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Barefaced One10

#41
MOSCOWBASS said:
Tricky Audio in the UK Erik, i have a crazy8 (wood) on order for small jazz gigs. [Invalid or Expired Link Removed]
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An update on my Arnopol fibreglass Crazy 8. After the above round of postings I have reached out to Tricky Audio and received a very fair quote to build me a new wooden cabinet and move the speaker over from the composite cabinet. However, before I did that I plugged in the Crazy 8 that had been sitting unused for several months. It was still buzzing but the problem seemed to be coming the grill, and no amount of tightening would stop the buzz. Once I removed the "bug-eye" grill, held on by 4 little metal clips and 4 machine screws that are actually part of the speaker mounting hardware, the buzzing stopped. It appears that the problem may her limited to the grill and its attachment design. It has been suggested to me that the best fix for this would be to use loop velcro all the way around the grill, and then about four patches of hook velcro onto the mounting frame of the speaker. Evidently the softness of the loop velcro is particularly good at stopping buzzes. I need to get myself to a hardware store to buy the necessary materials to give this a try. I'd be very happy to have a satisfactory fix of the composite Crazy 8 since it is so incredibly light and compact, and when functioning correctly is a wonderful speaker for small jazz and other low volume gigs. Watch this space.
 
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#42
Ah, fiberglass. Let's see, in my fiberglass C8 cabinet(s) were 32 screws and nuts fastening the four plastic corners, eight fastening the driver, four for the tweeter, two for the strap, four for the feet, four for the backplate, four for the bug grill, and possibly others inside. That's at least 58 screws and nuts. Good luck with that!

My builder who converted the fiberglass to wood enclosures asked if I wanted the fiberglass boxes returned. I had him throw them in the trash.

[And now back to One10 goodness....]
 
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#44
IMG_0846[1].JPG IMG_0847[1].JPG
For comparison I put the One10 next to my Lull 5 and then also included the GB 3-10T combo. This little box really pushes the envelope of low end rump and volume to box size/weight. I never thought a One10 could be of any use with any drummer not playing brushes, but in a small setting with a reasonable drummer I would be happy with this cab and either my TH350 or Shuttle 3.0. I'll bet 2 of these boxes would be enough for a medium sized bar without PA in a reasonable rock setting. WOW, just WOW. They are lunch box light and really bring a full bass tone. I am thoroughly satisfied.
 
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#46
I had a pair of Genz NX2-112t. Just one of those was plenty for most indoor gigs, and I play bass-heavy music with a loud drummer. If the one10 really matches that volume, that's pretty incredible and should be plenty for any number of gigs on its own, even at moderate volume.

lomo said:
My One10 arrived last Wed but I only had one very brief opportunity to fire it up last night. The initial impression is exactly as advertised: shocking volume for a cab only slightly bigger than a shoe box. The roughly 15 lb 110 is about the same volume as my GB NX2-112 which weighs 35 lbs. The real cherry on the Sundae is that it projects real lows and handles the B with ease. I suspect I could play this with a quiet rock drummer in a small room , with 2 being enough for anything I would do. "Old school" tone for sure, with delicious paper cone breakup at louder volumes. Tax and duty to Montreal were $109 CDN. I will post pics and some more impressions when I get a chance.
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#55
Frankly, even though I have no issue lifting a lot more, they are still fantastic. I can schlepp a 50-75 lb cab around if I must, but I see that as doing unnecessary work,
considering there's no tonal or volume compromise.
 
#56
Mr. LowNote, can you please describe how your acoustic bass is performing with the One10 from the perspective of the top end? The cab is rated to 6kHz while the Crazy8 (with its tweeter) goes well above. I particularly value the higher frequencies for accurately presenting the airy quality of acoustic bass. Curious how the One10 is doing for that job. So far all the posts discuss is the bottom end - so this query is about the other perspective. Thank you!
 
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#57
N. Kentucky Bass said:
Mr. LowNote, can you please describe how your acoustic bass is performing with the One10 from the perspective of the top end? The cab is rated to 6kHz while the Crazy8 (with its tweeter) goes well above. I particularly value the higher frequencies for accurately presenting the airy quality of acoustic bass. Curious how the One10 is doing for that job. So far all the posts discuss is the bottom end - so this query is about the other perspective. Thank you!
Click to expand...

So far it is doing fine and I've not missed the extended range that comes from having a tweeter on board. When I'm using either my Super Midget or Big Baby 2, I often have the turn the treble knob down to about 9:00 in order to stop the finger noise that can be very distracting.

I've just come in from a pub gig tonight in Edinburgh where I played mainstream jazz with a drummer and an un-amplified upright piano. This is a gig that I do only occasionally. The space for the musicians is extremely tight, and as a result, I took my Eminence EUB. I took only the Barefaced One10, driven by an Acoustic Image Clarus SL (one of the old, lower powered ones.) The speaker and amp combination was more than adequate for this job and I had to turn the volume way down. I think I had the master at about 11:00 and the left-hand volume set at about 9:00. I didn't use a HiPass filter since the Eminence is quite bright and I wanted a lot of low end. Unlike the Crazy 8, the BF One10 speaker doesn't have the same extreme excursion that requires a HiPass filter to "tame" it. I was very pleased by the amount of power and volume that was in reserve and look forward to more gigs with this combo in the future. Also, I had the speaker plus the Clarus and cables and an iPad in a Meinl Deluxe Cajon Bag that I got from Musicians' Fiend and it was a very easy and comfortable carry with the cajon bag slung over one shoulder.

This coming weekend I have two gigs in the Jazz Bar, Edinburgh's jazz club. Saturday afternoon it is a mainstream jazz piano trio gig with a Yamaha grand that has a pickup and goes into the house sound system, and Sunday evening I'm playing both upright and bass guitar in a piano trio plus guitarist backing a female vocalist doing jazz and pop. Since the Jazz Bar has a backline amp, i don't normally take anything with me except my instruments, but at least on Sunday evening when on-street parking is available, I'm planning on taking in the Clarus/One10 combo to see if it is up to the job. I'll have the option to use the backline amp if there isn't enough volume and also go into the house PA as well if needed. Stay tuned.

Erik Hansen aka Lownote
Scotland
 
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#58
LowNote said:
So far it is doing fine and I've not missed the extended range that comes from having a tweeter on board. When I'm using either my Super Midget or Big Baby 2, I often have the turn the treble knob down to about 9:00 in order to stop the finger noise that can be very distracting.
Click to expand...

Thanks for the reply! I find it's very easy to dial out the finger noise by cutting the Upper Mids with my amp. In this manner, you can retain the "air" that's an iconic part of acoustic bass without cutting highs. This trick also works with electric bass. Retention of the air, of course, depends on having the extended highs that come with a good tweeter. That Eminence APT-80 Super Tweeter is rated to 20,000Hz. It would be nice to hear a side-by-side comparison with the One10. That kind of distinction is hard to hear in a mic'd recording, unfortunately. One more benefit to "live music" vs. recordings!
 
#59
LowNote said:
So far it is doing fine and I've not missed the extended range that comes from having a tweeter on board. When I'm using either my Super Midget or Big Baby 2, I often have the turn the treble knob down to about 9:00 in order to stop the finger noise that can be very distracting.

I've just come in from a pub gig tonight in Edinburgh where I played mainstream jazz with a drummer and an un-amplified upright piano. This is a gig that I do only occasionally. The space for the musicians is extremely tight, and as a result, I took my Eminence EUB. I took only the Barefaced One10, driven by an Acoustic Image Clarus SL (one of the old, lower powered ones.) The speaker and amp combination was more than adequate for this job and I had to turn the volume way down. I think I had the master at about 11:00 and the left-hand volume set at about 9:00. I didn't use a HiPass filter since the Eminence is quite bright and I wanted a lot of low end. Unlike the Crazy 8, the BF One10 speaker doesn't have the same extreme excursion that requires a HiPass filter to "tame" it. I was very pleased by the amount of power and volume that was in reserve and look forward to more gigs with this combo in the future. Also, I had the speaker plus the Clarus and cables and an iPad in a Meinl Deluxe Cajon Bag that I got from Musicians' Fiend and it was a very easy and comfortable carry with the cajon bag slung over one shoulder.

This coming weekend I have two gigs in the Jazz Bar, Edinburgh's jazz club. Saturday afternoon it is a mainstream jazz piano trio gig with a Yamaha grand that has a pickup and goes into the house sound system, and Sunday evening I'm playing both upright and bass guitar in a piano trio plus guitarist backing a female vocalist doing jazz and pop. Since the Jazz Bar has a backline amp, i don't normally take anything with me except my instruments, but at least on Sunday evening when on-street parking is available, I'm planning on taking in the Clarus/One10 combo to see if it is up to the job. I'll have the option to use the backline amp if there isn't enough volume and also go into the house PA as well if needed. Stay tuned.

Erik Hansen aka Lownote
Scotland
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Hi Erik:

I'm still very curious about how your upright is performing with the One10 vs. BB2.

With the BB2, did mention that you like to turn the tweeter "off" to minimize string noise? I'm just getting familiar with the BB2, but suspect the knob is not really turning the tweeter off. It's just changing how the upper frequencies blend with the lower range. For example, I've been playing my Rob Allen Deep 4 fretless (w/Status black nylon tapewounds) and my Reiner Studio 1200 hybrid tube amp set neutral through various settings of the BB2 dial. I presumed it would sound "best" with the dial all the way on (100% to the left). But after trying many positions, the bass really opens up to a sweet spot with the dial at about 4:00, which is roughly 25% in the "on" position. It's stunning how closely this configuration mimics a nice, round, full-sounding upright bass. Really beautiful tone! I'd call it a "Ray Brown" tone but my fretless playing ability is but a micro-spec compared to that particular master player! :D

So with the One10, there is no tweeter or availability of range above 4kHz. Would you mind giving your upright a whirl with the One10, and then trying it with the BB2's dial @ 4:00 and report the tone of one vs. the other? I would think a lot players would be very interested in versatility of the One10 with upright bass (or an analog with bass guitar). I suspect the One10 is not "bad" but am expecting it to be different due to no tweeter.

Thanks for your consideration - and my apologies for all the questions!
 
#60
N. Kentucky Bass said:
Hi Erik:

I'm still very curious about how your upright is performing with the One10 vs. BB2.

With the BB2, did mention that you like to turn the tweeter "off" to minimize string noise? I'm just getting familiar with the BB2, but suspect the knob is not really turning the tweeter off. It's just changing how the upper frequencies blend with the lower range. For example, I've been playing my Rob Allen Deep 4 fretless (w/Status black nylon tapewounds) and my Reiner Studio 1200 hybrid tube amp set neutral through various settings of the BB2 dial. I presumed it would sound "best" with the dial all the way on (100% to the left). But after trying many positions, the bass really opens up to a sweet spot with the dial at about 4:00, which is roughly 25% in the "on" position. It's stunning how closely this configuration mimics a nice, round, full-sounding upright bass. Really beautiful tone! I'd call it a "Ray Brown" tone but my fretless playing ability is but a micro-spec compared to that particular master player! :D

So with the One10, there is no tweeter or availability of range above 4kHz. Would you mind giving your upright a whirl with the One10, and then trying it with the BB2's dial @ 4:00 and report the tone of one vs. the other? I would think a lot players would be very interested in versatility of the One10 with upright bass (or an analog with bass guitar). I suspect the One10 is not "bad" but am expecting it to be different due to no tweeter.

Thanks for your consideration - and my apologies for all the questions!
Click to expand...

I've just picked up your message as I'm headed out for an evening gig in a p,b,d and tenor quartet backing a female vocalist at Edinburgh's Jazz Bar. I had intended to take the One10 but I'm punking out and am just going to play through their backline amp, "tweaked" by an FDeck box. I'll try and do what you've asked tomorrow when I have more time. However, I may have misspoken or added confusion in my earlier posting. To deal with finger noise, particularly in theatre mains, I don't touch the control on the back of the BF speaker but generally turn down either the Treble or Bright tone control on my AI Focus sIII amp to about nine o'clock. I look forward to trying to capture the tone you described with the BB2.

Erik
 

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