I need to mess more with the gain switch. That does tend to give the amp a bit of a different vibe, even when the volume is matched with the gain control level
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GenzBenz Streamliner Pt 8...
- Thread starter Chef
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I need to mess more with the gain switch. That does tend to give the amp a bit of a different vibe, even when the volume is matched with the gain control level
I use an original Fulltone Bass driver (the blue one with the sticker), does a great job (Streamliner 600/Bergie HT112/EX112)
I use a lot of Big Muff variants:
Russian Muff
English Muff'n
EHX American Muff
Blackout Musket Fuzz
And soon I'll have a GGG muff clone, and I plan on building a GGG Tuned Muff with it.
I really only use the Russian and the Musket for bass right now as a distortion. I use the English Muff'n more like a gritty preamp with a different rig.
Russian Muff
English Muff'n
EHX American Muff
Blackout Musket Fuzz
And soon I'll have a GGG muff clone, and I plan on building a GGG Tuned Muff with it.
I really only use the Russian and the Musket for bass right now as a distortion. I use the English Muff'n more like a gritty preamp with a different rig.
Aussie Mark
I come from a land down under
- Oct 26, 2002
- 1,161
- 206
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- Endorsing Artist: Fender; O'Neill Amps; Cave Passive Pedals
This is basically where my EQ is at in most venues I've used the Streamliner, with my UL cabs.
I use an Invalid Link Removed in front of my 600. It sounds better through old-school-sounding tube/hybrid amps than solid-state amps.
I only use a dirt pedal in front of the STL if I want synth-like sounds, primarily the Source Audio Multiwave Bass Distortion Pro. For "organic" sounds, I just drive the STL preamp for a nice breakup or tube OD. If I need a good clean tone as well as a subtle drive in the same set, I'll just use the drive on my para driver.
That's not really a dirt pedal IMO. The overdrive channel on the STL would annihilate it.
What kind of dirt are you going for here? Any examples?
I play clean most of the time, but want the option of quick dirt\distortion\fuzz on the fly with the STL. I'm looking for something that has a good range of tones. My MXR El Grande is a one trick pony and a little too fuzzy. There is good stuff out there like the Darkglass, Wren and Cuff, but you never know how it could match with this amp.
I'll be playing my first gig tonight using a Team Awesome Fuzz Machine through the STL900 and Uber410.
Sometime soon I'll be adding a Darkglass B3K.
I've never been a big user of dirt, but I think I just haven't found the right sound. Hopefully these two will work well.
Sometime soon I'll be adding a Darkglass B3K.
I've never been a big user of dirt, but I think I just haven't found the right sound. Hopefully these two will work well.
My 600 came today. Found it new for $570 including shipping. I've not played it with the band yet but got some solo playing. at first it was ok and I kept searching, starting with what many have said about pushing mids. Was fooling around with everything at noon except treble at one o'clock. Frequency selector at 250. It was ok. Then I grabbed a pick. Holy s..t. Talk about rock tone. Ill find out monday if it works with the band.
I'll be really interested to see what you think of the Darkglass B3K with the STL900. That pedal has really captured my attention and although hecka expensive, everything I've heard on YouTube just makes me drool!
Found a great tone last night, in what was probably the worst rehearsal setting I've ever experienced.
The keyboard player was suffering from temporary insanity brought on by a new synth module, and was laying down huge pads that sounded like Moog Taurus bass pedals. The least experienced drummer in our rotation was thumping away on the kick and the floor tom like a hooligan. We were in a church gymnasium, with terrible, boomy acoustics. The acoustic guitar, keys and 3 vocalists were being pumped through a pair of Roland keyboard amps, sitting on the floor. The electric guitarist had the treble rolled off on his amp and his Telecaster. We were rushed for time, and the leader was concentrating on working out arrangements for christmas carols.
As you would expect, the low mids were crazy cluttered, and it was hard to hear myself, never mind get a good tone. But by flipping my AudioKinesis Thunderchild over on its side like a monitor wedge, I was actually able to get an articulate yet full sound, without resorting to bizarre EQ settings. I used my parametric EQ for some minor tweaking, but it was barely on:
TCAF: horn attenuator on, one plug in.
SL900: boost out, bass and low mids @ 10 o'clock, treble at noon, gain @ 10, volume at 2, master at noon.
ParaEQ: 70Hz at about -2dB, maybe plus 1.5dB @ 600Hz, and about +1dB @2.5KHz. All filters at medium Q (1.5 octave).
The keyboard player was suffering from temporary insanity brought on by a new synth module, and was laying down huge pads that sounded like Moog Taurus bass pedals. The least experienced drummer in our rotation was thumping away on the kick and the floor tom like a hooligan. We were in a church gymnasium, with terrible, boomy acoustics. The acoustic guitar, keys and 3 vocalists were being pumped through a pair of Roland keyboard amps, sitting on the floor. The electric guitarist had the treble rolled off on his amp and his Telecaster. We were rushed for time, and the leader was concentrating on working out arrangements for christmas carols.
As you would expect, the low mids were crazy cluttered, and it was hard to hear myself, never mind get a good tone. But by flipping my AudioKinesis Thunderchild over on its side like a monitor wedge, I was actually able to get an articulate yet full sound, without resorting to bizarre EQ settings. I used my parametric EQ for some minor tweaking, but it was barely on:
TCAF: horn attenuator on, one plug in.
SL900: boost out, bass and low mids @ 10 o'clock, treble at noon, gain @ 10, volume at 2, master at noon.
ParaEQ: 70Hz at about -2dB, maybe plus 1.5dB @ 600Hz, and about +1dB @2.5KHz. All filters at medium Q (1.5 octave).
I'm like the Princess and pea when it comes to amps and EQ. I've tried nearly every amp on the market, and nothing ever quite pleases me. Fixed Q, semi-parametric EQ stages (SWR paragraphic, Genz Benz Shuttle Max, etc.) don't do the trick, either.
I was (and still am) very excited about the Streamliner, but it's still a bit bloated in the low end for my tastes, and so I went looking for a suitable external HPF or EQ.
This is all IMO and IME, but I found my answer in an Empress ParaEQ pedal. Most people feel that carrying a pedal and a wall wart is too complicated, or that it's better to have multiple amps. But at least in my case, the Empress turns out to be almost as easy to operate as a semi-parametric, and almost as powerful as a rack equalizer...
Where do you insert the ParaEQ? Before the bass input jack or into the effects loop?
I started out with it in the effects loop, but found that I couldn't really hear a big difference. I use it in either spot, depending on whether I want the EQ to be pre- or post-DI.
One caveat; if you were into amp overdrive, you'd likely need to run it out front. During testing, I found that I could clip the Empress when the gain button was in and the Gain and Volume knobs were cranked.
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