• TalkBass has been independent since 1998. Add your voice.
    Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
    Join free Log in
    Want zero display ads or expanded classifieds tools? Compare plans.

Epifani Club! I've seen the "light"!

Status
Not open for further replies.
#1,001
lwender said:
Hey Kjung, maybe that's what's going on, i've only had it on one gig so far, I'll know more after this weekend. I usually run the Eden flat, sometimes a bit of mid boost to cut through depending on the stage, I never run the enhance past 9 0'clock, usually less. My previous road cab was a beat up 210 yorkville (I know, it was cheap!) I think I'm just going to have to find the sweet spot with this cab, and the gig I had it on was an unusually high-volume situation. Mobax, yes, the clip light would flicker around the 11/12'o clock position (master volume), but only when I dug in on the low-B. I'll report back after the weekend, thanks everyone, gotta hit the road!
Click to expand...

Cool! Another thing is that cab can handle a bit more ooomph than either the WT or the MB heads put out (or any 500 watt or so head into 4ohms). So, if that WT power section is really clipping, you might notice a real difference with a higher powered head like the WT800 (b or later so you can bridge into the 5.3 impedance) or the wonderful Mesa M6.

Again, the 310UL will only get so loud, but it will get louder up to a point with a higher powered head.

TBer Vic reports that he hears his 310UL open up a bit more with the massive power of the M6 (yes, on paper it's only 100 watts or so more than the typical 500 watt amp, but testing has shown it's more like 200 watts more than the LMII, for example, and you can hear it!). IMO!
 
#1,002
KJung said:
TBer Vic reports that he hears his 310UL open up a bit more with the massive power of the M6 (yes, on paper it's only 100 watts or so more than the typical 500 watt amp, but testing has shown it's more like 200 watts more than the LMII, for example, and you can hear it!). IMO!
Click to expand...
Yes, and it goes beyond that because those tests are more about sustained power than transient response or dynamic headroom, and I think the M6 has a particularly high amount of that as well, which makes a VERY noticeable difference.

I totally agree with pushing more mids through the UL310 with that Eden head tho... the Edens are typically voiced fairly "pretty" which works great at home, but kinda' hurts you at the gig if you're using a cab that might be a bit mid-shy (like the UL310 is). Drop that enhance as low as you can stand it. Off would be best with a UL310. Then maybe even consider bumping mids in the 300-500 range to your taste and see how that goes. That WILL help, and it WILL sound great on a gig... just maybe not as "pretty" at home.
 
#1,003
lwender said:
Hey Kjung, maybe that's what's going on, i've only had it on one gig so far, I'll know more after this weekend. I usually run the Eden flat, sometimes a bit of mid boost to cut through depending on the stage, I never run the enhance past 9 0'clock, usually less. My previous road cab was a beat up 210 yorkville (I know, it was cheap!) I think I'm just going to have to find the sweet spot with this cab, and the gig I had it on was an unusually high-volume situation. Mobax, yes, the clip light would flicker around the 11/12'o clock position (master volume), but only when I dug in on the low-B. I'll report back after the weekend, thanks everyone, gotta hit the road!
Click to expand...

You can solve the problem by backing the master volume down or in some cases, backing off the low EQ. Also, you call pull out the master volume knob to engage the limiter. The only problem is that you have to compensate by cranking the master volume. I don't use the limiter because I worry that I will hit the master volume knob some how and disengage the limiter. This would be a BIG problem if the master volume is set high. In general, I've foung that with the WT-550, the harder I play, the more I need to back off the master volume to keep from from overdriving the amp.
 
#1,004
mobax said:
You can solve the problem by backing the master volume down or in some cases, backing off the low EQ. Also, you call pull out the master volume knob to engage the limiter. The only problem is that you have to compensate by cranking the master volume. I don't use the limiter because I worry that I will hit the master volume knob some how and disengage the limiter. This would be a BIG problem if the master volume is set high. In general, I've foung that with the WT-550, the harder I play, the more I need to back off the master volume to keep from from overdriving the amp.
Click to expand...
I think you might be talking about something else. There's the defeatable compressor/limiter, but then there's also the hard limiter that clamps the signal right at the power amp. This is the "red light" that at least I'm referring to on the Time Traveler (and I believe in other heads of theirs if I'm not mistaken), and as far as I know, there's no way to defeat that. That's more about amplifier protection than dynamic musical control.
 
#1,005
Not to keep burdening youse guys with sound clips, but I had a great gig the other night. The room was perfect - roughly 75' x 100' conference room at a hotel, with carpeting, curtains, and lots of people. I got to push the 310 just a bit, and not only was I in "tone heaven" all night, but the trio was in perfect balance as well - the keys and drums just sounded awesome. The 502 & 310, along with the Roscoe, were in perfect harmony. :D Everything flat on the amp, cab's tweet @ 10 o'clock, and everything flat/centered on the instrument. (I actually started the gig with the bass boosted to ~ 6/10, but quickly backed it off.)

Link Removed - excuse the ambient noise in this one.

Link Removed - definitely excuse the bass solo in this one. :D

Earlier, Ken made the comment about this being closer to a 210 than a 410, and I'd certainly agree with that. In my experience, the 310 is better in all gig situations than the 210...adding bottom to really low-volume situations without overpowering anything...and it's certainly better to push the 310 a little bit than it is to bring a 410 only to leave it idling like a Ferrari in traffic. :)
 
#1,006
VroomVroom said:
Not to keep burdening youse guys with sound clips, but I had a great gig the other night. The room was perfect - roughly 75' x 100' conference room at a hotel, with carpeting, curtains, and lots of people. I got to push the 310 just a bit, and not only was I in "tone heaven" all night, but the trio was in perfect balance as well - the keys and drums just sounded awesome. The 502 & 310, along with the Roscoe, were in perfect harmony. :D Everything flat on the amp, cab's tweet @ 10 o'clock, and everything flat/centered on the instrument. (I actually started the gig with the bass boosted to ~ 6/10, but quickly backed it off.)

Link Removed - excuse the ambient noise in this one.

Link Removed - definitely excuse the bass solo in this one. :D

Earlier, Ken made the comment about this being closer to a 210 than a 410, and I'd certainly agree with that. In my experience, the 310 is better in all gig situations than the 210...adding bottom to really low-volume situations without overpowering anything...and it's certainly better to push the 310 a little bit than it is to bring a 410 only to leave it idling like a Ferrari in traffic. :)
Click to expand...

nice!

btw, how are you doing all these recordings? they sound great! if anything, loving the tones you're getting. great mix of fat, thick, burly, yet nice articulation.

and love your drummer's brush work. makes mine seem all the more crappy... haha
 
#1,007
Thanks, man! I do love playing with those guys - I was getting my butt kicked all night, just the way I like it. :D

For recording I use my trusty ol' M-Audio Microtrack 24/96 and the cheapo stereo mic that came with it. It sits on the music stand (thanks, Velcro!), right in front of me - which explains the generally bass-heavy mix. I use Audacity to edit the .wav files - usually just cropping, fading, and normalizing - and to export to .mp3.

If you're interested, here's a longer version (just under 10MB) of Link Removed. There were some nice moments (and flubs, of course) as we toyed around between a New Orleans vibe and a nasty shuffle.
 
#1,008
jokerjkny said:
nice!

btw, how are you doing all these recordings? they sound great! if anything, loving the tones you're getting. great mix of fat, thick, burly, yet nice articulation.

and love your drummer's brush work. makes mine seem all the more crappy... haha
Click to expand...
I'm guessing something like the Edirol or Zoom H2/H4 type things. Those are amazingly good at doing live gigs... especially if you have some placement choices. I've been very surprised by the results I've gotten from my H4.

Edit: DOH! Vroom, you beat me to the punch! :D
 
#1,009
Vic said:
I think you might be talking about something else. There's the defeatable compressor/limiter, but then there's also the hard limiter that clamps the signal right at the power amp. This is the "red light" that at least I'm referring to on the Time Traveler (and I believe in other heads of theirs if I'm not mistaken), and as far as I know, there's no way to defeat that. That's more about amplifier protection than dynamic musical control.
Click to expand...

This is what I am talking about:

(From the WT-550 Manual) Input Pad – Pull the Gain control out to engage a –12dB pad on the input stage. This is especially useful for high gain instruments. When engaged, the indicator light to the left of the Input Gain control will be lit.

I am probably not using the proper tech language by referring to this as a limiter. On the WT-550, pulling out the Enhance knob will defeat the Auto-Compression circuit.
 
#1,010
VroomVroom said:
Thanks, man! I do love playing with those guys - I was getting my butt kicked all night, just the way I like it. :D

For recording I use my trusty ol' M-Audio Microtrack 24/96 and the cheapo stereo mic that came with it. It sits on the music stand (thanks, Velcro!), right in front of me - which explains the generally bass-heavy mix. I use Audacity to edit the .wav files - usually just cropping, fading, and normalizing - and to export to .mp3.

If you're interested, here's a longer version (just under 10MB) of Link Removed. There were some nice moments (and flubs, of course) as we toyed around between a New Orleans vibe and a nasty shuffle.
Click to expand...

nice,

was gonna say, it does sound much nicer than the little mic attachment i have for my ipod, which works ok, but i'm having portable recorder GAS these days... ;)

how easy is it to drop wav to your laptop? drag and drop or is it an annoying program transfer? is it built pretty well?
 
#1,011
mobax said:
This is what I am talking about:

(From the WT-550 Manual) Input Pad – Pull the Gain control out to engage a –12dB pad on the input stage. This is especially useful for high gain instruments. When engaged, the indicator light to the left of the Input Gain control will be lit.

I am probably not using the proper tech language by referring to this as a limiter. On the WT-550, pulling out the Enhance knob will defeat the Auto-Compression circuit.
Click to expand...
Yes, but my point is, that's not related to the "clip light" the OP was mentioning. What causes that clip light to flicker (as he described) is an internal protection circuit that can not be defeated.

Edit: I'm talking about the "Output Limit" light. There is also an "EQ Clip" light, which is just an indicator of EQ clipping, and not an indication of a protection circuit activating in the head. This might be the confusion... maybe even on my part. :)
 
#1,012
File transfer is a breeze. The recorder writes to compact flash, and I use a card reader to bring in the .wav files. The Audacity software couldn't be easier to use, and I'm able to export "useable" product really quickly. I recorded fourteen tunes on this gig, for example, and went from raw .wavs to edited mp3s in just over 20 minutes.

I've had my M-Audio for over three years now, with no complaints. When I was in the market it seemed to be the best fit for my budget (i.e. < $300). Were I to buy now I'd probably consider one of the Zooms...the output I've heard from those is remarkable. Obviously, you can use better mics (and placement), but for me portability was the key factor. Given that, I'm still amazed at the quality of the recordings. The unit itself seems fairly sturdy, but I definitely wouldn't want to step on it or drop it from a stage.
 
#1,013
VroomVroom said:
File transfer is a breeze. The recorder writes to compact flash, and I use a card reader to bring in the .wav files. The Audacity software couldn't be easier to use, and I'm able to export "useable" product really quickly. I recorded fourteen tunes on this gig, for example, and went from raw .wavs to edited mp3s in just over 20 minutes.

I've had my M-Audio for over three years now, with no complaints. When I was in the market it seemed to be the best fit for my budget (i.e. < $300). Were I to buy now I'd probably consider one of the Zooms...the output I've heard from those is remarkable. Obviously, you can use better mics (and placement), but for me portability was the key factor. Given that, I'm still amazed at the quality of the recordings. The unit itself seems fairly sturdy, but I definitely wouldn't want to step on it or drop it from a stage.
Click to expand...

nice,

guess i'll just hold onto my ipod mic. its mostly just for rehearsals anyways. just dont like how i cant vary the gain for the louder stuff.

but yea, keep these clips coming!
 
#1,015
VroomVroom said:
Thanks, man! I do love playing with those guys - I was getting my butt kicked all night, just the way I like it. :D

For recording I use my trusty ol' M-Audio Microtrack 24/96 and the cheapo stereo mic that came with it. It sits on the music stand (thanks, Velcro!), right in front of me - which explains the generally bass-heavy mix. I use Audacity to edit the .wav files - usually just cropping, fading, and normalizing - and to export to .mp3.

If you're interested, here's a longer version (just under 10MB) of Link Removed. There were some nice moments (and flubs, of course) as we toyed around between a New Orleans vibe and a nasty shuffle.
Click to expand...
Nice solo, and the chording was really good. The Roscoe was perfect for that type of gig. I personally don't like Roscoe's slap tone, but finger style, it's a killer. Keep the clips coming. I am going to record my gig tomorrow night and see whether I can post a clip. I will be using my Epifani UL310, 902C, and my Skjold PSD 5 string.
 
Status
Not open for further replies.

Latest posts

Top Bottom
Back