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Baer Amplification Megathread!
- Thread starter KJung
- Start date
Chef
In Memoriam
ML115:Faital.
I'd rather roll off passive tone, than try to put bright back in.
If you're really concerned this might put off guys who want more vintage tone, put a pad back switch on the mid driver....
I'd rather roll off passive tone, than try to put bright back in.
If you're really concerned this might put off guys who want more vintage tone, put a pad back switch on the mid driver....
Right now we are auditioning two Faital woofers for this cab. They have a smoother overall response than I can get from an Eminence neo, which tend to have upper mid peaks that the Faital's do not.
Would one of them be the 15PR400 ? I have not personally played through one, but I have heard some sound clips that remind me of the JBL K140.
I'm with the others that suggest keeping the Faital mid driver and using EQ/tone control to dial out the high end if desired.
I don't know any better between the two myself, all I can say is that if it offers yet another unique sound the ML115 will get added to my rig as yet another selection of sound.
His stuff is light, portable, and practically sized while still remaining tonally powerful, so it's easy to conceive having another of his creations.
His stuff is light, portable, and practically sized while still remaining tonally powerful, so it's easy to conceive having another of his creations.
The other thing Roger could do is put a simple -2db or -3db reduction switch as part of the circuit, just to take the entire edge off the top for those old school fans. That would most likely make everyone happy.
Thanks for the support and encouragment. I'm not sure why some folks insist on telling me how "wrong" my ideas are, especially when they don't even own the gear they're suggesting I dedicate myself to. I find the notion odd.
Anyhow, this system of mine is an experimental one. It's designed around the idea of developing a system that is whittled down from rough-cut lumber (so to speak). It's based on a sortof "bipolar" bass idea. It's actually no different than the ethos behind what Geddy does with his bass and the Taurus. He gets too different tones from each instrument a lot of times.
I'm even trying some odd stringing methods. I'll spare you, the details of which seem to produce very negative comments from those that know what's best for me. To satisfy your curiousity, it's essentially two types of strings (heavy and light) with repeated tuning groups. E-A-e-a-d. Basically like combining a double neck into a single neck .. uh .. sortakinda. It's all part of the main idea - the duality of the system.
Roger's ML112 is also part of the plan, and if his ML115 is ~different enough~ I'll incorporate it as well.
Thanks again for the props.
The 15PR400 is not one of the drivers in consideration. We are going back and forth between the 15FH500 and the 15FH520.
I love the way the midrange driver sounds in my ML112's and the thought of hearing this same driver in a 15 loaded cab is very intriguing. So my 'vote' would be for the Faital.
Having said that, based on my experience playing the ML112's and also talking to you on the phone, I've come to have a fair amount of trust in your ears. So whichever way you decide to go, I'm looking forward to hearing the cab.
A very cool suggestion. There's always a lot of things I would like to do to these cabs ( like the poly urea coating), but the reality always sets in when it comes time to set prices for them. My first priority is always to use the very drivers possible and them make sure that cabinet construction is first rate. At that point we start looking at how the "goodies" affect the selling price. Then we have to consider what we think is the maximum price our customers would be willing to pay for a 112, 212, 115, etc., with the goal being as much bang for the buck as possible. The woofer we are using in the ML115 is capable of more output below 100Hz, so it naturally makes the cab seem more vintage due to the better low to mid balance going on.
I've been working with that stuff for some time now and it's pretty cool, but it can be messy and requires dedicated square footage. It's also a bit pricey per-sq/ft. On the plus side it's mega-easy to repair/patch up, and pretty darned tough. To a degree it's even end-user patch-up-able.
I would guess it would up your production costs though, as if there aren't enough things doing that already, right?
On the on-board tone control, perhaps it could be an upchargable option? Easy enough to install in a prepunched jack panel with the right design engineering.
Ok updated gig report time, boys and girls.
I've had a pair of these for about 2 months now, and they're fully broken in and kickin by now.
As I mentioned a bit ago, I always want to take both on gigs. Well we had two gigs this week and I made a point to only take one just to see how a single does. There's FOH everywhere we play these days, so why not?
I'm going up against a medium loud drummer that loves his floor tom and three 50ishW tube 2x12 guitar amps. Both venues don't have the best PA or soundguys, but decent. 200-300 ppl venue size. Other bassists on the bill were using an NV610, Ampeg HLF 4x10, Eden 2x10 and one oddball was going direct
So, a good spread of other setups.
At both gigs, I felt pretty good about the sound. ML was set on the floor, vertical. Head was an Aggie TH500. Who knows how things sounded through the mains, but stage sound was very well balanced. The bass was there, but not overpowering, which is right were it should be. My hope is the power was there out front, though. I found I had to lean over a bit to hear myself better at times, but I didn't have to most of the time. I also was standing at about 70° off axis, but again dispersion was good enough to hear what was coming out. When I tried to push up the volume, the head was crapping out earlier (SS hard clipping
), so the Baer was not the weak link here when it came to SPL.
One night was DI'd the other mic'd on the 12. I've mixed feelings about the micing trade off there being that my signal is effectively lowpassed, but it is a trade off for the 6's high end and dispersion on stage. YMMV. Plus the average commercial cab is crossed to a tweeter anyway. (I DO NOT miss tweeters now that I've seen the light, btw.)
I'd love to be tearing down walls with 4 ML's, but that's not what these people wanna see in an indie rock band.
It probably wouldn't carry the room with full bottom, but then again it's a one trip load-in/out
Everyone else still loving there's?
I've had a pair of these for about 2 months now, and they're fully broken in and kickin by now.
As I mentioned a bit ago, I always want to take both on gigs. Well we had two gigs this week and I made a point to only take one just to see how a single does. There's FOH everywhere we play these days, so why not?I'm going up against a medium loud drummer that loves his floor tom and three 50ishW tube 2x12 guitar amps. Both venues don't have the best PA or soundguys, but decent. 200-300 ppl venue size. Other bassists on the bill were using an NV610, Ampeg HLF 4x10, Eden 2x10 and one oddball was going direct
So, a good spread of other setups.At both gigs, I felt pretty good about the sound. ML was set on the floor, vertical. Head was an Aggie TH500. Who knows how things sounded through the mains, but stage sound was very well balanced. The bass was there, but not overpowering, which is right were it should be. My hope is the power was there out front, though. I found I had to lean over a bit to hear myself better at times, but I didn't have to most of the time. I also was standing at about 70° off axis, but again dispersion was good enough to hear what was coming out. When I tried to push up the volume, the head was crapping out earlier (SS hard clipping
), so the Baer was not the weak link here when it came to SPL.One night was DI'd the other mic'd on the 12. I've mixed feelings about the micing trade off there being that my signal is effectively lowpassed, but it is a trade off for the 6's high end and dispersion on stage. YMMV. Plus the average commercial cab is crossed to a tweeter anyway. (I DO NOT miss tweeters now that I've seen the light, btw.)
I'd love to be tearing down walls with 4 ML's, but that's not what these people wanna see in an indie rock band.
It probably wouldn't carry the room with full bottom, but then again it's a one trip load-in/out
Everyone else still loving there's?
Chef
In Memoriam
Well...I'll have a pair here in a bit.
I expect I'll like them as much as I liked the pair I had to test for BGM...
I expect I'll like them as much as I liked the pair I had to test for BGM...
Chef
In Memoriam
It seems to work nicely in my 12/6/1+12sub config.
I don't think Roger would be doing anything that didn't work out pretty exceptionally well...
I don't think Roger would be doing anything that didn't work out pretty exceptionally well...
I seriously doubt the Faital midrange is going to be loud enough to keep up with a high sensitivity 15
Took a bit to realize you were going back a few posts
Just looked at some SPL numbers to see if this might not be a problem. The current 12 is somewhere between the HO and LF Kappa's, so guessing the SPL is the average (100.5+95.5)/2 = 98. Looking at the 15" being considered, and looky there. Both at 98dB. Might work yet
Being sub-duty speakers, they trade off some dB, as I'm sure you know. It might be just the balance Roger's looking for, actually. Slightly attenuated mid as a natural byproduct. Mmm.I'd think if it sounds good enough, Roger'll figure out a way to make it work. Then again, if he does too well, I might need to upgrade
