A.S.S That'll give you the horn!

Now here’s a sight ya don’t see everyday. BS600’s with their matching MT602’s on top. All in grey, with the unneeded grills gone, and the grills batons removed to really open up the BS600’s. By removing the batons you extend the horns curve just over an inch, which doesn’t sound much, but you get real pleasing lines to the eye.
I like things that look nice as well as sound fantastic. Loads of people wax lyrical about Function up yer bum, I mean Function 1. And they do so in my opinion because it looks lush as well as sounds tight.
Personally I believe A.S.S gear looks meaner, it’s more Functional! tee-hee) It’s purer! And harder, it’s got a chiselled out of rock kind of feel. It looks more solid, and that it is, the build is more robust! Proven by the fact many of these cabs when I got them looked terrible on the outside, with loads of gouges, dents and totally knackered paint through years on the road, but structurally they were as good as the day they were made.
Through some effort one can return something that’s built to last, to just as it was the day it was made, and maybe even a little better.
A finish in grey does something that a black finish won’t. Grey cabs will cast awesome shadows when the sun is out! Shadows that constantly change as the sun moves. An interesting shape will cast even more interesting shadows. Not all cabs look good in grey, the Concert Systems cabs don’t look right in grey at all, but these do.
Another really interesting thing you’ll find with A.S.S cabs are reoccurring mathematical ratios. You can take cabs from completely different A.S.S systems and they won’t look out of place when put together, because of a harmonic principle that shows up when hidden ratios come into play. There’s something very natural and organic about these cabs that makes them very pleasing to the eye. And it’s because of a ratio known as the Fibonacci Sequence.
If you take any number on the Fibonacci sequence and divide it by the previous number, it will approximate the number phi. The higher the numbers used the closer to phi it gets.
Geometry is a visual phenomenon with mathematical properties. The golden ratio (Phi) is prevalent through out nature as well as harmonic man made creations, it creates shapes pleasing to the eye. Beautiful peoples faces match up well with the Fibonacci Sequence. This same ratio is found in crop formations and in the construction of pyramids.
As you make the calculations within the Fibonacci Sequence you soon converge on the ratio of 0.618, known as the golden ratio. This special ratio can be used to describe the proportions of everything, from natures smallest building blocks, such as atoms, to the most advanced patterns in the universe, such as unimaginably large celestial bodies. Nature relies on this innate proportion to maintain balance.
Within nature recurring ratios are ever present within all forms of life, and follow mathematical ratios. The Fibonacci Sequence is most easy to see in plants and shells but is present in all life forms right up to the construction of spiral galaxies.
Let me explain what the Fibonacci Sequence is. The sequence, in which every number is the sum of the two preceding numbers is known as the Fibonacci series: 1,2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610, 987, 1597, 2584 …each number is the sum of the previous two. If you take any number on the Fibonacci sequence and divide it by the previous number, it will approximate the number phi. The higher the numbers used the closer to phi it gets. Phi is also known as the golden ratio, the golden mean and the divine proportion. Why is this number so important? Well, almost everything in nature has dimensional properties that adhere to the ratio of 1.618.
Take honeybees, for example. If you divide the female bees by the male bees in any given hive you will get 1618.
Sunflowers, which have opposing spirals of seeds have a 1.618 ratio between the diameters of each rotation. This same ratio can be seen in relationships between different components throughout nature.
My point is this without doubt harmonic ratios exist within the design of A.S.S cabs. If you wonder why when you look at something you find it less attractive than something else, it’s probably because one structure has harmonic ratios in accordance with the laws of nature and the other doesn’t; it’s visually out of tune so to speak.
Acoustically you’re then talking about another interesting ratio: the Diatonic ratio. (Musical scales.) To understand how the musical scale works isn’t to difficult, the best example comes from a keyboard. If one examines the exact frequency of the white notes on a piano we find that the middle note C has a pitch of 264Hz. If we play the C note in the octave above (C’) we will find that the frequency is 528Hz. This is exactly double giving a ratio of 2:1.
People who’s music jars your head (other than its boring) has probably been constructed without harmony within the musical scales that comprise the track. It’s all about harmonics.
Harmony: Thesaurus’ly speaking, also means synchronization and agreement. And all agree there’s something right about the way this looks.

Lovely!
No damn electronics either, just nice and pure.

I've just returned from being away for awhile, and clocked on only to see a blast from the past. The 602's were a natural progression from the 502's. 602's =12's 502's =10's.
Although I had a 16 bass cab rig (BS600's) I had the 502's on top. The 502's were originally designed with the BS500's (15's) After I did the BS600, the 602 was a natural progression. Most of them ended up in clubs.
It's nice to see the dedication going on with the cabs. Keep up the good work.

good work!

how about the big boys? when will the 21"s come out to play?