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Genzler Amplification Club

#15,022
To add in my 2cp... I run the Gould GGi5 -> Strobostomp -> Sushibox Underground Accelerator -> Darkglass Hyperluminal comp -> MX Bass Octave Deluxe -> Line 6 HX Stomp XL with Source Audio C4 and Spectrum Side chained and all that to my MXR DI. I can adjust gain at the Underground Accelerator and at the MXR DI. The Stomp XL is set to unity unless its an odd effect (phasers and flangers that run quiet) then it gets a +1 or +2 db boost in the patch itself.

I run a clean line out from the HX Stomp to FOH with whatever my signal is doing and then use the MXR DI to make a last minute boost/cut and EQ before it goes to my Magellan AND the recording deck (Zoom Livetrak L12)

I normally run the MXR DI at 12 o'clock but can push a bit if I need it. I didn't even realize there was a clip light, but I don't think I drive it hard and there's no breakup.

Running the Magellan to my 210 (Markbass MB58r 102P Pure 4 ohm...yeah...someday I'll change that for the Genzler 210), I run the Magellan Gain at 12 o'clock and the start the Master at 9 o'clock and adjust as necessary for stage volume. In a smaller room without going through FOH, I usually run the master to noon or 1 o'clock. If that isn't enough, I add a 115 to the stack.

There's so much leeway afforded in the Magellan alone, I realize that my settings don't really impact what you'll probably be doing, but at least you get an idea of what I have going on.
 
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#15,023
MuseChaser said:
For instance, the manual for an Acoustic Image Coda (the first series, prior to there being "series") states...

"The input level controls the level of the signal at the input stage of the preamp. The master volume controls the level of the signal at the output of the preamp (at the input of the power amp). Set the master control at “12 o’clock” and the input level at zero. The input level should then be used to control the overall output of the unit."
Is the AI advice weird? If not, and it IS standard practice with bass and guitar amps.... why?
Click to expand...

Not wierd, just not that common I guess. The GK MB amps are similar, and counterintuitive to the 'standard' practice of input just below clip and master to control output.

From the MB500 manual:
5. Level and Master Volume Settings:

Set the Master Volume to 3 o’clock.
Turn the Input Volume knob up as you play to the desired output level.

It is recommended that the limiter be used during high volume applications. If the clip light (pad
button) flashes more than occasionally, press the -10dB pad button in and turn the Input Volume knob
up. If it is still lighting often, try turning the volume down on your bass.

Another recurring thought for me is the idea of buying an 800W amp (or more in many cases) and in most practical bar/pub scenarios running the master volume (in a 'typical' situation) at 1, 2, maybe 3 o'clock, where perhaps a 350W or 500W will yield the same relative output volume at a higher master volume setting but you're using the amp more as designed or intended? This is a hangover though from the 70's and higher end home audio amplification at the time where it was thought that running a smaller amp would allow you to be more 'into the amp' and therefore more efficient than just cracking into the power of a larger amp at a lower volume setting. I don't know what's 'right' or if it even matters but sometimes it seems a waste for me to run a larger amp and never get past 3 o'clock in many smaller rooms.

Just some Friday mental meanderings...
 
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#15,024
Spring cleaning, I lift our BA SLT cabs off the floor to inspect for any "pet stuff" using my UV light, and I notice a difference between the reflections off the two grills. (Note, it wasn't just the angle. I moved the light up close once I observed the difference).

One grill reflects substantially more light than the other. Reflective top cab has the more recent SN by about a thousand.

A meaningful difference?

C2A90597-8E7F-4FA0-94DA-A07CBA1DD757.jpeg
E0438CF1-CE6A-4A48-8B0A-60BBDB0016F9.jpeg
 
#15,031
Has anyone tried using a series 2 array 15 inch cab along with two series 2 10 inch cabs on top? I'm thinking of adding a third cab to match up well with my two 10 inch array cabs and was wondering if the 15 with it being more efficient would overwhelm the 2 tens in volume? Would I be better off just adding a third 10, or lastly maybe put a 12 inch array on bottom instead. Which of three combinations would work best? Thanks
 
#15,035
Moonskunk said:
Has anyone tried using a series 2 array 15 inch cab along with two series 2 10 inch cabs on top? I'm thinking of adding a third cab to match up well with my two 10 inch array cabs and was wondering if the 15 with it being more efficient would overwhelm the 2 tens in volume? Would I be better off just adding a third 10, or lastly maybe put a 12 inch array on bottom instead. Which of three combinations would work best? Thanks
Click to expand...

The BA2-15-3 would certainly sound amazing with the 2 10” cabs. However, for a more modular rig, I’d go with the BA2-12-3 cab and you’ll still get nice lows especially with the series 2 cabs!!
 
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#15,038
Djadja said:
So tell us what you think of the pedal
Click to expand...

It’s really cool. Compressor is nice at lower settings, Mid at noon is perfect, Drive really kicks. I had to back it off all the way counter clockwise just to get a mild breakup. Tone was up all the way. But, did sound good at different settings. The mix knob is the coolest ever and is so much more than a blend. It is more like a hi pass/low pass curve variation knob. Very cool. You get a little bit of hiss from it but nothing over bearing. The clean side sounds great. All in all it is a very nice, unique drive pedal that I’ll hang on to for awhile.

I got practice on Tuesday so I’ll hear it thru the Magellan 800/BA410-3 rig for the true test!! The whole month of February I was in Florida on fly dates with no amp. I miss my Genzler rig so much. Can’t wait to fire it up again!! ;)
 
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#15,039
nervous said:
"What's the best UV responsive powdercoat for Metal"?
Click to expand...
Obviously the cab that showed the most reflection is best for metal! For non-technical types, I will attempt an explanation. You see, as the acoustic waves are outbound, the reflective UV interacts in a manner that results in a 3 db gain filtered for Metal notes only, thus creating metal notes that are more acoustically enhanced than the non-reflective coating. For more info read my forthcoming article, “Reflective UV Coatings Acoustic Interaction for Metal Music Enhancement”.
 
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