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Genz-Benz Streamliner Part 5

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#541
Saluki said:
I don't really care for the MBFusion as much. It is warmer, but sometimes to me that translates to wooly mids or less highs. To be fair, I haven't compared directly to my current amps but Vic does have one and if we get a chance I am sure it will get compared directly.
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Yeah, you're off-base on the MB Fusion. It's very bright up top. I'd never even consider using the presence switch, myself. I'd consider the TC Electronic RH to be "warmer". The MB Fusion is nothing like that. It's much more big wide and modern sounding. We need to have that GTG. :)
 
#545
husky123 said:
What do you consider opening up? Noon or more?
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It depends on the output of your bass. Set the input gain for a clean tone, and then just push the input volume until things start sounding a bit harsh, and then back off just enough to remove that. It definitely opens up the mids since you'll be getting a full signal into the EQ section like this.
 
#546
Just got mine, tried it at low volume for a few minutes last night with my P5. Sounded great with my neox212 and Uber410. I like the mids so far.

I have a question: what is the purpose of the volume control? It seems that I can get all the tone combinations with the gain and master controls.
 
#547
smeet said:
Just got mine, tried it at low volume for a few minutes last night with my P5. Sounded great with my neox212 and Uber410. I like the mids so far.

I have a question: what is the purpose of the volume control? It seems that I can get all the tone combinations with the gain and master controls.
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It allows you to use the gain control as more of a tone control. So, for example, if you want to really push that input gain to get a nice wallup of tube overdrive, you don't want that super hot signal hitting the tube driven EQ, so you adjust the volume down to keep the level relatively constant going into the EQ section. Then, of course, you use the master to set volume.

Start at noon and noon with gain and volume. If you turn the gain up, you will want to turn the volume down.

As with the Shuttle amps, it would be nice to actually have a clip light for the EQ section, which would be a nice guide for setting the volume control at various gain settings. However, just use your ears. The key is to not crank that volume control to the point of overdriving the EQ... you will hear that as 'unpleasant' grind:)
 
#549
As of last night, I've figured out for certain that for me, raising my AE212 about 14 inches makes it sound perfect with the SL900. Still plenty of bottom end, with a bit more punch, and the mids are perfect. Plenty of upper-mid grind. I can hear the windings on those strings, and it's not nasally sounding at all. I'm running bass at 10:30 or 11, mids at 1 o'clock (2.5khz), and highs around 11. I'll be building a wooden box that's made to fit it this weekend and painting it black. The box will be just big enough to slide over the top of the AE212/cover for transport, or I'll use it for cables, my SL900 bag, etc.

The end result is that the SL900/AE212 elevated this high sounds just as mid present as the 9.0/AE212 rig did on the ground, but there is more attitude with the SL900 because of the tubes, and I can hear more of those paper cones rather than plain ol' EQ'ed mids (if that makes sense). In other words, it sounds BETTER to me that it did with the Shuttle. I've been playing with the cabinet height for a week or two, and think I've got it dialed in just right. Any other variances that happen on the gig I can compensate for with EQ.

You guys with upper-mid issues on a single cab should really, really give this a shot.
 
#550
Eublet said:
As of last night, I've figured out for certain that for me, raising my AE212 about 14 inches makes it sound perfect with the SL900. Still plenty of bottom end, with a bit more punch, and the mids are perfect. Plenty of upper-mid grind. I can hear the windings on those strings, and it's not nasally sounding at all. I'm running bass at 10:30 or 11, mids at 1 o'clock (2.5khz), and highs around 11. I'll be building a wooden box that's made to fit it this weekend and painting it black. The box will be just big enough to slide over the top of the AE212/cover for transport, or I'll use it for cables, my SL900 bag, etc.

The end result is that the SL900/AE212 elevated this high sounds just as mid present as the 9.0/AE212 rig did on the ground, but there is more attitude with the SL900 because of the tubes, and I can hear more of those paper cones rather than plain ol' EQ'ed mids (if that makes sense). In other words, it sounds BETTER to me that it did with the Shuttle. I've been playing with the cabinet height for a week or two, and think I've got it dialed in just right. Any other variances that happen on the gig I can compensate for with EQ.

You guys with upper-mid issues on a single cab should really, really give this a shot.
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Hey, if it's not a pain in the ass, take some pictures of the build for the box. I've been thinking about doing something like this and would appreciate some photos of how to do it. Thanks !
 
#552
This makes me want to try my RS210 on top of the RS112. Instead of a box, may as well use a cab. Finally got the Eden 410 to sound good with almost the same settings as Eublet using the Sadowsky J. I've never been able to hear myself so good and it still sound killer. For whatever reason, I just didn't like the P with rounds as much.
 
#553
Okay so we spent 3 days tracking with the Streamliner 900, and it was about the easiest time I've ever had dailing in for studio work.

I usually use a slightly more complicated setup in the studio, here's how we set up this time:

Lakland 44-02 (in passive mode, blend set 75/25 bridge / neck, coil tap in center position) to Summit Audio TD-100, balanced DI out to mixing board, 1/4 out to Streamliner, streamliner DI (post-EQ) out to mixing board.

When we first started getting sound tests, the engineer said "Holy sh** man, turn the bass down!!" .... he looked a little puzzled when he saw the bass knob was already a little left of flat!!

For my main sound, I set the amp as follows; gain switch on, gain knob at noon, bass at 11 oclock, mid at 10 oclock, mid switch at 600. treble flat. We set the gain so as to give a good amount of fur, just before it begins to actually break up. After a few tests, we decided to put a Daking FET II compressor in front of the amp to give a more even and controlled overdrive characteristic than my right hand technique normally affords me lol :p.

We got a nice thick tone going, and did some tests with just my signal and the drums... did some EQ'ing on the kick drum track and BAM!! We were home. Perfectly smooth, slightly gritty tone that punched straight through the guitar mix like a load of buckshot through cardboard.

For our one kinda "progressive" sounding track, I do this extended 4 measure run with just drums accompanying and I wanted a different sound for this section. I've always found that, at least for metal, what sounds great on bass solo usually sounds muffled and lost in the guitar mix... so for this section I set the bass knob back to center, switched the mid selector to 2.5 to cut out some finger noise, and cut the treble knob down to 9 oclock. I also switched the Lakland's coil tap to the far bridge position, and solo'ed the bridge pup. This gave me an AWESOME Jaco sorta tone, with a little more grit and personality. I LOVE the treble control on this amp... boosting adds nothing but that sweet shimmer that can almost be more appreciated "in the mix", and cutting it doesnt take any of the upper midrange out... as others have said this is an extremely well voiced control and it reminds me of the much more expensive EBS TD650.

Should have soundclips for you in the next few days!!

Really excited to hear how this album turns out!!

Paul
 
#554
KJung said:
It allows you to use the gain control as more of a tone control. So, for example, if you want to really push that input gain to get a nice wallup of tube overdrive, you don't want that super hot signal hitting the tube driven EQ, so you adjust the volume down to keep the level relatively constant going into the EQ section. Then, of course, you use the master to set volume.
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According to the manual:
PREAMP VOLUME CONTROL – This control sets the volume (and make-up gain) of the preamp after the Input and EQ stages but before the Effects Send jack.
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This implies that the only effect it has is how hot the signal is going into the power amp, but isn't that basically what the master control does?



KJung said:
Start at noon and noon with gain and volume. If you turn the gain up, you will want to turn the volume down.
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That's what I did, and I found it fairly easy to get the results I wanted. The volume control is convenient for maintaining a constant volume while changing tones, but it is still puzzling to me from a gain structure perspective.
 
#555
smeet said:
According to the manual:This implies that the only effect it has is how hot the signal is going into the power amp, but isn't that basically what the master control does?




That's what I did, and I found it fairly easy to get the results I wanted. The volume control is convenient for maintaining a constant volume while changing tones, but it is still puzzling to me from a gain structure perspective.
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Not sure where it comes in, but it sounds nasty if you turn it up to high. Just mess with balancing the two controls.
 
#556
KJung said:
Not sure where it comes in, but it sounds nasty if you turn it up to high. Just mess with balancing the two controls.
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Disagree with the first comment, agree with the second one :D

Per a tip from a fellow TB'er, I tried running the pre vol wide open, with the gain about noon, turning down the master (normally I would run the pre vol about noon). Very cool, slightly compressed sound to my ear, with maybe a bit more mid presence.

I think the key here is to play around with the controls. The front end of the amp seems to tolerate a wide variety of input (eg my Rob Allen doesn't seem to clip it) and you can push the signal around quite a bit between the gain switch, gain pot and pre vol. Have fun - twiddle knobs and annoy the neighbors!
 
#557
Well, I recorded some clips of the Streamliner 900 thru an Avatar TB-153 Bass cab at last nights gig. Bass is a 73' Jazz with Fender Custom Shop 60's overwound pups and D'Addario flats (chromes) that are 6 months old. It is recorded with a Flip video camera and all you are hearing is the head thru the cab as there is no PA support at this venue. I think the video very accurately reproduces how it actually sounded live.


Click Here -> YouTube - Genz Benz Streamliner 900+Avatar TB-153 The JJ's Band



:)
 
#558
I like your band Faulkners. The bass sounds great.

faulknersj said:
Well, I recorded some clips of the Streamliner 900 thru an Avatar TB-153 Bass cab at last nights gig. Bass is a 73' Jazz with Fender Custom Shop 60's overwound pups and D'Addario flats (chromes) that are 6 months old. It is recorded with a Flip video camera and all you are hearing is the head thru the cab as there is no PA support at this venue. I think the video very accurately reproduces how it actually sounded live.


Click Here:YouTube - Genz Benz Streamliner 900+Avatar TB-153 The JJ's Band



:)
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