BareFaced Super Series User manual

User Manual V.3.1
© Copyright 2015 Barefaced Limited

Congratulations on becoming a Barefaced Gen 3 12XN owner!
These cabs are the pinnacle of bass guitar amplication, representing the most efcient
way to turn the power and tone coming from your bass and amp into sound with the
frequency balance, dynamics, immediacy and dispersion to ll the room in the best
possible way. Great tone, at the right time, everywhere! Hyperbole? Maybe, but justied...
Before you use your cab, please take the time to digest the following information:
You may think plenty of bassists know about Barefaced but we can assure you that only
a tiny fraction of them have even heard our name, let alone realise that we are producing
arguably the best bass cabs ever made, regardless of your musical situation.
If you’ve plugged your cab in and cranked it up loud then you’ve almost certainly
concluded that it’s awesome. So please, spread the word about how great it is – you are
the Barefaced Gen 3 Army, and Barefaced needs you!
1. Don’t throw the box and protective packaging away until you’re sure you like the cab. If
your cab has suffered any damage in transit please contact us immedately!
2. The Super Twin and Big Twin 2 are shipped without their front feet attached. Remove
the two bolts in the base of the cab, unwrap the pair of feet from their packaging, and t
carefully. Don’t push too hard with the bolt or you may push the t-nut out from the inside
of the cab - let the threads on the bolt engage in the t-nut and then the bolt pull itself into
position. Once the foot is snugly in place, tighten the bolt right up so it never comes loose.
2. Use a standard speakon lead or 1/4” lead - we can supply these (£12 / €15 / $18).
3. Daisy-chain if you like - you won’t need many cabs, ours go loud!
4. The Super Midget/Big Baby II/Big Twin 2 have an ‘HF Control’ knob on the back of
the cab. Open it up like a tap (anti-clockwise) for increased treble and upper midrange.
Experiment and listen to how it changes the tone. Set it however you like.
5. Your cab has a high power 12” driver (or two) which takes time to loosen up. It will get
deeper, fatter, smoother and cleaner sounding after some loud use.
6. Set your EQ at on your bass and amp. Start fresh! If you have two pickups, use the
pan or dual volumes for tweaking before you go to the EQ. Try not to stand right next to
your cab. Turn it up loud! Turn it down a bit if your band complains...
7. When you’ve decided you’re keeping the cab, tell the world (and us) how much you like
it. Tell us where you nd out about bass gear so we can preach to the unconverted. If it
isn’t nailing your tone(s), email us for help! (If any residue is left behind after removing the
QC label, this can be safely removed with white spirit).
Introduction and important stuff

1. General unpacking / shipping information.
- 1.a CE, ROHS and WEEE compliance
- 1.b Contact information
2. Super Series
- 2.a Super Compact and Super Twin
- 2.b Super Compact and Super Twin amplier power recommendations
- 2.c Super Midget
- 2.d Super Midget amplier power recommendations
3. Big Series
- 3.a Big Baby II and Big Twin II
- 3.b “Try these settings”
- 3.c Big Baby II and Big Twin II amplier power recommendations
4. Getting the most out of your cab with bass guitar
5. Troubleshooting
6. Technical appendix
- With notes on woofer “breaking in”
7. Alternate Barefaced options
- and modular suggestions
Table of contents

Your cab is packed in a custom shipping carton, with protective expanded
polythene edges plus additional reused cardboard packaging to protect against
shipping damage. On receipt please check if there is any external damage
to the box and if so if it has penetrated through to the cab inside. Fortunately
although external damage to the shipping carton is common it tends to be
minor and supercial and when it’s more serious the additional packaging
usually saves the day.
If your cab is marked or damaged in any way tell the courier (usually FedEx, or
Parcel Force) about the damage, do not sign that the package has arrived in
good condition and email us immediately so we can follow up before the (very
short) window for claims has passed. Keep the box and blue edges if you have
the space, courier-resistant packaging is not cheap or easy to come by - and
there may come a day when you want to ship your Barefaced cab to a lucky
secondhand buyer.
All Barefaced Gen 3 models are compliant with CE, ROHS, and WEEE. As part
of the latter compliance you must not dispose of a Barefaced cab in general
waste (why anyone would want to do this we cannot conceive!) We are legally
duty bound to request than once a Barefaced cab has reached the end of its
life you must contact us to arrange its collection and its disposal (at a fair and
reasonable price) or you must use a compliant facility which can deal with the
various materials used in the cab’s construction - please contact us if you need
more information on this.
1. Unpacking
1a. CE, ROHS and WEEE compliance
Barefaced Contacts:
For contact about shipping:
Email - [email protected]
For other enquiries:
Email - [email protected]
The Barefaced factory phone: [phone]

As shown on the rear panel, the Super
Compact is 8 ohm nominal impedance,
whilst the Super Twin is 4 ohm nominal
impedance.
The two dark green speakon sockets are
actually combi sockets which also take a
1/4” lead. Regardless of how your amplier
is wired, the speaker cab end of your lead
should be a 2-pole or 4-pole speakon
(wired 1+ and 1-) or a 1/4” jack (wired tip
+).
Both sockets are wired in parallel so you
can daisy-chain further cabs in parallel.
You can daisy-chain as many as you like
as long as you don’t run below your amp’s
minimum nominal impedance.
Running two leads from your amp out to
two separate cabs is electrically identical to
running one lead from the amp to the rst
cab and a second lead from the rst cab to
the second cab (daisy-chaining). The Super Compact and Super Twin back panel
2.a

Models
Total
impedance
(nominal)
Minimum for
clean tone
when gigging
with a drummer
Maximum
loudness
Extra headroom
(for better tone
when at max
loudness)
Max continuous
SPL @ 1m
in half-space
(including
power
compression)
Super
Compact (SC)
8 ohms 150W 450W 600W 120.5dB
Super Twin
(ST)
4 ohms 100W 900W 1200W 126.5dB
SC + SC 4 ohms 100W 900W 1200W 126.5dB
SC + ST 2.7 ohms 75W 1350W 1800W 129.5dB
SC + SC + SC 2.7 ohms 75W 1350W 1800W 129.5dB
ST + ST 2 ohms 50W 1800W 2400W 132.5dB
SC + SC + ST 2 ohms 50W 1800W 2400W 132.5dB
SC + SC + SC
+ SC
2 ohms 50W 1800W 2400W 132.5dB
2.b - Super Compact and Super Twin
amplier power recommendations


As shown on the rear panel, the Super
Midget is 8 ohm nominal impedance. The
two dark green speakon sockets are actually
combi sockets which also take a 1/4” lead.
Regardless of how your amplier is wired,
the speaker cab end of your lead should be
a 2-pole or 4-pole speakon (wired 1+ and 1-)
or a 1/4” jack (wired tip +).
Both sockets are wired in parallel so you
can daisy-chain further cabs in parallel. You
can daisy-chain as many as you like as long
as you don’t run below your amp’s minimum
nominal impedance. Running two leads
from your amp out to two separate cabs is
electrically identical to running one lead from
the amp to the rst cab and a second lead
from the rst cab to the second cab (daisy-
chaining).
With the HF control at max you hear
everything upwards of ~3kHz coming from
the tweeter. Turn the HF control down
and the crossover point gradually shifts
upwards so more of your tone comes from
the 12” driver, giving a wide variety of
sonic options.
The Super Midget is designed primarily as
a standalone cab when great tone, high
output and minimum size are absolutely
critical. It can be stacked with any of the
other G3 models or paired up with the
older Barefaced Compact, Midget, Super
Twelve and Super Fifteen when greater
output is required. It can also be tted with
optional pole-mounts for use as a high
quality small PA system.
Moving the “HF CONTROL” knob adjusts the
level of the tweeter, making the cab sound more
or less bright.
2.c
Optional ‘Top Hat’
Speakermount

Models
Total
impedance
(nominal)
Minimum for
clean tone
when gigging
with a drummer
Maximum
loudness
Extra headroom
(for better tone
when at max
loudness)
Max continuous
SPL @ 1m
in half-space
(including
power
compression)
Super Midget
(SM)
8 ohms 150W 450W 600W 120dB
SM + SM 4 ohms 100W 900W 1200W 126dB
SM + Super
Compact
4 ohms 100W 900W 1200W 126dB
SM +
Compact
4 ohms 100W 900W 1200W 126dB
SM + Super
Twin
2.7 ohms 75W 1350W 1800W 129dB
SM + Super
Twelve
2.7 ohms 75W 1350W 1800W 129dB
SM + Big
Baby 2
4 ohms 100W 900W 1200W 126dB
SM + Big Twin
2
2.7 ohms 75W 1350W 1800W 132dB
SM + Super
Fifteen
2.7 ohms 75W 1350W 1800W 132dB
2.d - Super Midget amplier power
recommendations


Moving the “HF CONTROL” knob adjusts the
level of the tweeter, making the cab sound more
or less bright.
As shown on the rear panel, the Big Baby II is 8 ohm nominal impedance, whilst the Big Twin II is
4 ohm nominal impedance. The two dark green speakon sockets are actually combi sockets which
also take a 1/4” lead. Regardless of how your amplier is wired, the speaker cab end of your lead
should be a 2-pole or 4-pole speakon (wired 1+ and 1-) or a 1/4” jack (wired tip +).
Both sockets are wired in parallel so you can daisy-chain further cabs in parallel. You can daisy-
chain as many as you like as long as you don’t run below your amp’s minimum nominal imped-
ance. Running two leads from your amp out to two separate cabs is electrically identical to run-
ning one lead from the amp to the rst cab and a second lead from the rst cab to the second cab
(daisy-chaining).
With the HF control at max you hear everything
upwards of ~2kHz coming from the HF driver,
which makes the sound extremely clean, true
and accurate - basically like a really good PA
loudspeaker.
Turn the HF control down and the crossover
point gradually shifts from 2kHz to 10kHz, so
more and more of your tone comes from the 12”
driver.
The more treble you hear from the 12XN, the
less ‘hi-’ the cab will sound and the more it will
sound like an old school bass cab. Yes it will get
less bright sounding but you have EQ so you can
add brightness back with that.
3.a

1. ‘80s Anthony Jackson ultra clean ngerstyle
HF control at max and a really clean amp - closest thing you’ll get to a £10k Meyer Sound rig
that you can carry yourself
2. ‘80s Mark King roundwound slap
HF control about halfway and treble boosted on a fairly clean but aggressive amp - gives you
that more typical 4x10” plus loud tweeter vibe
3. ‘90s grunge roar
HF control about 1/4 up, overdriven valve amp, going at it with a pick - grinding thunder but
just enough added clarity to separate the notes and percussively drive the groove
4. ‘70s Larry Graham tapewound slap
HF control almost off, amp pretty clean, thumpin’ and pluckin’ - proper old school slap vibe,
the kind that even slap haters like, just enough air and edge from the HF driver to help the
bass ll the room
5. Family Man’s reggae bottom (!?)
HF control off (just turn it up a bit if the venue has particularly bad acoustics and you’re
getting lost)
Made in the UK
1600w / 4Ω
S/N : B001
CONTROL
HF
BIG TWIN II
www.barefacedbass.com
GENERATION 3
2
1
5
4
3
3.b - Try these settings

Models
Total
impedance
(nominal)
Minimum for
clean tone
when gigging
with a drummer
Maximum
loudness
Extra headroom
(for better tone
when at max
loudness)
Max continuous
SPL @ 1m
in half-space
(including
power
compression)
Big Baby 2
(BB2)
8 ohms 150W 600W 800W 122dB
Big Twin (BT2) 4 ohms 100W 900W 1600W 128dB
BB2 + BB2 4 ohms 100W 900W 1600W 128dB
BB2 + BT2 2.7 ohms 75W 1500W 2400W 131dB
BB2 + BB2 +
BB2
2.7 ohms 75W 1500W 2400W 131dB
BT2 + BT2 2 ohms 50W 1500W 2400W 134dB
BB2 + BB2 +
BT2
2 ohms 50W 2400W 3200W 134dB
BB2 + BB2 +
BB2 + BB2
2 ohms 50W 2400W 3200W 134dB
3.c - Big Baby II and Big Twin II
amplier power recommendations

4. Getting the most out of your cab with
bass guitar
Your Barefaced cab is designed to let you hear what your brain, soul and hands make your bass
and amp sound like, without getting in the way or restricting your artistic expression, and is de-
signed to maintain that honest conduit up to extremely high SPL. Or to put it in a less poncey way,
they are low colouration, high output loudspeakers.
1. Amplier gain and volume
Turn them to where it sounds good and loud enough. The end position is irrelevant.
2. Pickup settings
If you have two or more pickups bear in mind that pickups are interactive. Typically your bridge
pickup has more upper midrange and treble whilst your neck pickup has more lower midrange
and bottom but mixing the two will not get you “the best of both worlds”. Because the pickups are
‘hearing’ two different points on the string the midrange output from each is not in phase, thus you
get a midrange cut.
If you just had one pickup, 4 band EQ and compression, here’s how you’d turn the knobs on the
amp to get a similar change to that caused by panning/switching pickups:
BASS
0
1
2
3
456
7
8
9
10
LO-MID
0
1
2
3
456
7
8
9
10
HI-MID
0
1
2
3
456
7
8
9
10
TREBLE
0
1
2
3
456
7
8
9
10
COMPRESSION
0
1
2
3
456
7
8
9
10
Neck Pickup Soloed
Neck pickup soloed - deeper fatter lows, rounder low mids, smoother upper mids,
mellower treble, sits around the kick-drum and under the guitar
BASS
0
1
2
3
456
7
8
9
10
LO-MID
0
1
2
3
456
7
8
9
10
HI-MID
0
1
2
3
456
7
8
9
10
TREBLE
0
1
2
3
456
7
8
9
10
COMPRESSION
0
1
2
3
456
7
8
9
10
Bridge Pickup Soloed
Bridge pickup soloed - leaner tighter lows, punchy fast low mids, grindier growlier upper
mids, brighter treble, sits above the kick-drum and punches through everything

BASS
0
1
2
3
456
7
8
9
10
LO-MID
0
1
2
3
456
7
8
9
10
HI-MID
0
1
2
3
456
7
8
9
10
TREBLE
0
1
2
3
456
7
8
9
10
COMPRESSION
0
1
2
3
456
7
8
9
10
Both pickups on full
Both pickups on full - similar lows to the neck pickup, similar treble to the bridge pickup,
low mid fullness about halfway between the two but with more texture, upper mids much
less loud than either, sits much further back in the mix, often better in the studio than a
noisy live environment.
3. EQ and other tone controls
Set your EQ at and start fresh - new cab, new settings! When your cab is brand new it may need
bass boost due to the “woofer break-in” issue - do not let that worry you, all our cabs can handle
huge power in the lows. If your amp clips nastily during the rst few hours of use bear in mind that
as the woofer loosens up you will be able to turn down your lows and free up power for your amp.
Note that ‘Flat EQ’ (all controls at 12 o’clock or zero) is rarely at - this doesn’t matter at all, many
great bass tones have heavy EQ. However it’s just a good reminder that you shouldn’t be afraid to
have the knobs pointing in all manner of strange directions. We are not listening to recorded music
through a fancy hi-, we are making music with our instrument and the amp and cab are part of
that instrument!
4.a) Cab positioning with single cabs
The Gen 3 12XN cabs have huge max LF output and very good dispersion. They are designed
to work best with at least one boundary in close proximity - i.e. the ground. Their dispersion is so
good that even the smallest models rarely need elevating for better audibility – if various factors
(poor acoustics / noisy band / cramped stage / tall bassist) combine to make it hard to hear the
cab and you need to elevate it substantially, try to get it close to another boundary (a solid wall)
otherwise you’ll need to boost your lows.
It’s often benecial to place the cab(s) close to rear and side walls as this will increase the output
in the lower frequencies - conversely if your sound is boomy in a certain venue, pull the cab away
from a wall until the boom goes away. If it can’t be heard well by everyone in its usual position then
try pointing it diagonally across the stage/venue and stand as far away as is reasonable, so you
can hear the true sound. These cabs can produce serious amounts of bottom so you don’t need to
stand right next to them to feel the bass.
4.b) Cab positioning with two or more cabs
If you have multiple cabs then you have many options open to you - the best is almost always
to stack them on top of each other. The 1x12” models can be stacked horizontally as well as
vertically, which keeps the stack height more sensible if you’re using three or four cabs.

If you have to place them side by side then cross ring (pointing inwards across each other, with
an angle of about 135 degrees between them (45 degrees from the usual)) often works best. In
some situations it can help to re one cab forwards and one cab backwards, particularly when
playing acoustic instruments, either back to back or stacked.
In smaller venues separating the cabs can work surprisingly well as this helps to energise the
reverberant elds around the room - however in larger venues and outdoors this is a bad idea: In
large acoustic spaces keep them close together so they couple and so that their direct soundelds
do not cause nulls where they’re out of phase (separated subs at outdoor gigs exhibit a power
alley of increased bottom when you’re exactly halfway between them, and then a series of quiet
and loud alleys in parallel with the ‘power alley’ which you’ll pass through if you walk sideways
through the audience).
5. If it sounds right, it is right
One of the great benets of the Gen 3 12XN cabs is their excellent transient, spatial and dynamic
response. If it sounds right where you’re standing then it almost certainly sounds right to your
bandmates, sound engineer and audience. So stop geeking out on your awesome gear and make
some good music! ;-)

1. “My cab isn’t making any sound”
a) Is your bass plugged into your amp?
b) Is your amp plugged into the mains and switched on?
c) Is your amp connected to your cab?
d) Is your bass battery at?
e) Try another instrument lead
f)) Try another speaker lead
g) Try another bass
h) Try another amp
If this does not resolve the problem then the speaker cab may be at fault. Therefore check if the other speakon+1/4” socket
works. If you are currently using a lead with a speakon plug on the cab, try a lead with a 1/4” plug instead. Even if that solves
the problem, email us for help! You may need a replacement rear module.
2. “My cab sounds distorted”
a) Does your bass battery need replacing?
b) Are any of your leads worn out or damaged?
c) Is your gain set too high on your amplier
d) Are you boosting your EQ too much? Try turning your gain down to help
e) Is your amp broken? Try a different amp or cab
f) Are you using effects? Do any of them need fresh batteries or have bad connections?
g) Are you pushing your amplier so hard it’s clipping?
h) Are you pushing your cab so hard that the woofer is overdriving?
Note that all amps will clip with the master volume well below maximum if the input signal / gain / EQ are high enough. If
your amp meets the maximum power gures for your cab and you’re still causing it to clip heavily then you need a second
Gen 3 12XN cab – if your cab is a Gen 3 2x12” (Super Twin or Big Twin 2) then please contact us because this is a very rare
occurrence! If your cab is overdriving whilst your amp is still running clean then you must be using a vast amount of power
or driving a huge amount of sub 30Hz energy into the cab. Please contact us for help before you blow a very expensive
loudspeaker.
If you’ve gone through all this list and it’s still sounding distorted then you may have a crossover fault – please email us. We
can send out a replacement rear module and you can swap it yourself with just a crosshead screwdriver and 30 minutes of
your time (taking things nice and slow!)
3. “My cab is rattling”
a) Are you sure it isn’t something else in the room?
b) Is it the cab’s wheels? Check they’re at on the oor and shim them if not
c) Is it the cab’s handles? Push them in, pull them out or run a cable through them
d) Is it the cab’s grill or corners? Check nothing has come loose
If this does not resolve the problem then the speaker cab may be at fault. Email us for help!
4.“My cab suddenly started sounding less bright/clear during a loud gig”
If you have a Super Compact or Super Twin then please get your hearing checked (loose wax!) If your cab is a Super
Midget, Big Baby 2 or Big Twin 2 then you may have tripped the HF protection circuit. This should self-reset within less than
a minute if you stop playing or signicantly reduce the treble content of your sound. If you think the HF driver / tweeter may
be damaged then try playing recorded music through the cab and listen to how the tone of the cymbals changes as you twist
the HF control on the back. If that has no effect then please contact us.
5. “I’ve tried everything and my cab still doesn’t sound how I want” or
“I’ve tried everything and my cab still isn’t loud enough”
Email us for help if either of these is the case. Our Gen 3 12XN cabs can nail almost any tone and play very loud so it’s just
down to getting the right instrument and amplier for your needs.
5. Troubleshooting

Power requirements and amplier recommendations
150W is sufcient to gig with the 1x12” models alongside a reasonably restrained drummer, 100W likewise
for the 2x12” models. If you are loud enough but your tone feels a bit compressed/one-dimensional/thin
then you need more power to give your amp the headroom to let the loud peaks through. If you aren’t loud
enough then you need more power.
Our recommend power range is up to 600W per 12” driver for the ‘Super’ cabs and up to 800W per 12”
driver for the ‘Big’ cabs. Once you reach 75% of this then adding more power won’t usefully increase your
loudness but it will help your tone out by giving you more headroom. When we talk about power we mean
true continuous RMS power or true burst power (500ms). A 20ms burst is all well and good when your peaks
are caused by the transients of a snare drum or crash cymbal but bass guitar and double bass both have
a lot of low frequency energy in the transients which means that high power requirement goes on for over
200ms. This is the main reason why big heavyweight amps tend to be louder or fatter with bass guitar than
lightweight micro-amps - they can sustain a higher power level for longer, even though their power rating
may be the same.
The 12XN550 models are an easy load to drive, there are no signicant dips or large negative phase swings
in the impedance plot when cold so even budget amps should perform well (and note that many modern
budget solid-state amps will be miles ahead of the the typical decent solid-state amps from forty years ago,
whilst good speakers are as expensive as ever). You don’t necessarily need an expensive amp to sound
great or get loud with a Barefaced cab. Don’t feel you have to go shopping for an appropriately ‘boutique’
amp to match your cab - see how your existing amp works rst, however old or inexpensive or low power it
is.
Please note that a 1000W amp with the volume never past halfway is not a 500W amp - put a ‘hot’ enough
signal into it and you will get full power.
These recommendations mean that unless you’re doing something silly, using the cab in an unreasonable*
manner, or are very unlucky, then you will not blow anything. If you do blow something then come to us rst -
our drivers are unique and our electronics are complex - only we know how to get you up and running again.
Once again, note that even if the volume knobs are on your amp are kept well below maximum it will be
possible to hit full power with enough signal level coming into the amp.
*It is reasonable to expect any 12XN550 cab to have similar max output to other high quality modern bass
cabs of twice the size, or cheaper/older bass cabs of three or four times the size. Expecting more than this is
unreasonable and asking for trouble!
Notes on woofer break-in
The 12XN550 drivers have extremely high power handling and maximum excursion. This requires very
tough suspension to support the cone and consequently this suspension is tight when the woofers are brand
new. As the woofer is used the suspension loosens up, resulting in signicantly increased bass response
(both depth and fatness) and the speaker becoming easier for an amplier to drive, as well as the mids and
treble becoming cleaner and smoother as the ability of the surround to damp the cone vibrations improves.
This change occurs in a reverse exponential manner, so the change is most rapid early on, particularly in the
rst ve minutes of loud use.
It may take a number of gigs or loud rehearsals for your cab to settle into its long-term parameters (and thus
tone and performance). The midrange and treble response will also improve as the softer suspension allows
the cone to move as designed, both in its pistonic behaviour and the multiple bending modes, giving unique-
ly even power response for such a large high excursion driver. Note that we test every cab before it leaves
the factory, and part of that process is a frequency sweep from 100Hz down to 20Hz and back up again, at
fairly high level - this brief test alone does about half the breaking in, so you will never hear the full break-in
change with one of our cabs.
6. Technical appendix

Super Compact
If you love the tone in all scenarios but just want a bigger (louder) or smaller alternative
then the Super Twin and Super Midget are the best choices. If you want something with
greater treble clarity without going bigger then the Super Midget is the best choice. If you
want something similar sized with greater treble clarity and/or bigger lows or more accu-
racy through the whole frequency range then the Big Baby II is the best choice. If you want
greater accuracy and loudness then the Big Twin II is the answer.
Super Twin
If you love the tone in all scenarios but just want a smaller alternative then the Super Com-
pact is the best choice. If you want something with greater treble clarity and smaller then
the Super Midget and Big Baby II are the obvious choices – the SM is the smallest but the
BB2 has greater accuracy and bigger lows. If you want something with more treble and/or
more bass and equally loud then the Big Twin II is the best choice.
Super Midget
If you want something with a similar vibe to this but a bigger and somewhat louder sound
then the Big Baby II is the obvious choice. If you want something substantially louder then
the Big Twin II is the best choice. If you tend to run the HF control low or off then the Super
Compact and Super Twin will do similar jobs to the Big Baby II and Big Twin II respectively.
Big Baby II
If you love the tone but want a louder single cab then the Big Twin II is the answer. If you
need something louder but don’t need the accuracy of the Big Baby II then the Super Twin
is the right choice. If you want something even smaller then the Super Midget is the way to
go.
Big Twin II
If you love the tone but need something smaller then the Big Baby II is the answer, or the
Super Midget if you need to go super small. If you want something smaller and don’t need
as much clarity or depth then the Super Compact is the answer. If you don’t need the ex-
tended bass and treble but would like a smaller cab then
7. Alternate Barefaced Gen 3 12XN
options compared to your cab

Possible two cab Gen 3 rigs (4 ohm) and usage ideas
Super Compact + Super Compact (similar performance to a Super Twin – keep one at home,
one at the rehearsal studio, take both for LOUD gigs)
Super Midget + Super Compact (SM on top of SC; a little less deep and a little thicker
sounding than a dual SC stack, with greater treble brightness/clarity on tap – use the SM for
double bass gigs, SC for old school bass guitar gigs, both for LOUD gigs)
Super Midget + Super Midget (not quite as deep sounding as a Super Twin but plenty fat
enough and can be EQ’d deep; can be purchased with optional top-hats for pole-mounting as a
high quality small PA system)
Super Midget + Big Baby II (either SM on BB2 or vice versa; ideal for doubling on upright
bass and bass guitar with SM for smaller gigs, BB2 for larger gigs and both for largest/outdoor
gigs)
Big Baby II + Super Compact (either BB2 on SC or vice versa; BB2 for when you need max
accuracy, SC for when you don’t need so much clarity and want something smaller/lighter)
Big Baby II + Big Baby II (similar performance to a Big Twin II – use both in your LOUD rock
band, use one in your function band, use the second as a PA sub when your function band’s
PA can’t do enough bottom, can be purchased with optional top-hats for pole-mounting as an
incredibly good compact PA system that doesn’t need subs to sound FAT)
Possible two cab Generation 3 rigs (2.7 ohm)
Super Midget + Big Twin II (SM for practice/rehearsals and small gigs, BT2 for big stuff, both
if you want to make your drummer break his sticks as he drowns in BASS)
Super Midget + Super Twin (as above but assuming you’re more old school in your tonal
leanings)
Super Compact + Super Twin (as above but assuming you don’t mind your small cab being
not quite so super tiny)
Super Compact + Big Twin II (as above but assuming you’re happy with less clarity/accuracy
from your small cab – or maybe Super Compact for your dirty/FX tone and Big Twin 2 for your
clean tone with a dual amp rig)
Big Baby II + Big Twin II (these two cabs sound nigh on identical so are perfect if you want a
smaller cab and larger cab for different SPL requirements – and both for going mental loud)
Big Baby II + Super Twin (if you want a high accuracy cab for your function band and a very
loud less bright cab for your rock band – and the usual if used together)