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Baer Amplification Megathread!

Pretty much my favorite cab for doubling;
Tied with the fearful 12/6/1

the mid driver on the Baers is soooooo smooth and goes as high as a good horn with out ever being harsh, and the low end is big and yet very balanced.

Yeah, the ML112 is my favorite upright cab of all time.

Awesome, thanks! I kind of got the feeling that would be the case.
 
Having checked out most of the cabs from Roger Baer in real world situations, I can give my honest opinions. (again) The first time I took the ML112 out I thought it would be on a bigger, louder gig. It was actually a small and VERY quiet gig. I thought the box would be total overkill with no chance of pushing the box enough to get any tone out of it. I was wrong! The 6in mid driver pushes air unlike a horn. So even at a very low volume the box sounded articulate and full with just the slightest bit of the 12in pushing some air, giving just enough lows underneath. It was unexpected, and sounded great.
The first time I used the 2x12 box was at a college football stadium. stage in the end zone, soundman on the 40yd line. After soundcheck the soundman came up and said the bass was pounding him in the chest...and sounded fantastic. When I took the ML112 on a doubling gig, the early half on upright was so much fun because the bass sounded so good, it made it easier and more fun to play. The electric part of the gig with my 5 string was just as good. What I'm saying here is.... I know Roger Baer uses the best components available. He uses some of the highest quality woods, components, and labor for his boxes.
They all, especially his new cabs sound wonderful. As good as ANYTHING on the market, and better than most. It's just a matter of if it's "your sound" or not. It's that simple.
 
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Well that was kind of fun!

I took three captures through my Townsend Sphere L22 - one on the 12", one on the 6", and one about a foot away equidistant from both speakers. Applied the microphone models (an AKG D12A on the 12", SM57 on the 6" and their "Townsend Linear" model on the combo) mixed it based on my eyes and best guess (hard to tell how it's going to sound through some bloops,) bounced it through the deconvolver and created a real live Baer ML112 IR file!

To my surprise, it sounds like a reasonable facsimile of the real thing!

I need to work on iterating more quickly so I can experiment more, but I'm pretty pleased so far...
 
Well, here's a post that certainly exposes my ignorance on current recording tech, so pardon my ignorance on such matters:

What is an IR file and what do you do with it?
What is a deconvolver?
Does this involve having to use a modeling mic to make it all work?
 
Well, here's a post that certainly exposes my ignorance on current recording tech, so pardon my ignorance on such matters:

What is an IR file and what do you do with it?
What is a deconvolver?
Does this involve having to use a modeling mic to make it all work?

Impulse Response. Very popular with modeling cabs and reverbs. I believe the reverb is called a "convolution" reverb, so a deconvolver sounds somewhat related.

Edit - Here is what appears to be a popular deconvolver. The text explains how deconvolvers work and issues they face, and why theirs is better than others.
Impulse Response Deconvolution Tool Software - Deconvolver | Voxengo
 
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Yeah! I have a bunch of things nowadays that use IRs for cabinet simulation. I also have had last week and this week off, and was running out of things to keep myself occupied.

Basically, I used that Voxengo Deconvolver program to generate a sweep file, then sent the sweep into the effect return of the Valkyrie, and recorded it. Then I feed the resultant file into the Deconvolver, it compares the two and spits out the impulse response file. I can then take that and stick it in the cabinet slot of something that takes IRs and get a reasonable approximation of that whole chain.

I ended up making it a little harder on myself because the only microphone I have at home right now is that Townsend Sphere modeling microphone, so that adds an extra layer of futzing to the whole thing, but it's really cool now to be able to go into the Logic project with the three recorded sweeps and change what microphone each "was" after the fact. You certainly don't have to use a modeling microphone, and I probably wouldn't recommend it. Ideally you'd dial in the exact sound you want by moving multiple microphones around while playing, then sweep them all at once. I had to do it one at a time.

This is a good video that helped me wrap my head around the process, particularly folding multiple microphone tracks into one to deconvolve:

Anyways, just a dorky project to kill some time, but hey...2020.
 
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Check out Benjamin Orr's belt @R Baer

Very cool. I based the new logo off something very similar. Benjamin Orr was such an underrated player, as were all the members of The Cars. Elliot Easton is one of my favorite guitarist of all time. His rhythm playing was brilliant and his solos were always so perfect for the songs.