It turns out (similar to Jim Bergantino), Roger is finding that multiple neo driver cabs (there are four neo speakers in the ML212) have become very expensive these days.
So, at first, he was planning on not introducing the ML212. However, he has gotten enough interest that he would consider doing a run of them if he got enough pre-orders. He is guessing the price would be around (edit) $1,300.
That is a lot of scratch for a cab (although still less than what the Accugroove Whappo Jr. was selling for I believe), but it would be a pretty amazing box.
I'm kind of on the fence on this one, but will make a decision on whether I'm in or out over the next week.
So, this is a little selfish on my part, but if anyone is interested in purchasing an ML212, PM or email Roger. He said if he hits 15 or so preorders he will make it happen.
It turns out (similar to Jim Bergantino), Roger is finding that multiple neo driver cabs (there are four neo speakers in the ML212) have become very expensive these days.
So, at first, he was planning on not introducing the ML212. However, he has gotten enough interest that he would consider doing a run of them if he got enough pre-orders. He is guessing the price would be around (edit) $1,300.
That is a lot of scratch for a cab (although still less than what the Accugroove Whappo Jr. was selling for I believe), but it would be a pretty amazing box.
I'm kind of on the fence on this one, but will make a decision on whether I'm in or out over the next week.
So, this is a little selfish on my part, but if anyone is interested in purchasing an ML212, PM or email Roger. He said if he hits 15 or so preorders he will make it happen.
Still, a pair of ML112's have two of everything: woofers, mid drivers, crossovers, boxes, and hardware. The ML212 form factor is stunning and I would also be interested but that price point ($100 more than two singles) doesn't make sense to me. My price point decision would be $1200.
+1 Usually the cost of a 212 is a bit less than two 112's of the same design. I guess (maybe) in this case, there are two of everything (mid drivers) and most likely a more heavy duty crossover, which would make the cost of the 212 more in line with two 112's... which would be around $1,300 or so.
It's usually considerably lower to do a 212 versus 2 of the 112 cabs. Really that cost difference between 2 of the 112's and a single 212 for any other manufacturer is the only reason, IMHO, to go with a 212 because everyone loves an easy schlep. The validity of a 212 here seems like a moot point IMHO.
The current price of the ML112 reflects the fact that we purchased our 12" neo's back at the beginning of the year, before the steep increases took effect. We do however, anticipate a price increase on that cab around the beginning of next year. Taking into account the higher price of the ML112, the ML212 will be a less expensive option for those who prefer a single, larger cabinet.
We had 2 runs of 12" Eminence drivers made, one at a higher cost, hence the price increase when we switch to the second batch. All new neo designs, including the ML212 will be based on different drivers, as Eminence is not an option at this point with the huge increases to their pricing and minimum ordering quantities.
I'm sorry if someone has spoken on this already. However, any thoughts on the ML112 with a LMII head. I'd mostly run it with my Sadowsky MV5-PJ or my Rosewood/Alder American Standard Jazz 5 with Nordstrand splitcoils. Right now I'm using two Aguilar SL112's but I'm always pushing the limits of what I can get away with in terms of less gear to haul 
Thanks for your input in advance.
Thanks for your input in advance.
I'm sorry if someone has spoken on this already. However, any thoughts on the ML112 with a LMII head. I'd mostly run it with my Sadowsky MV5-PJ or my Rosewood/Alder American Standard Jazz 5 with Nordstrand splitcoils. Right now I'm using two Aguilar SL112's but I'm always pushing the limits of what I can get away with in terms of less gear to haul
Thanks for your input in advance.
It sounded beautiful with my F500, so I would think it would sound great with the LMII. If it came in 4ohms, my guess is, you would get at least within spittin' distance of your SL112 stack. At 8ohms and with the LMII, not so much IMO.
Thanks, that was what I was kind of feeling when watching your videos. I wonder if I could get enough juice out with the 8 ohm load. I've come close before with the Mesa Powerhouse 212 cab I used to run at 8 ohms. The voicing of this cab may make up for the depreciated power output as it seems more "lively" than the Mesa did.
FWIW, your ear and knowledge of eq points and gear in general are a HUGE asset to our bass community. Hopefully I'll be able to catch you gigging somewhere now that you're living in WI (if you even play locally). I'd love to hear you in a live situation. I don't have many weekend nights off from playing (fortunately/unfortunately) but my wife would definitely go for us seeing you in person after all the YouTube voyurism I spend on your channel
