TC Electronic Staccato'51 & Mesa Boogie Standard Powerhouse 2x10
I just put together my first proper bass rig and I referred to the Talkbass forums countless times in the process. I thought it's time I join your ranks and make a contribution to the knowledge base =)
All of the below is my opinion, and despite being an engineer and having dabbled in music and electronics since my childhood, some of my opinions may be misguided. I would appreciate comments from more experienced musicians in the community, so I can make more knowledgeable decisions in the future.
Why I chose the Staccato'51
I tried numerous heads in the same class (see below) before settling on the Staccato'51. I wasn't able to play through the Staccato, but I had tried the RH450 and liked it very much, except for the price. I bought the Staccato for these reasons:
Why I chose the Mesa 2x10
The second-hand market for high-end bass heads in Turkey is reasonably vibrant. Wait a few weeks and you will come across a good compact head. However, the same does not hold for cabs, since they are expensive to ship from overseas and import taxes for speakers are much higher than for other electronics equipment (don't ask). Few people own good bass cabs, and even fewer people will part with them. Thus, I did not pick the Mesa because I found one for cheap (far from it, it was probably the most expensive among the cabs I considered buying). I picked it for the following reasons:
How they sound together
Other equipment I considered
I wanted a head that is light, compact and reliable with a good amount of headroom; so I looked into mostly solid state gear and some hybrids.
Initially I thought Markbass was the way to go and I looked at the LMII, LMIII, LM250, and LMT. Tone-wise, I found that these amps offer excellent presence and definition, but they all seemed to have a "clank" in the highs that I didn't care for and could not dial out. Moreover, some of their features, such as the preamp tube in the LMT being directly soldered to the PCB and that they are designed for country-specific voltages despite the solid state class-D circuitry, suggest that they are not as well engineered, reliable and repairable as their prices suggest. When shopping for cabs I again considered, and almost bought, a Markbass Standard 102HF. Had I found one for cheaper than the Mesa, I would have bought one. However, for the same price, the Mesa had to be my pick. The Markbass cab, to my ears, produces a "growl" in the upper mids, which I think has to do with the neodymium speaker material. To kill this growl, I found I had to sacrifice pitch definition. It actually sounds great if you want to cut through the mix and be heard. However, I prefer my bass to be "felt" instead of "heard" (while maintaining pitch definition of course), which I could not accomplish with the Markbass but came instantly with the Mesa. In short, although Markbass gear sounds great; but they don't exactly sound the way I want to sound, and I could not find them at prices I'm willing to pay.
I looked at the Genz Benz Shuttle 6.0 and 6.2. I remember I liked their sound and found the headroom to be ample. What put me off was that two friends who owned Shuttles both experienced problems with their amps at roughly the same time when the agreement between GB and their Turkish distributor ended, so they couldn't get their amps fixed. I found an Ampeg Portaflex PF-350 head and a PF-210HF cab, but the head does not have anything near the headroom of the Staccato and the cab does not produce the kind of massive low-end I was looking for.
The Mesa Boogie M-Pulse Walkabout was just great, but expensive. Similarly, the Eden WT550 received serious consideration, but I could not find one for a good price. In the future I might let go of the Staccato for an Eden or Mesa head (or add one alongside).
Various 2x10 4x10 cabs from Ashton, Line 6, Warwick, Hartke, Genz Benz and Gallien Kruger were considered, but none excited me anywhere near as much as the Markbass or the Mesa. Admittedly, I was initially looking for a more economical 4x10 instead of a high-end 2x10 and the cabs I tried out from these makes were largely of that variety. Nevertheless, none of the 4x10's came close to offering the ample headroom, the massive low-end and the clarity of the Mesa 2x10. Lastly, I looked at the TC Electronic RS210, which offers a balanced and clear sound, but it didn't really compare to the Mesa or the Markbass at the same price.
It sounds like you have a great rig. I couldnt tell from your post if you can going for a real clean clinical kind of sound or if you like a little drive/tube flavor. If just a little bit of drive (which IMO translates to a little more warmth and voice in the mix) is what you'd rather hear than the "digital" flavor maybe you can add/try out a Sansamp, VT, or equivalent.
Most likely you are great though... I doubt the audience will notice such small details. :)
If some sort of Mesa head is in your future (M-Pulse, Walkabout, Carbine etc) you might not need the Sansamp... those heads can pretty much cover the Sansamp ground without one but I always use it going through my old school all-tube Mesa heads or Ampeg/Ampeg-esque heads.
When playing live, I don't know if and how I'll be able to let the audience hear the amazing sound I'm hearing =) Researching about mike vs. DI right now, in fact.
To expand my tone-shaping options I was considering experimenting with outboard preamps like the John East STMP-01, Sadowsky etc., which may come handy for live situations. I'll try to also give the VT a go =)
I wouldn't mess up that rig by adding a VT, but that's me. :)
Enjoy your rig, and remember even if the audience can't hear what you are hearing, great tone on stage is crucial IMO. Makes you feel and play good. :)
I also discovered that good tone is crucial when working on original material with a band. We ended up altering some bass lines and drum patterns (and sounding a lot better than before).
I once played a stacatto and a VTBass together and it was easily one of my favourite experiences.
I'd wondered what everybody meant by 'Ampeg' and I instantly knew what 'that' sound was...even though it was not at all Ampeg. I liked the toned I'd dialed in a lot more than almost every Ampeg experience I'd ever had. Sort of the opposite of what I'm doing...which is getting a decent vintage/fat vibe with my amp and 'hi-fi ing' it with an Eden WTDI.
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