Thanks, guys.
You know, I was thinking about what got me into the Big E cabs in the first place. There is the story I've recounted a few times of how I heard a prototype 2x8" at Mike's and was enamored with the tone (I remember these growling mids), the impact, and the presentation and feel of the sound, which reminded me of playing an acoustic instrument. Before that, and more fundamentally, though, I was just frustrated with not hearing myself clearly on stage. That was it. I'm not saying that these cabs are the only way to do that, but I can say that my 112 has made a huge difference in my ability to do that clearly and consistently. Playing it the other night, after playing out on a few other rigs at jams, that was driven home. Didn't matter where I was on stage or what I was doing, I could hear myself clearly -- you don't realize what a difference this makes in your relaxation while playing and your enjoyment of the gig until you *can't* hear yourself clearly. The 112, incidentally, might be the best cab I've played for hearing yourself when you're right on top of it -- the tallish height and upward firing mids and tweeter, I think, contribute to that.
I haven't had the 46 out yet, but soon, I think. Right now, I have my computer hooked up to the aux input of my little KXB 500 head (only head I have with that feature) and have been playing along with it through the 46 to learn a bunch of tunes for a gig. (Lots to learn in not much time with too much else to do -- and most of the tunes I'll have to transpose -- but that's a different story.) For the sound/feel I go for with my Fender, the Flex and the 112 are a bit more "me" (though, again, I haven't played the 46 with a group, yet, which could change my thinking), but the 46 without question excels the most at playing back recorded music. Even with the summed-mono signal coming through the KXB and the slightly mid-hot voicing of my particular 46, I'm surprised at how clear everything is and how much depth I can hear in the recordings. I don't think the Flex or 112 would do as well with recorded music (I know that the 112 won't). I even listened to the clips of the other cabs, just now, through the 46, and the character of each comes through. The Flex might be the most chameleon-like in its ability to change cab voicings according to room and personal preference, but the 46 so far seems the most "blank canvas" of the three (chameleon-like in its own way), while the Flex has (to me) the strongest voice and the 112 sits in the middle. That's a simplification -- they don't just sit on a spectrum, left-to-right -- but I don't think it's entirely off-base.
Above ramblings subject to revision/expansion as warranted.
You know, I was thinking about what got me into the Big E cabs in the first place. There is the story I've recounted a few times of how I heard a prototype 2x8" at Mike's and was enamored with the tone (I remember these growling mids), the impact, and the presentation and feel of the sound, which reminded me of playing an acoustic instrument. Before that, and more fundamentally, though, I was just frustrated with not hearing myself clearly on stage. That was it. I'm not saying that these cabs are the only way to do that, but I can say that my 112 has made a huge difference in my ability to do that clearly and consistently. Playing it the other night, after playing out on a few other rigs at jams, that was driven home. Didn't matter where I was on stage or what I was doing, I could hear myself clearly -- you don't realize what a difference this makes in your relaxation while playing and your enjoyment of the gig until you *can't* hear yourself clearly. The 112, incidentally, might be the best cab I've played for hearing yourself when you're right on top of it -- the tallish height and upward firing mids and tweeter, I think, contribute to that.
I haven't had the 46 out yet, but soon, I think. Right now, I have my computer hooked up to the aux input of my little KXB 500 head (only head I have with that feature) and have been playing along with it through the 46 to learn a bunch of tunes for a gig. (Lots to learn in not much time with too much else to do -- and most of the tunes I'll have to transpose -- but that's a different story.) For the sound/feel I go for with my Fender, the Flex and the 112 are a bit more "me" (though, again, I haven't played the 46 with a group, yet, which could change my thinking), but the 46 without question excels the most at playing back recorded music. Even with the summed-mono signal coming through the KXB and the slightly mid-hot voicing of my particular 46, I'm surprised at how clear everything is and how much depth I can hear in the recordings. I don't think the Flex or 112 would do as well with recorded music (I know that the 112 won't). I even listened to the clips of the other cabs, just now, through the 46, and the character of each comes through. The Flex might be the most chameleon-like in its ability to change cab voicings according to room and personal preference, but the 46 so far seems the most "blank canvas" of the three (chameleon-like in its own way), while the Flex has (to me) the strongest voice and the 112 sits in the middle. That's a simplification -- they don't just sit on a spectrum, left-to-right -- but I don't think it's entirely off-base.
Above ramblings subject to revision/expansion as warranted.
