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Genz-Benz Streamliner Part 5

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#441
Right on Saluki and Scott McArron. Don't be afraid to twist these EQ knobs into unfamiliar extremes and the 2.5 K setting is your friend. As stated earlier, try dialing back the gain knob to 10 o'clock or so for a more 'clean tone'. Also, Scott, FWIW, a jazz bass trick I recently figured out, especially for the 70's stuff, is to have the E string side of the bridge pup raised closer to the E string while tightening down the G String for greater distance between the G string and the Pup. Conversely, the neck pup is raised on the G string Side and lowered on the E string side. I find that this gives the D, and G strings a touch more heft while helping the lowe E and A strings 'cut thru' a bit more. Just a thought, but it works for me!
 
#442
Eublet said:
Are you guys who are having issues with mids cutting the bass enough? Try bass at 9 o'clock, highs at 10, and mids at 2 or 3 (2.5 hz).

Sent from my iPad using TalkBass. Please pardon terse messages. All spelling errors are the sole property of Apple, Inc.
Click to expand...

That's a good call. Really close settings to what I was using, but I didn't spend a lot of time dialing things in and I didn't try that 2.5Hz setting either.
 
#443
Scott McArron said:
That's a good call. Really close settings to what I was using, but I didn't spend a lot of time dialing things in and I didn't try that 2.5Hz setting either.
Click to expand...

The 2.5hz setting is my best friend... Like I said once you learn this amp you're golden.
If you want more modern than that engage the gain. No more complaints of not getting a hi-fi tone from me
(Although there are better amps out there for hi-fi tone than the Streamliner, lets be honest) We bought this for tube warmth right? :bassist:
 
#444
Scott McArron said:
That's a good call. Really close settings to what I was using, but I didn't spend a lot of time dialing things in and I didn't try that 2.5Hz setting either.
Click to expand...

Cutting the bass and treble that low will make the mids stick out more, plus you'll be bumping presence at 2500 hz. Works great, and retains that tube feel.

Sent from my iPad using TalkBass. Please pardon terse messages. All spelling errors are the sole property of Apple, Inc.
 
#445
Ken,

I was reading a back-and-forth about how amps shouldn't really be thought of as serving particular instruments (i.e., whether there such a thing as 'J bass amp' or a 'P bass amp'). Seems like you seem to favor your J with the F1/AE212 and your P with the STM900/AE410. Do you think one could be well served by pairing the STM900 with the AE212? Or does the 'bigger/DB750-ish' low end of the STM900 need the tighter AE410 to balance (I've read you guys think the AE212 is really kind of more flat sounding than the AE410, and thus might be too 'big' down low for some heads).

I'd like to have just one head and one cab, but be able to deliver quick tones for funk/slap J stuff, and more tubey tones for when my p bass gig comes calling...

KJung said:
+1 Pure IMO, but this amp in no way delivers my ' J Bass tone', and I would have no interest in this amp with a J Bass (again, my tone goals for a J bass are tight down low, and strong dose of mids for that 'quick response' and a lot of brightness and grind up top,with a bit of upper treble sizzle on occasion).

However, my concept of a P Bass tone is big, fat, growly, but 'round' and not boomy (as an example, there is NOTHING I hate more than the tone Pino Pallidino gets with his P Bass... that 'everything rolled of but the low end sort of mud). This head, with the right cab, REALLY delivers what I hear as the perfect P tone.... tubey and big but not muddy, with some snap up top when you want it.

IMO, my F500 totally slays this head with my J's, again for my tone goal (the Shuttle 9 would be similar). So, F500/AE212 will continue to be my J Bass rig, and the Streamliner900/AE410 is the P Bass thing (which the Thunderchild serving as my smaller gig choice).
Click to expand...
 
#446
faulknersj said:
..., FWIW, a jazz bass trick I recently figured out, especially for the 70's stuff, is to have the E string side of the bridge pup raised closer to the E string while tightening down the G String for greater distance between the G string and the Pup. Conversely, the neck pup is raised on the G string Side and lowered on the E string side. I find that this gives the D, and G strings a touch more heft while helping the lowe E and A strings 'cut thru' a bit more. Just a thought, but it works for me!
Click to expand...

That's the way I had all my Js (60's & 70's) set up, until I got my first Sadowsky....:bassist:
 
#447
Hello Players,
I am using a MTD 635-24 Ash body, ash neck, Maple Board bass. I am interested in How it sounds with a similar bass, or the same. Also I am contemplating running 2 Avatar 15/6/1's and getting rid of my 2 4X10's ,8X10 and 2 1X15's. I play mostly NY Hardcore/Metal. But I also do Jazz/Funk covers in another outfit. Thank you all for the great informative thread!
 
#448
Gillento, it's a great trick..right! I have never played a Sadowsky but would really love to try one. Sadowsky owners really seem to stand behind these basses. My only Sadowsky experience comes from the Sadowsky pre-amp and split coil Jazz bass pups that came with my 73' Fender Jazz bass (anyone wanna buy this Sadowsky set?). I am a sucker for that vintage passive single coil growl, and while the Sadowsky setup sounded nice, I much prefer the vibe with an original 73' control plate, original 73' pots, and a set of the new Fender Custom Shop 60's overwound jazz pups installed. It is just more what I am into (I am not a split coil fan.) Tonight, I played the 73' jazz into my Streamliner 900, a Genz Benz NeoX212T and it was magic! I prefer my GB Shuttlemax 6.0 with the 15' in my Avatar TB153, but, now I know I prefer the Streamliner with the NeoX212T and believe its mid focus is more complementary with the ST 900. The Streamliner, while designed to be a 'simple' and 'user friendly' interface, is really anything but imo as it takes time to understand how all the elements of the head interact with one another. It is simultaneously nebulous AND one dimensional. The more familiar I get with the interplay between gain, volume, and EQ settings, the more i appreciate the Streamliners capabilities. Maybe one day I will have the pleasure of experiencing a Sadowsky for myself, preferably through my ST 900! Cheers :)
 
#449
You are absolutely right about Sado owners. It is almost impossible to have only one of them. I had 4 of them so far, sold 3 but have another one on order:)
I always immediatly replaced the stock humcancelling PUs with Single Coils.
Now, with the PJ5, a SC is impractical to use with the humcancelling P.
But the humcancelling PJ set (which is a Nordstrand OEM) sounds great, even on the J. I like it better than the stock HC by Sadowsky/Seymour Duncan.

As for the STL, I think it is a perfect match to my Aguilar db212 and 112 cabs, as they favour the mids. This goes perfectly with the slight dip in the mids with the STL.
But so does my SA200 amp as well :)
 
#450
ac3320 said:
Ken,

I was reading a back-and-forth about how amps shouldn't really be thought of as serving particular instruments (i.e., whether there such a thing as 'J bass amp' or a 'P bass amp'). Seems like you seem to favor your J with the F1/AE212 and your P with the STM900/AE410. Do you think one could be well served by pairing the STM900 with the AE212? Or does the 'bigger/DB750-ish' low end of the STM900 need the tighter AE410 to balance (I've read you guys think the AE212 is really kind of more flat sounding than the AE410, and thus might be too 'big' down low for some heads).

I'd like to have just one head and one cab, but be able to deliver quick tones for funk/slap J stuff, and more tubey tones for when my p bass gig comes calling...
Click to expand...

It gets down to personal opinion and tone goals. If you are one who would always dig a big, fat warm, round tone (the Paul Turner thing), then many would be totally comfortable with the Streamliner as their primary amp. For me, that wouldn't work, since I like the tight/bright thing on occasion, especially with a 70's style J that kind of is voiced for that kind of thing, and just like an SVT or DB750 or whatever, the Streamliner is just not voiced for that.

It again doesn't really have to do with 'matching a bass to an amp' at all, but rather involves the idea of a kind of 'all tube thing' versus a more 'solid state thing'. If you are the type of player who craves an 'all tube tone', or a tone on the extreme tube side of the hybrid thing, the Streamliner would most likely float your boat as your primary head. For me, it is a 'different enough' tone that I am only happy with it for a certain vibe.

With me, it is more of a wonderful match with what I consider a more hip hop/neo funk type tone, which seems to be driven by a fat, somewhat vintage tube/P Bass combination. So, again, this has nothing to do with having a specific amp for a specific type of bass, but rather having a rig that really works to derive a particular tone.

As a side note, I'm with JimmyM (i.e., all his comments on mic'ing his SVT rig to 'get that tone to the board') on the DI thing with this particular rig/bass combination. With this amp and tone settings, etc., running a DI to the board would in no way provide the tone of the rig. It would be way too bright and clanky. Mic'ing would be key, or having a DI lke the Reddi which could mimic that super fat, warm tone. Post DI would probably not work either (in a live situation), since there is quite a bit of EQ involved to really make the whole thing work on stage.

Regarding the AE212, just like I would not enjoy a DB750 with a wide, smooth cab like a 410UL or an AE212, I would have zero interest using the Streamliner with cabs like that (HT112ER, 410UL, AE212... again, personal tone goals there).

I will say again, the best way to achieve success with this amp is to think of it as an all tube amp (or a DB750 or MPulse600). That is its vibe, and the cabs that all the tube amp and DB750 guys post as working great with those type of heads work very well with the Streamliner. This is a huge positive for me... think about it, finally a micro that really does kind of behave like an all tube amp (or DB750).... for many that has been a dream.... for some, it will be a nightmare if you don't understand the dynamic between an all tube amp and a cab (or again, the DB750).

IMO. If you want 'one head to do almost everything' pretty well with a wide variety of cabs and contexts, I would consider the Shuttle Max 9.2
 
#453
Just for giggles, I've spent the last half-an-hour or so experimenting with the EQ on the STL.

As suggested above, I backed off the bass & treble to about 10 o'clock and cranked the mids nearly all the way @ 600. Favouring the bridge pup on my Jazz puts me in the presence of the burpiest sounds I've heard since my daughter was a baby.

It was a lot of fun - not a tone I would use very often, if at all, but it's definitely there if I need it.

To those who like lots of upper mids, and feel the STL lacks them, rolling the B&T back seems to be the key... which would make sense given the nature of the EQ circuit.

I maxed the input volume too, and it did seem to make things richer, but I'm not sure what the real-world effect would be at a gig. I'll try it this week and report back.

As an aside, another difference I've noticed between this and the RH450 - the lows on the TC seem to huff and puff a bit at volume. The STL's lows are much steelier and defined. Dare I say, more '3D'?
 
#454
KJung said:
It gets down to personal opinion and tone goals. If you are one who would always dig a big, fat warm, round tone (the Paul Turner thing), then many would be totally comfortable with the Streamliner as their primary amp. For me, that wouldn't work, since I like the tight/bright thing on occasion, especially with a 70's style J that kind of is voiced for that kind of thing, and just like an SVT or DB750 or whatever, the Streamliner is just not voiced for that.

It again doesn't really have to do with 'matching a bass to an amp' at all, but rather involves the idea of a kind of 'all tube thing' versus a more 'solid state thing'. If you are the type of player who craves an 'all tube tone', or a tone on the extreme tube side of the hybrid thing, the Streamliner would most likely float your boat as your primary head. For me, it is a 'different enough' tone that I am only happy with it for a certain vibe.

With me, it is more of a wonderful match with what I consider a more hip hop/neo funk type tone, which seems to be driven by a fat, somewhat vintage tube/P Bass combination. So, again, this has nothing to do with having a specific amp for a specific type of bass, but rather having a rig that really works to derive a particular tone.

As a side note, I'm with JimmyM (i.e., all his comments on mic'ing his SVT rig to 'get that tone to the board') on the DI thing with this particular rig/bass combination. With this amp and tone settings, etc., running a DI to the board would in no way provide the tone of the rig. It would be way too bright and clanky. Mic'ing would be key, or having a DI lke the Reddi which could mimic that super fat, warm tone. Post DI would probably not work either (in a live situation), since there is quite a bit of EQ involved to really make the whole thing work on stage.

Regarding the AE212, just like I would not enjoy a DB750 with a wide, smooth cab like a 410UL or an AE212, I would have zero interest using the Streamliner with cabs like that (HT112ER, 410UL, AE212... again, personal tone goals there).

I will say again, the best way to achieve success with this amp is to think of it as an all tube amp (or a DB750 or MPulse600). That is its vibe, and the cabs that all the tube amp and DB750 guys post as working great with those type of heads work very well with the Streamliner. This is a huge positive for me... think about it, finally a micro that really does kind of behave like an all tube amp (or DB750).... for many that has been a dream.... for some, it will be a nightmare if you don't understand the dynamic between an all tube amp and a cab (or again, the DB750).

IMO. If you want 'one head to do almost everything' pretty well with a wide variety of cabs and contexts, I would consider the Shuttle Max 9.2
Click to expand...

That's pretty much EXACTLY why I love this head. 'DB750 in a small micro format' dream fully realized.
 
#457
You know you are a gearhead when you have one of these...
I was reading about the 3rd nuke in Japan that went south today .. It was a plutonium MOX fuel reactor. So i put a new battery in my machine..
Ill take one for the gearheads here. My SL900 is safe it seems.. No Radioactivity.. :D
Back to the thread......

IMG_5719.gif
 
#458
Coolness... I'm currently considering doing with my DB750 what i tried to do last year when i had an SA200: i let that go and got a Markbass LM II/III/LMT with a couple pedals (sadowsky pre, VT bass) for tone shaping. My only problem with that versatile and sweet sounding setup was that the LM just can't whomp enough at 8 ohms (which is the impedance of the cab i used then, and now). Seems like the STM900 should be able to deliver plenty @ 8 ohms, and seems like it should match up well with my HS210?

KJung said:
It gets down to personal opinion and tone goals. If you are one who would always dig a big, fat warm, round tone (the Paul Turner thing), then many would be totally comfortable with the Streamliner as their primary amp. For me, that wouldn't work, since I like the tight/bright thing on occasion, especially with a 70's style J that kind of is voiced for that kind of thing, and just like an SVT or DB750 or whatever, the Streamliner is just not voiced for that.

It again doesn't really have to do with 'matching a bass to an amp' at all, but rather involves the idea of a kind of 'all tube thing' versus a more 'solid state thing'. If you are the type of player who craves an 'all tube tone', or a tone on the extreme tube side of the hybrid thing, the Streamliner would most likely float your boat as your primary head. For me, it is a 'different enough' tone that I am only happy with it for a certain vibe.

With me, it is more of a wonderful match with what I consider a more hip hop/neo funk type tone, which seems to be driven by a fat, somewhat vintage tube/P Bass combination. So, again, this has nothing to do with having a specific amp for a specific type of bass, but rather having a rig that really works to derive a particular tone.

As a side note, I'm with JimmyM (i.e., all his comments on mic'ing his SVT rig to 'get that tone to the board') on the DI thing with this particular rig/bass combination. With this amp and tone settings, etc., running a DI to the board would in no way provide the tone of the rig. It would be way too bright and clanky. Mic'ing would be key, or having a DI lke the Reddi which could mimic that super fat, warm tone. Post DI would probably not work either (in a live situation), since there is quite a bit of EQ involved to really make the whole thing work on stage.

Regarding the AE212, just like I would not enjoy a DB750 with a wide, smooth cab like a 410UL or an AE212, I would have zero interest using the Streamliner with cabs like that (HT112ER, 410UL, AE212... again, personal tone goals there).

I will say again, the best way to achieve success with this amp is to think of it as an all tube amp (or a DB750 or MPulse600). That is its vibe, and the cabs that all the tube amp and DB750 guys post as working great with those type of heads work very well with the Streamliner. This is a huge positive for me... think about it, finally a micro that really does kind of behave like an all tube amp (or DB750).... for many that has been a dream.... for some, it will be a nightmare if you don't understand the dynamic between an all tube amp and a cab (or again, the DB750).

IMO. If you want 'one head to do almost everything' pretty well with a wide variety of cabs and contexts, I would consider the Shuttle Max 9.2
Click to expand...
 
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