NCD - MAS (Michael Arnopol Soundworks) 1,8

[BostonJazz72]

Cool. How does running side-by-side compare to stacking the cabs vertically? Do you notice any difference in character/tonal balance when running two cabs (vs. one) or is it the same, just bigger?

On the two gigs that I have had to use the two cabs I have stacked them vertically. However, I do think they sound great either way though. As far as differences with one or two cabs - the individual cab itself sounds great and thus adding a second, to my ears, is a bigger sound. Hope that helps. At the end of the day - I really enjoy playing through these cabs regardless on whether its one, two, vertical or horizontal.

 

[Kirk Bryant]

Can you stack them with both ports on the bottom? Is it stable? A pic would be cool.

 

[BostonJazz72]

Can you stack them with both ports on the bottom? Is it stable? A pic would be cool.

I briefly attempted to stack them with both ports on the bottom, but because of the angled top it was not a great idea. Imagine the Leaning Tower Of Pisa but in this case 'The Leaning Tower of MAS'. Mike indicated that he could make the 1,8 without the angled top though. I think stacking them vertically works out pretty good - looks close to the MAS B28 he has.

 

[whirledpeas]

I briefly attempted to stack them with both ports on the bottom, but because of the angled top it was not a great idea. Imagine the Leaning Tower Of Pisa but in this case 'The Leaning Tower of MAS'. Mike indicated that he could make the 1,8 without the angled top though. I think stacking them vertically works out pretty good - looks close to the MAS B28 he has.

I can see where it probably had your pre/amp sloped back pretty far. Would the stack be unstable if you placed your pre/amp on a separate stand? Wondering if it might provide a nice slant top to angle the top cab towards your ears? Or perhaps the angle is too severe? Thoughts?

Edit- I agree with Kirk... I’d love to see a pic.

 

[BostonJazz72]

I can see where it probably had your pre/amp sloped back pretty far. Would the stack be unstable if you placed your pre/amp on a separate stand? Wondering if it might provide a nice slant top to angle the top cab towards your ears? Or perhaps the angle is too severe? Thoughts?

Edit- I agree with Kirk... I’d love to see a pic.

No worries - I will upload a few pics later tonight for you guys to check out.

 

[BostonJazz72]

No worries - I will upload a few pics later tonight for you guys to check out.

Here we are. It is actually not too bad. My main concern is how to stabilize that top cab. I hand it braced against the wall. I like the fact that the top cab is directed a bit up.

 

[BostonJazz72]

Can you stack them with both ports on the bottom? Is it stable? A pic would be cool.

Can you stack them with both ports on the bottom? Is it stable? A pic would be cool.

I posted some pics of them stacked. Let me know what you think.

 

[Kirk Bryant]

Yea looks pretty unstable that way. The unusual shape creates some interesting cab stacking challenges. I don't know if these would work well on a gig like I played tonight.
I just got home from a fun gig with a 12 piece horn band. 4 /rhythm sec., 2 singers, guy and gal, 6 horns. Playing all the funky horn dance hits. As much as I love the big band I was having a hard time hearing myself.
Using my usual 2x112 Berg stack I was wishing I had the cab closer to my ears. With everything going on I had some moments where I found myself stressing a bit. I fear your rig, and possibly the 28 as well will be so far below ear level, that it would be even more difficult to to hear clearly. Please explain how this will not be the case.

 

[MrBEAR]

Would the pair remain stable if you flipped the bottom cab upside down and stacked them by aligning the rubber feet?

 

[BostonJazz72]

Would the pair remain stable if you flipped the bottom cab upside down and stacked them by aligning the rubber feet?

Not sure if that would work because of the slant of the top. I can try and take another pic though.

 

[BostonJazz72]

Yea looks pretty unstable that way. The unusual shape creates some interesting cab stacking challenges. I don't know if these would work well on a gig like I played tonight.
I just got home from a fun gig with a 12 piece horn band. 4 /rhythm sec., 2 singers, guy and gal, 6 horns. Playing all the funky horn dance hits. As much as I love the big band I was having a hard time hearing myself.
Using my usual 2x112 Berg stack I was wishing I had the cab closer to my ears. With everything going on I had some moments where I found myself stressing a bit. I fear your rig, and possibly the 28 as well will be so far below ear level, that it would be even more difficult to to hear clearly. Please explain how this will not be the case.

That Berg stack should be pretty killer on a gig like that. I have seen other guys put their B28 on chairs to get them off the ground. You could try Phil Jones Earbox, too. I think that acts like a kind of reference monitor. Is your bass going through a PA? If that is the case you could use one 1,8 as a wedge monitor and the the other as your cab.

I will let Steve or Mike chime in on how it might be the case when using two 1,8's in a big band setting. I believe Mike has used two on a setting similar similar to yours.

Paging @Mike Arnopol @Stephen Regier

 

[Mike Arnopol]

My cabs like to be elevated. I always play them that way. They don't lose nearly as much low end when elevated. This may sound weird, but when Mark A came over we put one 18 on a chair horizontally and the other vertically on top of that. If I bring two 18's to a gig that's how I do it. If it's a really big room and I want the floor coupling I put one on the floor and the other on a chair.

 

[Kirk Bryant]

That's interesting to hear as I seldom raise my cabs from the floor exactly because of the loss of coupling. Then there's the issue of actually getting to hear these cabs. I was just in SF for a week and wasn't able to hook up with anyone with one to hear. I know there is a 110 here in town and really do need to try and hear it. Though I have been most recently more intrigued by the 28.

 

[BostonJazz72]

That's interesting to hear as I seldom raise my cabs from the floor exactly because of the loss of coupling. Then there's the issue of actually getting to hear these cabs. I was just in SF for a week and wasn't able to hook up with anyone with one to hear. I know there is a 110 here in town and really do need to try and hear it. Though I have been most recently more intrigued by the 28.

Where are you located? Have you checked out this thread? Bountiful bass badarsery by the Bay I believe there some good sound samples of the B28 and 18's. Plus, the members on the thread are good to answer any questions.

 

[Stephen Regier]

The upsplay on the 1,8 and the B28 as well as the unusual propagation of the MVW mitigate the concern of hearing one's self significantly. With two 1,8s one could turn one on its side with the other sitting on top splayed upwards. Either could also be placed on a stand as Mike has mentioned.

 

[BostonJazz72]

The upsplay on the 1,8 and the B28 as well as the unusual propagation of the MVW mitigate the concern of hearing one's self significantly. With two 1,8s one could turn one on its side with the other sitting on top splayed upwards. Either could also be placed on a stand as Mike has mentioned.

Thanks for the feedback.

 

[BostonJazz72]

My cabs like to be elevated. I always play them that way. They don't lose nearly as much low end when elevated. This may sound weird, but when Mark A came over we put one 18 on a chair horizontally and the other vertically on top of that. If I bring two 18's to a gig that's how I do it. If it's a really big room and I want the floor coupling I put one on the floor and the other on a chair.

Thanks!

 

[MarkA]

The MAS cabs don't lose low end to the same degree, when elevated, as other cabs do. I've found that my 46 generally works better elevated (too much low end, if anything, when set on the floor in its normal, horizontal orientation -- vertical is fine, though) but I never elevate my MAS 112 and it sounds great on the floor. I also thought that the Bodai 110 I played at Mike's place sounded great -- open, natural, and well-balanced through the registers -- on the floor. I'd be curious to hear a 28 the same way.

I recall trying the two 18s in different configurations -- thought maybe we tried them on the floor, too -- I know I played one solo, on the floor. I can tell you that the low end was anything but lacking when set-up the way Mike described. B-string response was off the charts.

@BostonJazz72, do you have any difficulty monitoring your sound when standing right on top of the cabs?

I wouldn't be surprised if the 18s were easy to monitor up close, despite being small/low, but I haven't owned one and can't say from experience.

If you're looking at a 28, Kirk (whether the MAS 28 or the Bodai 28), you might also consider something like an Ampwedge (big, foam wedge to angle up a cab -- you could also use a couple of big doorstops or a sneaker, if it suits you). Aside from angling the cab up, it will be, in terms of coupling, somewhere between having the cab flat on the floor and elevating the cab on a stand (I've tried it with the 46 -- also when using my AK Hathor 1203 with my MAS 110 sub).

If using two 18s and you did run into issues hearing yourself, perhaps one could be set on the floor, facing forward as normal, and the other on its back, in the "monitor wedge" position. Mike, Stephen -- any thoughts as to how that would work?

 

[BostonJazz72]

The MAS cabs don't lose low end to the same degree, when elevated, as other cabs do. I've found that my 46 generally works better elevated (too much low end, if anything, when set on the floor in its normal, horizontal orientation -- vertical is fine, though) but I never elevate my MAS 112 and it sounds great on the floor. I also thought that the Bodai 110 I played at Mike's place sounded great -- open, natural, and well-balanced through the registers -- on the floor. I'd be curious to hear a 28 the same way.

I recall trying the two 18s in different configurations -- thought maybe we tried them on the floor, too -- I know I played one solo, on the floor. I can tell you that the low end was anything but lacking when set-up the way Mike described. B-string response was off the charts.

@BostonJazz72, do you have any difficulty monitoring your sound when standing right on top of the cabs?

I wouldn't be surprised if the 18s were easy to monitor up close, despite being small/low, but I haven't owned one and can't say from experience.

If you're looking at a 28, Kirk (whether the MAS 28 or the Bodai 28), you might also consider something like an Ampwedge (big, foam wedge to angle up a cab -- you could also use a couple of big doorstops or a sneaker, if it suits you). Aside from angling the cab up, it will be, in terms of coupling, somewhere between having the cab flat on the floor and elevating the cab on a stand (I've tried it with the 46 -- also when using my AK Hathor 1203 with my MAS 110 sub).

If using two 18s and you did run into issues hearing yourself, perhaps one could be set on the floor, facing forward as normal, and the other on its back, in the "monitor wedge" position. Mike, Stephen -- any thoughts as to how that would work?

I have not had an issue monitoring my sound thus far. I am not standing right above the cab but around 3’ in front. I have them stacked vertically.

Edit: However - I am not playing in a big band situation like yours (horn section, etc) but a general five piece gb band. Based upon what Mike and Steve said in regards to placement of the cab, I would expect the two 1,8's to work out pretty well in a larger situation.

 

[Kirk Bryant]

Thanks BJazz72, I had an appointment to hook up w/an owner when I was in SF a month ago but it didn't work out. And yes I've read that thread probably twice and every other one about these MAS cabs of all iterations from the onset. As well as being very interested Dukes cabs at (AK).
The longer the anticipation, the greater the expectation. I'm practically expecting fairy dust sprinkled across the land far and wide just hearing the awesomeness of the Vortexitudinosities bouncing off the walls with glorious abandon.
MarkA, the unusual lack of needing coupling, is curious, as are many things about all the MAS products. I rather enjoy the coupling effect usually. In fact I played a low to medium volume gig tonight and brought in both 112s because I was parked a few feet from the stage. I set up and plugged the top cab only. The second we started in knew it was a mistake as the bass was weak in this room. So, plug the bottom one in second tune all good. Hard to imagine such a diminutive cab especially a 18 sounding very large in bottom end when being elevated and filling the room. I suspect the 18 would probably be the ultimate upright bass cab. I'm sure Mike gigs his Accoustic more than I and could comment, I think he did on one thread. I would really like to believe 2-1/8s or a 2/8 could do most of my jobs.
And I hear what you're saying, MA re: setting one on the floor and one on a stand. It's a rather foreign concept not to say I couldn't get used to it. I'm already thinking about stands haha. Two seperates would make easy load ins. I'm one of "injured back" guys that don't want to lift weights to gig.
Oh, and MarkA I have made a couple of my own Ampwedge clones. But I'm such an old cheapo I usually use what's available. Like tonight I needed to to tilt the monitor up so a shot glass did the trick.