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Go big or go home

#242
diegom said:
Sorry to sound so uneducated and green but, how do you use multiple heads in a single rig?
For example, 2 or 3 SVTs, do we split the bass signal? I didn't think a vintage SVT had a "line-out"...
How did Jaco use his multiple Acoustics? Did he just run his delay in stereo and put one on each side???

Inquiring minds want to know...
:rolleyes::bag::unsure::whistle::jawdrop::facepalm:
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The common way to run multiple amps was/is to slave them. Use one amp as the master and run an instrument cord from the effects-send of the master amp to the effects-return of as many slave amps as you want to daisy chain up. Yes you do have to set the volume of each amp individually to balance your line of amps, but all the preamp stuff is set on the master amp and then sent to the power sections of the slave amps. So one amp to control them all. The rest are just used for their brute strength taking their signal from the preamp of the master amp.

In the case of using an effect that was not built in, if you plug your bass into an effect's stomp box and then into the input of the slave master amp, you're done. That master/slave will contain that in the signal that comes out of the master's preamp.

If you use the effect in an effects loop, then you need to hook up your master to slave connection from the effects-send after the last effect you use and send that signal to all the slave amps. You just put a y-cord (1-male to 2 female connectors) coming out of the last effect and plug one cord back into the effects-return of the master amp and another cord into the slave amps.
 
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#243
I agree. If a player brings big and can't play big (or actually needs to be playing big), yeah..., like hell yeah, they should probably be thinking about heading home and giving the world a break.
OOOPS. Sorry, I thought the thread was "Bring big AND go home". Turns out it was "Bring big OR go home.
My bad.
 
#244
jdh3000 said:
I see all the posts of pics of these folks on stage with their giant rigs... I’d wager they have roadies moving that stuff around...
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And most if not all of those big stars are being paid by the manufacturer to use and endorse that particular gear. Everyone else should probably just use whatever they think they need and not waste energy trying to change anybody else’s preferences.
 
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#246
I plugged my preamp into these babies and turned it way up and a building two doors down had all the downlights fall out of the ceiling. The cops were nice about it though.
rock.jpg
 
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#247
diegom said:
Do you ever use a rig like that, the 50t with the 2 SVT210AVs? I wonder how much of a "pant-flapper" it is...
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Maybe I have...

Hammersmith Upton Ampeg Pedals.jpg


Rare that I get the opportunity to turn it up that loud, like never on a gig, but if you stand close enough to it and turn up the lows loud enough, it'll flap the pants.
 
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#250
tshapiro said:
With the growing number of threads directed towards going direct and lightweight amps I think it’s about time for a thread which brings us back to some punch-you-in-the-chest reality and why some of us will never let go of the heavy iron.

So why full-sized stage amps when running into a FOH system can get you just as loud? In my opinion, the answer to this question is what separates the boys from the men with regards to your sound. Somewhere along the way, the lure of minimalist setups has fooled guitarist and bassists into giving up their beloved stage possessions… namely their amplifiers. In some cases, giving them up totally, and in others trading them for stage monitor versions of their amplifiers. This was done under the thought that ‘it sounds just as good out front’. Well guess what? No, no it doesn’t. It doesn’t in a small bar, and it doesn’t in a concert venue. And, your live playing might take a dive as well. First off, just like cymbals and snare drums real amplifiers reverberate off the walls and ceiling – even in large venues. These reflections come at you in a multi-directional fashion and carry not only realistic characteristics of the amp but also the ‘color’ of the venue which you are playing in. And, it sounds awesome! This akin to a real band vs. a DJ or band in a box. Sound which is originated or largely amplified by the FOH is generally coming from isolated points left and right. And, this is done without the benefit of studio processing where mic placement, reverb, delay and compression have been strategically used to give the illusion of reality. Combine the sound projection coming from a glorified stereo with a flat mix and you are no aural competition for the real deal. Most people may not be able to put their finger on it, but they can tell the sound is kind of… meh, lacking excitement. Well, how about full-sized ‘light weight’ amps? I’m sorry to say, but there is a certain ‘heft’ to the sound of the old school gear. For many reasons it’s the heavy components in transformers, speakers, and cabinets that just can’t be beat when you want the best sound without compromise. In the end, I am certainly not telling anyone what gear you should use – use whatever makes you happy. But, if you’d like some straight talk on how to go directly to some world class sound, go for classic gear. Gear that is sized right for your stage and venue when using the FOH for reinforcement – not your primary sound source. Lean towards tube or solid-state amps with reputations of being work horses. You don’t need to over do it with speaker cabinets, but, bring enough so that your cabinets have plenty of head room to support your sound. There’s a reason why so many touring bass players use 2 4x10’s or an 8x10. Do you need that? No. Will it give you amazing authority, touch sensitivity and headroom? Absolutely. Gear that is undersized takes away your feel. Again, none of this is necessary. But if you’ve reached the point where you and your band just need a great sound than hopefully this helps you find your way. Lastly, while hefty amps and speaker cabinets do play and sound great in all sized venues, they can ruin your hearing and give you tinnitus. This is some serious stuff my brothers. Regardless of your amp size, you should have controlled stage volume and use in ears. Rock on!
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...good for you... check back in when you're in your 70s...
 
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#252
So turns out my LMii was actually a class AB amp, which is hilarious because I thought it was a class D the whole time. I'm thinking that my personal issue is just a solid state vs tube thing, and perhaps solid state power supplies have little to do with tone. Maybe I just better save up for that Mesa/Boogie.

But my emotions from my initial post remain. Whatever the heck it is, I'm sick of it.
 
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#254
richntiff said:
This thread should be used for a confirmation study that people feel the need to pretend they are much cooler and farrrr more badass on the Internet than they are in real life.

Bro. LOL!!!!
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Man, we had made it really far in this thread without someone going completely off topic and making a personal attack, but, you knew it was going to happen, lol
 
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#259
BlueTalon said:
Enjoy it while you can. One day your body will decide it doesn't want to do that any more, and then you'll be extolling the virtues of modern lightweight bass amps & cabs in the Dinky Amps thread.

I'm just jealous. I wish my body still did that.
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Don't be. Like I said numerous times, 810s are easier to move around than what most people say. I can do fine with loading/unloading all of my stuff - amp, guitars, even the cab if I have to - but I usually ask a bandmate for help and two guys can do it without any problems.
 
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