May I suggest that you just try your new Coda with everything set at 12 oclock (flat) for a while before getting into using the filters. I use an AMT mic mixed with a Full Circle and only use the filtering when the room demands it (which isn't very often).
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Double Bass Help: AI Coda or Clarus 2R plus a Wizzy?
- Thread starter MT Spaces
- Start date
Ah c'mon, where's your sense of adventure
? Here's another good spot: Link Removed . This is the old train depot, completely restored, very cool venue, been some great shows there over the past 5 years. Livingston is only 25 miles from where I live. Then you can go to Yellowstone National Park 50 mles away and see some wildlife that's different from the wildlife you are used to seeing at the bar in Des Moines.
Thanks Bob .... that sounds simple enough ..... something that the voices in my head can deal with for now.
Woof.... semi-religious experience for lunch at home today. The Coda arrived at 11:30 AM 
. One sweet black box, whadda cute little spud! Played hooky from work for a few hours. I directed it at myself from about 9 feet away and played along with CD's. Until today, I didn't realize how much it sucked to not be able to hear my bass when I played 
.
With the Rev Solo II pickup and the Coda, the bass sounds real natural, like when I get some other bassist to play it for me and I stand 10 feet away. The Solo PUP sounds much fuller and earthier with the piezo "RS" marking pointed toward the bass than away from it. I started with the levels at high noon as Bob Branstetter suggested. I don't know if it is the sensitivity of the Solo II, the strings, my 40 Kay, my technique (or lack therof), or whatever but the sound was just too bright so I turned the treble all the way down with the tweeter off to get the sound I liked at the time. It seemed that the sound was better with the HP filter set at about 60 than down at 30.
Speaking of the sensitivity of the Solo II, I must have got a damn good fit cuz it picks up everything. With the Solo and the Coda, there's no hiding sloppy left and right hand techniques. What amazing practice tools ..... instant feedback. I feel like I can improve my sound and techniques much quicker now. I just gotta figure out the schedules of my upstairs and downstairs neighbors so I can try some volume . Onward and upward ........
. One sweet black box, whadda cute little spud! Played hooky from work for a few hours. I directed it at myself from about 9 feet away and played along with CD's. Until today, I didn't realize how much it sucked to not be able to hear my bass when I played .With the Rev Solo II pickup and the Coda, the bass sounds real natural, like when I get some other bassist to play it for me and I stand 10 feet away. The Solo PUP sounds much fuller and earthier with the piezo "RS" marking pointed toward the bass than away from it. I started with the levels at high noon as Bob Branstetter suggested. I don't know if it is the sensitivity of the Solo II, the strings, my 40 Kay, my technique (or lack therof), or whatever but the sound was just too bright so I turned the treble all the way down with the tweeter off to get the sound I liked at the time. It seemed that the sound was better with the HP filter set at about 60 than down at 30.
Speaking of the sensitivity of the Solo II, I must have got a damn good fit cuz it picks up everything. With the Solo and the Coda, there's no hiding sloppy left and right hand techniques. What amazing practice tools ..... instant feedback. I feel like I can improve my sound and techniques much quicker now. I just gotta figure out the schedules of my upstairs and downstairs neighbors so I can try some volume
. Onward and upward ........
Happy St. Patricks Day to you all.
I am definitely lovin' the new Coda . I will probably add one of the new Wizzy 10s later as they become available. For now, I'm doing small, mostly acoustic-type gigs with the other players (guitar, banjo, mandolin, fiddle) working around a single condensor mic.
We did a St. Paddy's Day lunch gig yesterday for about 100 folks at the local senior citizens center with Irish songs and fast fiddle tunes. The Coda was perfect (once I figured out how to use it). It was real cute ...... a nearby day care center brought the kiddos over to mingle with the old timers and to listen to our music. I was playing my '40 Kay right up front near the edge of the two-foot tall stage platform with the Coda next to me tilted up with the new Series III legs to get it off the carpet and hollow floor. A darlin' little girl stood up right in front of the Coda and watched me intently. After awhile she was dancin' her little shoes off to the fast fiddle tunes. I think I witnessed the beginnings of a future bass player
!
Thanks to you TalkBassers for your help. All of your posts are very educational for a rookie like myself.
I am definitely lovin' the new Coda
. I will probably add one of the new Wizzy 10s later as they become available. For now, I'm doing small, mostly acoustic-type gigs with the other players (guitar, banjo, mandolin, fiddle) working around a single condensor mic.We did a St. Paddy's Day lunch gig yesterday for about 100 folks at the local senior citizens center with Irish songs and fast fiddle tunes. The Coda was perfect (once I figured out how to use it). It was real cute ...... a nearby day care center brought the kiddos over to mingle with the old timers and to listen to our music. I was playing my '40 Kay right up front near the edge of the two-foot tall stage platform with the Coda next to me tilted up with the new Series III legs to get it off the carpet and hollow floor. A darlin' little girl stood up right in front of the Coda and watched me intently. After awhile she was dancin' her little shoes off to the fast fiddle tunes. I think I witnessed the beginnings of a future bass player
!Thanks to you TalkBassers for your help. All of your posts are very educational for a rookie like myself.
My Wizzy 12 arrived yesterday and as everybody has said, it's a great cab to bring out the sound of the bass through the Clarus. I especially like the sound with the little handle on the bottom pulled down to tilt bak the cab...and the Clarus doesn't slide anywhere...phew!
Lots of clear but warm volume, with little feedback problems, and they seem to be solvable through the filters and/or EQ.
Time to start selling off some of the older gear
Lots of clear but warm volume, with little feedback problems, and they seem to be solvable through the filters and/or EQ.
Time to start selling off some of the older gear
Okay, so we are all the way back to where we started w/ this thread. And the winner is (drum roll) ...
Both rigs can make you happy.
Congrats to both of you on your newest gear.
Bob K., your writin'z awful good too bro.
Both rigs can make you happy.
Congrats to both of you on your newest gear.
That was funny man.
Bob K., your writin'z awful good too bro.
I took the Clarus/Wizzy to rehearsal tonight...old school blues with URB, guitar and harp.
The rig worked well and the sound was nicely defined.
At the end of practice, the guys asked if it would be loud enough and I turned it up a bit (master at noon, input around 10 o'clock)...somebody noticed that the cone or surround was moving around quite a bit.
The HP filter settled it right down...is it usual to add the HP filter at higher volumes for cone safety?
The rig worked well and the sound was nicely defined.
At the end of practice, the guys asked if it would be loud enough and I turned it up a bit (master at noon, input around 10 o'clock)...somebody noticed that the cone or surround was moving around quite a bit.
The HP filter settled it right down...is it usual to add the HP filter at higher volumes for cone safety?
Well I think as you said if you can see excursion and cone dance that looks troubling, then the HP filter should help reduce it just like it did in your example.
I don't know if people regularly use the HPF thinking it's going to serve as a safety valve for higher volumes so to speak, but maybe so. I think more often than not people use it at higher volumes to cut back on boominess. I would guess they are thinking about the effect on their tone moreso than saving their drivers from working too hard, but maybe it's a combination of both.
As an aside, you might want to experiment too - Plug in your EB and crank it up to the same perceived volume. You may see that the driver doesn't dance as much, even though the volume "sounds" the same. I think that's because piezos pick up and transmit more of the really low freqs or infrasonics. I think this in turn causes the driver to work harder, move more, and also "steals" power from the amp.
All good reasons for getting to know your HPF I reckon, in addition to its tone shaping abilities.
I don't know if people regularly use the HPF thinking it's going to serve as a safety valve for higher volumes so to speak, but maybe so. I think more often than not people use it at higher volumes to cut back on boominess. I would guess they are thinking about the effect on their tone moreso than saving their drivers from working too hard, but maybe it's a combination of both.
As an aside, you might want to experiment too - Plug in your EB and crank it up to the same perceived volume. You may see that the driver doesn't dance as much, even though the volume "sounds" the same. I think that's because piezos pick up and transmit more of the really low freqs or infrasonics. I think this in turn causes the driver to work harder, move more, and also "steals" power from the amp.
All good reasons for getting to know your HPF I reckon, in addition to its tone shaping abilities.
Perfectly stated, my friend!
tornadobass:
IMO, if you see that cone dance at higher levels, you should also be using the HPF at lower levels. Even at the lower levels, there are those occasions where you might really hit the E string hard. With the situation described and no HPF, you are likely to hear an intense "BLAAAAATTT."
These sorts of abuses of the cone are likely to induce failure of the driver. Forewarned is forearmed!
I had a nice long talk with Rick today, and went thru all the HP NF thing.
He said that turning this Notch filter on reverses the phase, turning the HP on then reverses it back, So to be clear: The two filters DO have a very neat phase reversal built in. If you have the notch filter engaged and on its lowest setting it is acting like a mild HP filter, that is, it is cutting out the infrasonic crap.
Uncle Toad uses the notch on his pick up: so he reverses the phase and cuts the infrasonics.
I use the HP on the pick up: phase is unaltered but HP is on a sweep.
Either way it works its just what sounds better for your bass.
Another reason I called was to get the lowdown on why my Focus has to be cranked to achieve volume with my 2 1x8 (8ohm) cabs and if switching to the Wizzy 10's is going to make my amp feel better (achieving same volume at much lower gain settings)
The answer was essentially what a lot of you electronic wizzards have been explaining for months: Yes and no.
The Wizzys are going to achieve a lot more volume (larger driver, impedance) at any given gain setting but the Focus isn't flinching by being cranked (unlike my much underpowered Woods 100-8 which really didn't have enough power to drive these cabs)
I got the impression that Rick was a fan of EA...
He said that turning this Notch filter on reverses the phase, turning the HP on then reverses it back, So to be clear: The two filters DO have a very neat phase reversal built in. If you have the notch filter engaged and on its lowest setting it is acting like a mild HP filter, that is, it is cutting out the infrasonic crap.
Uncle Toad uses the notch on his pick up: so he reverses the phase and cuts the infrasonics.
I use the HP on the pick up: phase is unaltered but HP is on a sweep.
Either way it works its just what sounds better for your bass.
Another reason I called was to get the lowdown on why my Focus has to be cranked to achieve volume with my 2 1x8 (8ohm) cabs and if switching to the Wizzy 10's is going to make my amp feel better (achieving same volume at much lower gain settings)
The answer was essentially what a lot of you electronic wizzards have been explaining for months: Yes and no.
The Wizzys are going to achieve a lot more volume (larger driver, impedance) at any given gain setting but the Focus isn't flinching by being cranked (unlike my much underpowered Woods 100-8 which really didn't have enough power to drive these cabs)
I got the impression that Rick was a fan of EA...
FlatBack, many thanks for letting us know what you found out from Rick
. Really helpful. I expect maybe Bolo will fill us in some more if he finds further info when he visits AI. It is very cool that different bassers can use the HP and notch filters to fit their particular needs and that both filters work nicely. Congrats to AI for some swell design work . I see now that there really are no contradictions with the way you and UncaToad use your Focus filters.I'm like you FlatBack, I've only been using the Coda III HP filter for my Rev II piezo pup. It works ....... definitely a difference compared to having the filter turned off. At the volumes I play (relatively low), I'm not finding that the notch / phase reversal feature is necessary but it's good to know that it is available. FlatBack, thanks for jumping into the thread I started, I learned a lot from you.
Sure, we're all trying to figure it out. I just went thru this whole crisis yesterday...The perfectly dialed in sound I had last week just desolved into a freakin feedback mess last night. I finally isolated what was wrong: The shock mount I had made for the mic was transfering a lot of vibration to the mic ( I had replaced the foam windscreen with silicon rubber bands) and it turned my sound into a howling horror. I frantically tried all the filter settings...FlatBack, many thanks for letting us know what you found out from Rick
I'm like you FlatBack, I've only been using the Coda III HP filter for my Rev II piezo pup. It works ....... definitely a difference compared to having the filter turned off. At the volumes I play (relatively low), I'm not finding that the notch / phase reversal feature is necessary but it's good to know that it is available. FlatBack, thanks for jumping into the thread I started, I learned a lot from you.
It's all back today tho...
best,
p
I'll keep this in mind as I take my American Standard and new rig to a new setting tonight that requires producing some volume while in close proximity to the cab. It could be that the phase reverse will be just the thing. That was the only way I could get by with the WM12 and Fishman ProEQ preamp.
Wish me luck!
Hey Tornado .... you outta bed yet
? How's 'bout a "Progris Riport"? I'll bet the Old Standard, Clarus, and Wizzy sounded good, huh? Were you running just a pup or mic or both? Inquiring minds ...... How did you end up using the filters?Imagine a small restaurant barroom in a late 1800s small-town hotel. Imagine that the floor is wood plank, with no subflooring so that you can see light from the basement shining up through the cracks. Imagine there's a lot of chatter from diners. Imagine sitting almost on top of the bass rig. Imagine playing a big Old Standard bass in that room.
The term boomy probably comes to mind, huh?
No feedback, though. I ended up boosting mids, cutting lows, using the notch for its phase reverse to thin out the sound more, too. Just the Old Standard through a RSII. But for reasons I won't explain here, the cab wasn't the Wizzy, but a Portabass 210.
Not much to report...I need another gig to really understand things, but I'm thinking cab-on-chair in that room next time if there's space.
The term boomy probably comes to mind, huh?
No feedback, though. I ended up boosting mids, cutting lows, using the notch for its phase reverse to thin out the sound more, too. Just the Old Standard through a RSII. But for reasons I won't explain here, the cab wasn't the Wizzy, but a Portabass 210.
Not much to report...I need another gig to really understand things, but I'm thinking cab-on-chair in that room next time if there's space.
Oh yeah, I can imagine ... I will be playing with an Old Time Fiddlers bunch in a similar room at the American Legion in Manhattan, Montana tomorrow. Good thing you were playin' a Big Old Standard that wouldn't fit through the cracks in the floor and end up in the basement
! Man I wish I could hear youse guys play ... very few (like one only) blues bands 'round here run upright bass. Keep us posted.
