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Genz Benz Streamliner Pt 7.....

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#661
dave_bass5 said:
Ill certainly give it a go although i have tried this before. It makes sense to bring out the upper mids i guess.
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Setting tone knobs is very dependent on the cab you are dealing with. While I too find a slight cut in bass and a moderate bump at 600hz works great with my PBass and my AE410, that surely won't help you out (IMO) with the voicing of the 1212L.

The closest I got to my 900 sounding decent with the 1212L was a slight bass boost, a large bump in the upper mid setting and a pretty significant cut in the treble response. This at least helped widen the attenuated deep low end of the 1212L, giving a better ratio of lows to upper bass, and also plugging the pretty significant hole that cab has in the upper mids, while keeping the top end from being too shrill.

Still not the greatest match-up IMO and IME, but 'OK'.

Regarding the Gramma Pad, that can be moderately helpful on hollow stages, but since it only impacts mechanical coupling (not acoustic coupling), it will have virtually no impact on a more solid stage or floor.
 
#664
edfriedland said:
I find the GRAMMA helps even on solid floors, concrete, whatever. Mechanical coupling vs. acoustic coupling... well, you can work that out on a graph if you'd like, but it works for me, and has worked on every gig for the last 10 years. I got one of the very first ones, and I still use it - always.
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As posted many times on this site, sometimes we hear what we think we should hear. However, it surely won't hurt, and if you don't mind schlepping it, what the heck!
 
#665
I'm curious if anyone has tried setting the SL mid knob on 200k and turning that down to around 9 with the bass knob down to 9 as well. I'm finding that tone to be a little clearer sounding with my Thunderchild cab. I'm also running the gain really hot too, just backing off before the sound breaks up, but still has some grunt to it.

When I boosted in the 600 or 2.5 range it seemed that the tone was a bit congested especially if I was playing at louder volumes and I couldn't seem to roll off enough low end.

I'm considering trying out the head as my DI for my in-ear touring rig and running it post-eq to see if I can get that tubey-goodness to the FOH. That preamp really adds magic to the tone.
 
#670
A far cheaper alternative to a Gramma pad, and just as effective, is a plastic bread crate (the famed milk crate's baby brother). Just cut the high sides off with a hacksaw, and you're good to go. A sheet of black cotton thrown over the top before you lift your cab onto it is a good cosmetic finishing touch.

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#671
I've heard many people say that the Streamliner pairs well with cabs that have a solid mid-high presence. Has anyone tested this head out with the new Acme Series III cabs? I'm curious if that would be a good pairing or not. Shooting for a "textbook" old school type of tone here.
 
#672
KJung said:
I think you will dig it. Quite different than your T-Funk (which is also a wonderful match-up with the AE210 x 2 or 410)... bigger in the low end, more relaxed in the mids, and a more crystal clear, tube driven extended top end. I've again had wonderful luck with my 900 and my AE410 and AE210 on smaller gigs. Let us know!
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+1

I sold my TF550B for my Streamliner and I'm very happy. Completely different beast as we all know but the Streamliner gives me that warm organic bass thump, especially with a J-bass. The AE410 gives it a bit more clarity and punch, but it's a nice compliment to the Streamliner.

I also really love the Pre-EQ DI on the amp!
 
#673
I was thinking, maybe it has been covered in other threads but I found that in some amps the gain structure is fundamental in building the final tone. I mean, my T-funk sounds pretty clean and h-fi when I set the gain far below the supposed clipping threshold (yes, then I must compensate for volume), but It will become fatter and compresses when the gain is pushed (below clipping again), and sometimes and with certain basses, this can sound pretty goofy and boomy. My STM900 will arrive soon. Reading the posts, I have the feeling that this consideration could apply to the STM too.

Dephect said:
+1

I sold my TF550B for my Streamliner and I'm very happy. Completely different beast as we all know but the Streamliner gives me that warm organic bass thump, especially with a J-bass. The AE410 gives it a bit more clarity and punch, but it's a nice compliment to the Streamliner.

I also really love the Pre-EQ DI on the amp!
Click to expand...
 
#674
sratas said:
...I found that in some amps the gain structure is fundamental in building the final tone.

...my T-funk ...will become fatter and compresses when the gain is pushed ...and with certain basses, this can sound pretty goofy and boomy.

...Reading the posts, I have the feeling that this consideration could apply to the STM too.
Click to expand...

Perhaps I'm just hearing what I want to, but my 900 seems quicker and more "Shuttle-like", when I cut the gain back a bit, leave the boost button out, and open up the master volume some more.

This is with a pair of active basses that have pretty hot output.
 
#675
KJung said:
...for a meaty, fat, full, forceful P Bass tone, the Streamliner matched with a relatively 'tight and bright' cab is really a dream!
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Ken, I run a pair of GB NEOX-112T's in my rig. Would these fit the "tight and bright" description in the context of the Streamliner? I use a lot of P-bass in my main band, and the tone you describe here is definitely what I'm going for. Thanks!
 
#676
Aussie Mark said:
A far cheaper alternative to a Gramma pad, and just as effective, is a plastic bread crate (the famed milk crate's baby brother). Just cut the high sides off with a hacksaw, and you're good to go. A sheet of black cotton thrown over the top before you lift your cab onto it is a good cosmetic finishing touch.
Click to expand...

The Gramma pad also has foam underneath it. I assumed this was to stop the sound bouncing around or something like that .
Wouldnt this be more effective than a crate with nothing underneath it?

Just asking.
 
#678
I simply use a self made cart, equipped with four rubber wheels and a rubber-covered surface. This instrument does elevate my rig few inches but isolates mechanically rather well, and plus allows me to carry all my full stack around a plain stage. If I need more focused low-mids (if I hear Boom) I stack my cabs vertically.
In substance:
- rubby cart only with orizontal stack = no mechanical coupling but still acoustic one, it could be sufficient for outdoors for example.
- rubby cart + vertically alligned and stacked cabs = no mechanical, little acoustic coupling, better midrange dispersion. Ideal for wooden stages, bad boomy rooms.
If all this is not sufficient, then it comes the parametric Eq (center at 150-180 Hz...). ciao :cool:
 
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