Got the only NC-212T MF had left in stock. Hope to see it arrive by Wednesday?
Hope it’s magic with the Milkman half and half.
Hope it’s magic with the Milkman half and half.
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Genzler Amplification Club
- Thread starter Discount Saint
- Start date
wow , 701 pages ...
is anyone here gigging a single NU Classic115T with a Magellan 800 ?
is anyone here gigging a single NU Classic115T with a Magellan 800 ?
Not I, but that should cover a lot of gigs.wow , 701 pages ...
is anyone here gigging a single NU Classic115T with a Magellan 800 ?
Just for instance, when I had a Genz Benz Contour 500 115 combo, it would cover almost every gig we did (80's party rock at significant volume, along with a decent PA).
I had the matching extension 115, that I would probably, half the time, take with me, but it wasn't needed.
If we played outdoors, I would always take the extra 115.
The NC-115T is a better cab & the MG-800 is a WAY better amp!
Jeff Genzler
Commercial User
- Feb 9, 2007
- 1,819
- 11,893
- Disclosures
- Currently GENZLER AMPLIFICATION / Formerly GENZ BENZ
Wow, well that looks friggin awesome. There really is a BassArray810 cab. That's 20 loudspeakers rockin that stage tonight. Have a great show, Joe!
I have a Genz Benz GB210T-XB3, which is 350W power handling at 8 ohms. My Magellan 800 is 400W at 8 ohms. As long as I don’t get crazy with the volume-which I don’t anyway, it shouldn’t be a problem, correct? They do sound great together!
I was thinking of adding the D800+ pre DI to my Magellan 800 and BA-15-3 so I could have some of that Mesa goodness
I was as well! The pre/Q, or I think I seen a pedal that had a LPF a an HPF a was an eq extender or dirt an it had an extra contour knob? Jeff do you know if the genzler pedal with the contour knobs on it add to the one on the Magellan or does it just take over for it. I LOVE that contour on both channels. Lately with the Spector Euro 5 string being seeimging like a really hot Pre ampd bass channel 2 an somtimes pending room we are playing I use the channel 1 or 2 contour. Idk why but it almost feels like compression it some types. Tryin to decide on Pre/q or the dirt/EQ with LPF, HPF, a contour. It looked like
An older model pedal but could be wrong
Jeff Genzler
Commercial User
- Feb 9, 2007
- 1,819
- 11,893
- Disclosures
- Currently GENZLER AMPLIFICATION / Formerly GENZ BENZ
You could also try Bass Buddah in Denmark. Email Morten, he has some and can also get some from our EU distributor. You can also email me for any additional assistance.
For my performances today, I decided to ditch the pedals and run my Synapse directly into the 10-2 combo. Much, much better. Everything I did on the bass was accurately belted out by the combo.. all subtleties, techniques, rock, funk, blues, top 40, disco. This show has all that. I mainly used the contour level at noon, and went back and forth between the two. I did some bass boosts and cuts onboard the Synapse too. Experimented with mids boost on the amp at several frequencies as well. Still ran the input volume at noon and the master at 9 o'clock. Plenty loud, and I was very happy with the sound. In the future, I think I'll only use pedals if they are needed for the gig and by a particular bass I'm using. The Synapse took to interacting with the combo like it was made to be played through it. Such a different experience playing this show loudly with that bass and the combo, vs. playing an older, more orchestal show like Hello, Dolly! using the Ibanez AFB200. Both excellent, showing the versatility of the combo.
I have a closing matinee tomorrow. It's been a fun show. The Genzler combo has been essential. I will try to remember to take a few pics of the setup.
I have a closing matinee tomorrow. It's been a fun show. The Genzler combo has been essential. I will try to remember to take a few pics of the setup.
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Funny story about my new Magellan 350 combo: I’ve been woodshedding the bass book for a show that opens next month. Because my D800+ is packed up to ship for repair, I’ve been using a preamp pedal into a QSC K10.2 the last couple of days. It actually didn’t sound bad, but lacked a little "juice" for want of a better expression.
This morning I was running through the parts again, this time through the Genzler. I came upstairs and my wife said “is your amp in a different part of the studio than before?” I said no, it’s in the same place the other one was; why do you ask? “Because the dining room table’s been rattling for the past hour.”
Sorry not sorry, honey.
This morning I was running through the parts again, this time through the Genzler. I came upstairs and my wife said “is your amp in a different part of the studio than before?” I said no, it’s in the same place the other one was; why do you ask? “Because the dining room table’s been rattling for the past hour.”
Sorry not sorry, honey.
So, we had the sitzprobe for Pippin tonight, and…I am floored. And deeply grateful. The Magellan 350 was fantastic.
First of all, it sounded great. But beyond that, the longer I played, the more I kept inching the EQ controls (both on my guitar and the amp) toward flat. I usually go for a substantial mid scoop, even though I know that eviscerates the tone a bit. But I don’t like the way most amps make mids sound. This amp doesn’t seem to have that problem. I wound up with the contour (A) at about 10 o’clock and mids (probably around 600) down just a bit, about 11 o’clock, with bass and treble flat. And that was perfect. Warm, clear, just present enough, with a nice understated complexity in the midrange. I felt like I was getting to do something I’m not used to: have the bass function as a rhythm instrument with good thump and attack, and at the same time, hearing it as a color instrument with a rich, subtle timbre. I usually have to compromise one of those two things. Tonight, not so much.
And something I’ve seen people mention before, which I experienced firsthand tonight: the amazing consistency of tone across master volume level. The drummer was not present at the sitzprobe, and the singers had no mics, so I had to turn way down. The master volume wasn’t even quite at 9 o’clock. Usually I would expect a ghostly, thin tone at that level. This was not like that. The tone was just as full and punchy as it would have been with the master past noon—just not as loud. That is how it should be—and almost never is.
The 350 combo is an amazing piece of work, and I suspect I will be glad I bought it for a very, very long time. Thanks to all who helped steer me there.
First of all, it sounded great. But beyond that, the longer I played, the more I kept inching the EQ controls (both on my guitar and the amp) toward flat. I usually go for a substantial mid scoop, even though I know that eviscerates the tone a bit. But I don’t like the way most amps make mids sound. This amp doesn’t seem to have that problem. I wound up with the contour (A) at about 10 o’clock and mids (probably around 600) down just a bit, about 11 o’clock, with bass and treble flat. And that was perfect. Warm, clear, just present enough, with a nice understated complexity in the midrange. I felt like I was getting to do something I’m not used to: have the bass function as a rhythm instrument with good thump and attack, and at the same time, hearing it as a color instrument with a rich, subtle timbre. I usually have to compromise one of those two things. Tonight, not so much.
And something I’ve seen people mention before, which I experienced firsthand tonight: the amazing consistency of tone across master volume level. The drummer was not present at the sitzprobe, and the singers had no mics, so I had to turn way down. The master volume wasn’t even quite at 9 o’clock. Usually I would expect a ghostly, thin tone at that level. This was not like that. The tone was just as full and punchy as it would have been with the master past noon—just not as loud. That is how it should be—and almost never is.
The 350 combo is an amazing piece of work, and I suspect I will be glad I bought it for a very, very long time. Thanks to all who helped steer me there.
Here is my pit gear pic for Footloose the Musical, which wrapped today. Simple, bass into amp, but very effective. Synapse bass and the already-legendary Genzler 10-2 series 2 combo amp. Tuning by a Peterson Strobo Plus.
The pic turned out a bit blurry, so it's hard to see the Ampwedge underneath the combo, to give it just the right amount of upward angle as it was right in front of my chair.
I chose my Synapse because it gives an 80's vibe which I thought would be appropriate for the show. But, man, with Stringjoy Signatures strings, it was perfect tonally for Footloose. Everything I needed and more. As I said, it paired very well with the Genzler.
The pic turned out a bit blurry, so it's hard to see the Ampwedge underneath the combo, to give it just the right amount of upward angle as it was right in front of my chair.
I chose my Synapse because it gives an 80's vibe which I thought would be appropriate for the show. But, man, with Stringjoy Signatures strings, it was perfect tonally for Footloose. Everything I needed and more. As I said, it paired very well with the Genzler.
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I’m foaming at the mouth to take ownership of my used BA410-3 that is being delivered from Guitar Center. This weekend I gigged my 30 watt Ashdown head on my old Mesa 1000 and it was barely enough amp but it sounded divine. I believe my big ol Mesa cab is a bit inefficient compared to the BA410-3 and I can’t freakin wait to hear it for myself! Sorry, but I’m beyond excited!
Off topic, but I have a run of Pippin coming up in October. I’ve played productions of the original score a couple of times. Is it the new orchestration from the revival that is available? I hope so, because I liked the revival more than the original production on Broadway.
I’ll likely be using my Magellan Pre/DI into my Shuttle 6.0 and a Berg HT112.
Have fun with the show! Break a lick.
It’s the revival, or a revision of the revival. I think that’s the only licensed version currently available. I actually prefer the original Ralph Burns orchestration, but it’s a great show either way.
I’m finding it a pretty challenging score. Not that there’s anything shreddy in there, but some tricky rhythms, particularly in “The Right Track”, and just a lot of passages that require quick/accurate position shifts, chromatic scales, etc. A real pro would eat it for breakfast, but it’s a good workout for a glorified busker like me. (The fact that I’m basically learning to play a 5-string as I woodshed the part is probably underlining the challenges.)
Pippin is a classic. I have not played it, though. The scores are based on the revival. Pippin Revival Version When I'm playing a production, the first thing I do is go to the webpage for the show on the licensing company sites, generally either MTI or Concord and read up.
Biobass, what bass will you be using for the show? Your first show with the combo! You'll love it.
My take on the "Break" well-wishes has been, for years, "Break a leg, but don't break a string!" It always makes me laugh thinking what would have to happen for a bassist to break a string during a theatre show!
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