How's your svt3pro gain structure set?

[lokikallas]

I searched the forums and haven't seen a consensus on how to get the best tones from an svt3pro. I found that since I use 5 different basses, they all have different outputs, so there is no one answer. For example, the Music Man pickups on my Sterling are the hottest, down to the EMGhz's, on my Schecter as the lowest. I'm not scared of the clip light coming on at all, but I notice that If I drive the Music Man into the red all the time, It isn't a pleasant tone. If I back it off to where it it "clips" on most of the heavier string attacks, but maybe not so much on the more mellow high string runs, then it seems pretty good. I use the master as just that, a master out to determine stage volume. The tube gain I've found is just a bit of a compressor, to give a tube-like flavor when dialed back.

I usually run with the -15db pad engaged, the gain anywhere from 6 for the hottest basses to 9 (out of 10) for the lowest output basses. My master depends on the circumstance but usually 5 is plenty loud. The tube gain I set about 5 as well for just a taste of tube pre.

What are your settings and why?

I've heard people say turn the gain all the way up to get the "ampeg sound". I'm thinking of taking off the -15db pad, and dialing back the gain proportionately, but run it a little bit hotter. I guess I'm just chicken. I also use a dbx166 comp through the fx loop, but just gently compress and gate for control.

 

[sapienerabass]

I'd agree with disengaging the -15db pad.

I have an ampeg B2 and an ampeg SVT2 Pro and have found the pad features useful in a recording situation when the amp's DI signal is running too hot. In a live / real world / band context I'd avoid it unless the sound engineer finds the amp's DI too hot.

It sounds like your equing the gain structure solo. That same "slightly harsher" furry sound will help you cut through the mix and is probably what people are describing as the ampeg sound.

Good luck, you're on the right track!

 

[Foz]

if that input level red light aint blinking you aint doing it right.

 

[JimmyM]

the gain on the 3 and 4 pro needs to be cranked...when i had one, i'd ignore the light entirely and use my ears. if i heard it distorting, i'd back off slightly until it stopped.

 

[Foz]

and the light flickered...

 

[JimmyM]

right...the light flickered a lot.

 

[Foz]

Verily fear not the settings which yield a flickering red light for there thy tone will prosper.

Oh yeah, and get the bias checked on that amp - it can drift in a 3pro.

 

[prd004]

Been playing one of these for years and years. You have to crank the gain. Turn your -15db pad off, that's for reduced volume practicing or stuff like that.

The red light on these is decieving because we are all trained to believe if the the red peak light comes on, you are running too hot. This might be the case on other amps, or say power amps, but not on this baby. That light should be flickering the whole time you are playing. (It says as much in the owners manual).

I run mine @ 9:00 and my bass is pretty hot, a Lull Jazz with an 18v TBT preamp.

Don't fear the red light, be like the moth and gravitate toward the red light!!!!!!

 

[rickdog]

A few things I've learned from the schematic, and from messing with my 3PRO....

The -15 dB pad comes first, then the first tube, then the gain knob. It's possible to drive that first gain stage into distortion even with the gain knob all the way down, if you have a hot enough signal from your bass.

The peak LED is driven by sensing the signal level at several different stages of the preamp, hitting a high enough signal level at any of these places will light it. EQ settings will affect where in the preamp that happens.

I use a stereo tube mic preamp in front of my 3PRO - I have two basses, and use this to balance their volumes. I run this preamp pretty clean. I turn down the gain knob all the way, and bring up the preamp channel until the peak LED comes on when I play hard, then back off just a little. That sets the level at the first gain stage so that the tube is driven hard but not too hard. Then I turn up the gain to get the LED to flash when I play.

The "tube gain" regulates the power supply voltage to the final tube stages (the only thing after this is the MOSFET current drivers). Turning this down will cause it to saturate sooner and limit the peaks. I run mine usually between 10:00 and noon, which lets me get more than loud enough on stage to keep up with a drummer who plays like he means it (the rest is up to the P.A.). I find that setting it much below this gets mushy sounding.

 

[bstringrandy]

I stay away from the -15db pad and use the gain control to adjust for the basses.

I keep the EQ level (far right) maxed. After setting the rest of the tone settings for the venue, I turn the master off, crank the gain up until the light flashes on a regular basis, then turn the master up to where it needs to be. Tube gain is run about 11 o'clock. No boost switches are used.

 

[Lo-E]

My process is pretty similar to bstringrandy's.

I avoid the pad, set my gain to match the bass (get the light flashing a little) and set the master for the room.

I usually run the EQ pretty close to flat, adjusting slightly for different basses, and I run the tube gain at full or close to full most of the time. I'll back the tube gain down to 3:00 or even noon if I'm looking for an "older" sound. It depends upon the material I'll be playing.

I don't generally use a preamp, compressor or limiter unless recording.