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Until I started reading about all the switching capabilities of the cabinet I thought it was cool. Just like Boogie putting 34 knobs on the front and another 16 on the back of a head, this cabinet is a tweaking nightmare. I would not want to be in a band with someone who had to find the right settings for that cabinet every time we played somewhere, and it would cost a fortune in studio time to find the right spot to mic that cabinet.

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Christ, stop screwing with every little thing and play your guitar already. It's rediculous.

To some, screwing around takes the place of playing... Like bitching about intonation....

I guarantee that few audience members can tell the difference in any of the different tones of that cabinet. In a home situation, tho, it might be a real blast to play with.

For 10 minutes.

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I would not want to be in a band with someone who had to find the right settings for that cabinet every time we played somewhere ....

All to have the whole process negated by some fuckhead sound guy who will only accept a volume level a notch or two above a silent-but-deadly fart.

Obviously targeted at the cork-sniffer, I've got a bigger dick crowd.

Which, ironically, is most likely comprised of guys with very small dicks who are looking to compenstate for that fact by trying to one-up others with material possessions.

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Guest Mike Lee

All the switching options are kind of silly, but the basic idea of a 2x12/2x10 with Weber Blues and Silvers is outstanding.

I once played a Valve Tech combo amp (at Valve Tech Rob's house in Fort Wayne) that had a 12 and a 10, Jensen C10Q and C12Q I think. Something about mixing a 12 & 10 in the same cab creates a huge sound that is different than a 2x10 or 2x12. It's like you get the best qualities of each size of speaker filling in the holes in the other's response curves.

So do the same with 2x12's and 2x10's in the same cab, and install excellent, made in Indiana, reproductions of two kinds of early alnico Celestions and you might really have something. Build it out of plywood or pine and get it covered in basic vinyl or tweed, and maybe set it up to swich mono/stereo (mono would be fine for me)and it's imminently usable.

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I find nothing wrong with a guy who has become obsessed with ideas and is trying to pursue them. How to get power tube distortion with larger tubes at lower volumes has been a long-standing holy grail for some. There is absolutely no way this guy can make a living doing it now, or in the future.

If this is what floats his boat, and the so-called cork sniffers, so what?

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As a newbie to this board, these responses really surprise me. First, they strike me as somewhat closed minded and mean spirited in tone. And second, for the most part, they strike me as lacking meaningful content / dialogue. Maybe I've stumbled onto the wrong board for me, but a few observations.

As an uncovered wood cab, commissioned for a studio owner, it appears intended for studio/home use. So the "roadworthiness" and "audience" comments don't seem too relevant to me.

And I guess you have all a/b'ed parallel and series interconnections of the same speakers in the same cab and have concluded there is no significant difference in the tone, right? Hmmm. Gerald Weber talks about this in his book, and Ken Fisher also talked about this in his book, pointing out that even in a 4x12 cab it makes considerable difference in the sound whether its wired series/parallel or parallel/series.

I guess you've all also played through cabs with both a 10 and a 12 in it, and decided that does nothing for you?

And also played with different make/model speakers in the same cab, and concluded there is nothing of interest to you there as well?

And maybe no one here has any interest in attenuators, or if you do, you have no issue lugging another piece of gear around with you, and you're real happy with how it doesn't suck any of your tone?

While I would not want the particular cab shown, there are aspects and ideas associated with it that I would want to consider in my next cab.

I for one would like to be able to use it for a bit, to find out which configurations work best and are most useful for me, and then incorporate what I learned into my next cab choice.

And I can clearly see the need and utility of the switching capabilities in a space limited studio, where each client (studio user) wants something different, but to have all the different pieces of gear in the studio would both be very expensive and take up a ton of valuable, limited space. And similarly for the home player with limited space and funds, who wants access to several different "rigs", in effect. I certainly wouldn't characterize it as "ridiculous", especially for these applications. I might however choose to characterize it as "not to my liking".

I guess I looked at the original post from the perspective "what can I learn from this", not "lets see how mean spiritied and juvenile I can be" (I mean really, the discussion of how long or short a particular body part it is or isn't was incredibly juvenile and immature, IMHO).

What is most strinking to me in reading this thread and some others on this board is this (sure to be controversial):

Hamer announces the release of a new guitar - effectively a Tele clone - and there are nothing but "woo hoo's". Personally, I don't see anything new or appealing there. And I certainly wouldn't considering buying one new from a dealer, as soon as I take it out the door it will depreciate in re-sale value by about 40%, as thats what happens in the re-sale market for Hamers (a good thing if you only buy used...not so good if you buy new). But thats me....YMMV. I certainly wouldn't refer to the guitar as "ridiculous", but its clearly nothing I'd be interested in buying new.

Now in contrast, I at least see some new ideas in the original post in this thread. And while again I wouldn't buy the cab shown, reading about it at least led me to feel I saw and learned something new. But the response of this forum to the original post was akin to "christ, why'd you display such a ridiculous thing here".

So it might be that this is a forum that longs for and revels in the past, and has limited interest in the new. Is this correct? I ask as I come to these boards to be exposed to and learn about new things, so perhaps this board is not for me.

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Not to mention the time and effort that Carl put into this...Carl is a long time poster to this board and is trying to get his new company with innovative designs going and I can't see these replies...ah nevermind..

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Wow, finally a post of mine here gets some attention. Who'd have thunk it?

For what it is worth, all that matters to me is that the guy who the cab was done for loves it. Its EXACTLY what HE wanted, and he couldn't be happier. Thats the objective isn't it?

I don't mind the critique at all. I didn't design that cab for folks here....and I don't expect that they'd have the same needs / wants as a professional studio.

I just posted it here because I was pretty sure folks here hadn't seen anything like this before, and might find it out of the ordinary and a bit interesting.

This is a hobby for me (night job vs day job...very uncooperative day job I might add). What I like about it is the opportunity to work with some very interesting folks and do some new & different things. It floats my boat, so to speak.

No foul, no harm.

Carl

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I guess I looked at the original post from the perspective "what can I learn from this", not "lets see how mean spiritied and juvenile I can be" (I mean really, the discussion of how long or short a particular body part it is or isn't was incredibly juvenile and immature, IMHO).

Well, I think you'll find there is a wide verity of members on this forum; juvenile, mature, ignorant and opinionated, educated and reserved, as well as everything in-between.

That said, the HFC is (and I'm rather partial on this subject, being ignorant, juvenile and opinionated) one of the best (if not THE best) forums on the Internet.

Depending on the person and the situation, we have often banded together to lift the spirits of the down-trodden, as well as give the smack down to those that brazenly ask for it.

You've come to the right place, but keep in mind: Some will agree with you, some will not.

Such is life.

Whatever you do, don't let a few dick and fart jokes scare you off.

Welcome to the HFC.

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You have to understand that a lot of the dismissive comments are pretty tongue-in-cheek. Stick around long enough and you'll also read that "intonation is for pussies". Though silentman may be serious about that one. <_<

As for "stop screwing around and play your guitar..." There are players and there are engineers and there are guys with a foot on either side of the fence. If you're having any kind of success at either, you're winning. Obviously, a guy who sets out to be a player and wastes all his time fiddling with his gear (caution: auto-biographical content) is a little lost, but a guy with knowledge and an interest in the technology who digs in - good for him. If there weren't a few out there, we wouldn't have amps to fiddle with in the first place.

Of course, I know you were only joking. (Weren't you?) :lol:

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Bob does incredible work. It blows me away that some people can't see the artistry in products (I know most if not all here is tough and cheek), but I know people that get real uptight about this kind of thing. If everthing were mearly built for a utility purpose, we'd have no Artist customs, Ferraris, Thorns, etc.... How dull life would be.

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I would not be too quick to dismiss these products fellas.

First, the antique (read "~100 yrs old from his grandpa's Arkansas barn and hard as a rock") pine that Bob Burt uses produces the biggest, most resonant sounding cabs I've ever played. I now own 3 of them, and have gigged with them exclusively for 3+ years now. Definitely the best value in cabs I know of. The V Front 2x12s with tilted baffle project unbelievably in live situations. You can have them tolexed or not, I don't.

I had one of the Tone Doctor switches installed in my first BB cab. Two reasons why: a) it is the best vehicle for A/Bing different speakers I've ever come across, just flip a switch and you can switch from one to the other; and <_< if you happen to blow a speaker at a gig you can quickly bypass that speaker , switch the ohms tap out on your amp, and you're back rockin.

Cork sniffage, maybe to some. Personally, I wouldn't trade my Burt cabs and I've found the Tone Doctor switch very functional and useful, and it's not very expensive.

YMMV, but I don't really see the reasons for the negativism either. Reminds me of the Gibson bashing and overall resentment some here have toward any non-Hamer gear that is expensive...

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