Water pipes from the central heater. It gets cold here in the winter, especially in the basement
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Janky-A Rigs of Doom
- Thread starter S.Harrison
- Start date
Back with more Jank…
Hotone Thunder Bass head, 5 gut punching watts of supposed SVT emulation, into a Kustom PA cab cut in half, with two remaining 8". Hell yeah it works, but for bedroom/practice stuff.
Hotone Thunder Bass head, 5 gut punching watts of supposed SVT emulation, into a Kustom PA cab cut in half, with two remaining 8". Hell yeah it works, but for bedroom/practice stuff.
My "amp-less" setup:
My signal chain explained in written form (currently in the process of rearranging my setup, so this is preliminary basic setup, only consisting of my always on, basic "clean" tone, pedals, my dirt pedals, and the NUX delay mentioned above) :
(*pedals listed in [ red/bold/underline text ] are "always on" effects*)
5 string 28.6" scale Ibanez GSRM20B Mikro Bass (equipped with an EMG Geezer Butler P pickup, and strung with Elixir Nanoweb coated nickel-plated roundwound hex steel core guitar strings, gauge .068 - .052 - .038 - .028, tuned in tenor bass, A standard, tuning, that is as the 4 upper strings of a 6 string bass in regular B standard tuning) ->
->> XVive Undulator (tremolo pedal, but never actually engaged and used exclusively for its great buffer) ->> EHX Black Finger (tube driven optical compressor, with 2 preamp tubes operating at proper high 300V plate voltage, primarily functioning as a tube preamp stage, driven to just at the edge of the tubes's breakup point, but with some very subtle compression dialed in as well) ->> TC Electronic Sub'N'Up Mini (for adding a 1 octave up, mimicking an effect somewhat similar to that of an 8 string bass, using a custom made Toneprint) ->> EHX English Muff'n (Marshall like medium gain overdrive) ->> Boss LS-2 [A+B Mix <-> Bypass] (parallel effect loops mixer/switch) ={ [Loop A Send] ->> Mosky Black Rat (RAT clone, in Turbo RAT, LED diode clipping, mode, quite raunchy, fuzz-esque, high gain distortion, sometimes stacked into the Behringer fuzz in front of it, and always mixed with the Joyo Orange Juice orverdrive from parallel effects [Loop B]) ->> Behringer SF300 Super Fuzz (Boss FZ-2/Univox Superfuzz clone, octave fuzz, always used with the Mosky Black Rat stacked into it, and always mixed with the Joyo Orange Juice orverdrive from parallel effects [Loop B]) ->> [Loop A Return] ->|+|<- [Loop B Send] ->> Joyo Orange Juice (Orange amp like medium gain overdrive, always mixed with either the Black Rat or {Black Rat -> Super Fuzz} from parallel effects [Loop B]) ->> [Loop B Return] ([Loop A] + [Loop B] mixed at an approximate 70/30 ratio) => [LS-2 Output] }=>->> Boss LS-2 [A+B Mix <-> Bypass] (parallel effect loops mixer/switch) ={ [Loop A Send] ->> Joyo Oxford Sound (clone of the Tech 21 Oxford, which is an all analog emulation of an Orange Amp type preamp, dialed in to deliver a low gain overdrive, always used blended with "clean" signal from parallel effects [Loop B]) ->> [Loop A Return] ->|+|<- [Loop B Send] ->> ([Loops B] empty, used to blend in "clean" signal) ->> [Loop B Return] ([Loop A] + [Loop B] mixed at an approximate 50/50 ratio) => [LS-2 Output] }=>->> Zoom B1Xon (used predominantly as reverb and delay unit, with various different reverb and delay patches, including my always on {very subtle Plate Reverb -> subtle Spring Reverb} reverb patch that is part of my basic "clean" tone, and beside that, among others, an extremely thick, lush reverb patch, used as a pad effect with volume swells from the build in expression pedal, and a trippy reverse delay patch, though also used for a couple of additional other effects, including a prominent "wah" pedal patch) ->> Boss MT-2 Metal Zone (post reverb high gain distortion, often used stacked into the Orange Juice in front of it) ->> Joyo Orange Juice (Orange amp like post reverb medium gain overdrive) ->> NUX Tape Core Deluxe (amazing digital emulation of the legendary Roland RE-201 Space Echo tape delay) ->> NUX (NBP-5) Melvin Lee Davis Bass Preamp + DI (loaded with a digitally emulated Aguilar Tone Hammer amp, and an Ampeg SVT-212AV IR cab simulation, with HPF @40Hz, LPF @14kHz, and a subtle low gain overdrive blended in at a 50/50 clean/drive ratio) ->
->> ART Tube MP Project Series (tube preamp and DI, with build in HPF, fixed @40Hz, engaged, tube driven to just on the verge of breakup point) ->
// ->> Band rehearsal/jamming/gigging // ->> Home practice // ->> Home recordings // :
// ->> Band rehearsal/jamming/gigging ->> Effects Return (poweramp input) of a Peavey Solo Special 112 (160W combo amp, with the build in speaker disconnect and instead hooked up to a passive PA speaker) ->> The Box PA 502 (passive full range flat frequency response PA speaker with 1x 15" woofer/mids driver + 1.7" high frequency tweeter horn (crossover 2.3kHz)) // ->> Home practice ->> The T.Mix Mix 502 (mixer) ->> Sennheiser HD 380 Pro (studio grade, that is FRFR, headphones) // ->> Home recordings ->> M-Audio Fast Track (audio interface) ->> Reaper (DAW) //
My signal chain explained in written form (currently in the process of rearranging my setup, so this is preliminary basic setup, only consisting of my always on, basic "clean" tone, pedals, my dirt pedals, and the NUX delay mentioned above) :
(*pedals listed in [ red/bold/underline text ] are "always on" effects*)
5 string 28.6" scale Ibanez GSRM20B Mikro Bass (equipped with an EMG Geezer Butler P pickup, and strung with Elixir Nanoweb coated nickel-plated roundwound hex steel core guitar strings, gauge .068 - .052 - .038 - .028, tuned in tenor bass, A standard, tuning, that is as the 4 upper strings of a 6 string bass in regular B standard tuning) ->
->> XVive Undulator (tremolo pedal, but never actually engaged and used exclusively for its great buffer) ->> EHX Black Finger (tube driven optical compressor, with 2 preamp tubes operating at proper high 300V plate voltage, primarily functioning as a tube preamp stage, driven to just at the edge of the tubes's breakup point, but with some very subtle compression dialed in as well) ->> TC Electronic Sub'N'Up Mini (for adding a 1 octave up, mimicking an effect somewhat similar to that of an 8 string bass, using a custom made Toneprint) ->> EHX English Muff'n (Marshall like medium gain overdrive) ->> Boss LS-2 [A+B Mix <-> Bypass] (parallel effect loops mixer/switch) ={ [Loop A Send] ->> Mosky Black Rat (RAT clone, in Turbo RAT, LED diode clipping, mode, quite raunchy, fuzz-esque, high gain distortion, sometimes stacked into the Behringer fuzz in front of it, and always mixed with the Joyo Orange Juice orverdrive from parallel effects [Loop B]) ->> Behringer SF300 Super Fuzz (Boss FZ-2/Univox Superfuzz clone, octave fuzz, always used with the Mosky Black Rat stacked into it, and always mixed with the Joyo Orange Juice orverdrive from parallel effects [Loop B]) ->> [Loop A Return] ->|+|<- [Loop B Send] ->> Joyo Orange Juice (Orange amp like medium gain overdrive, always mixed with either the Black Rat or {Black Rat -> Super Fuzz} from parallel effects [Loop B]) ->> [Loop B Return] ([Loop A] + [Loop B] mixed at an approximate 70/30 ratio) => [LS-2 Output] }=>->> Boss LS-2 [A+B Mix <-> Bypass] (parallel effect loops mixer/switch) ={ [Loop A Send] ->> Joyo Oxford Sound (clone of the Tech 21 Oxford, which is an all analog emulation of an Orange Amp type preamp, dialed in to deliver a low gain overdrive, always used blended with "clean" signal from parallel effects [Loop B]) ->> [Loop A Return] ->|+|<- [Loop B Send] ->> ([Loops B] empty, used to blend in "clean" signal) ->> [Loop B Return] ([Loop A] + [Loop B] mixed at an approximate 50/50 ratio) => [LS-2 Output] }=>->> Zoom B1Xon (used predominantly as reverb and delay unit, with various different reverb and delay patches, including my always on {very subtle Plate Reverb -> subtle Spring Reverb} reverb patch that is part of my basic "clean" tone, and beside that, among others, an extremely thick, lush reverb patch, used as a pad effect with volume swells from the build in expression pedal, and a trippy reverse delay patch, though also used for a couple of additional other effects, including a prominent "wah" pedal patch) ->> Boss MT-2 Metal Zone (post reverb high gain distortion, often used stacked into the Orange Juice in front of it) ->> Joyo Orange Juice (Orange amp like post reverb medium gain overdrive) ->> NUX Tape Core Deluxe (amazing digital emulation of the legendary Roland RE-201 Space Echo tape delay) ->> NUX (NBP-5) Melvin Lee Davis Bass Preamp + DI (loaded with a digitally emulated Aguilar Tone Hammer amp, and an Ampeg SVT-212AV IR cab simulation, with HPF @40Hz, LPF @14kHz, and a subtle low gain overdrive blended in at a 50/50 clean/drive ratio) ->
->> ART Tube MP Project Series (tube preamp and DI, with build in HPF, fixed @40Hz, engaged, tube driven to just on the verge of breakup point) ->
// ->> Band rehearsal/jamming/gigging // ->> Home practice // ->> Home recordings // :
// ->> Band rehearsal/jamming/gigging ->> Effects Return (poweramp input) of a Peavey Solo Special 112 (160W combo amp, with the build in speaker disconnect and instead hooked up to a passive PA speaker) ->> The Box PA 502 (passive full range flat frequency response PA speaker with 1x 15" woofer/mids driver + 1.7" high frequency tweeter horn (crossover 2.3kHz)) // ->> Home practice ->> The T.Mix Mix 502 (mixer) ->> Sennheiser HD 380 Pro (studio grade, that is FRFR, headphones) // ->> Home recordings ->> M-Audio Fast Track (audio interface) ->> Reaper (DAW) //
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Correction:
That is obviously a 4, and not 5, string Mikro Bass, and it is actually tuned to one half step higher, the is A# standard tuning, as in one half step above the 4 upper strings of a 6 string bass in regular B standard tuning.
I saw the description before the image and imagined you needlessly hacking a big pickup rout with a spoon into a wee five-string so you could get Tony Levin funk fingers string spacing on a tiny four-string, and while that would probably up the jank on paper, what I saw when I scrolled on somehow failed to disappoint
I have your Peavey's older cousin, a late 80s Special 150, and have used it before with the internal 12" Scorpion disconnected and instead powering a 4-ohm AudioKinesis 4 x 8" cab, or a pair of 8-ohm 1 x 15" PA cabs. It works well for basement band practice volume levels.
I've been a stranger, but I want it known that I'm maintaining a relationship with the jank.
My homemade rack case is still in use, and still contains a (guitar) Behringer V-amp Pro feeding a Crown MicroTech 600 power amp…but it's feeding a Hartke 410 XL cab for basement band jam use these days:
The AudioKinesis 4 x 8" cab this rack was pictured with earlier in this thread is still around, outperforms this Hartke in most ways—even sound distribution, clean lows, solar plexus impact on low notes, high end extension, ease of carrying, rejection of pet hair and lawn chaff.
But the Hartke has mids that sound nice in our band mix, so the AudioKinesis is my home cab right now.
Sometimes this orphan Peavey SP5ti PA cab that lives in the practice space gets pressed into duty underneath the Hartke also. It has a dead HF horn but the 15" Scorpion works, and despite all the talk of (4 x 10) + (1 x 15) = sub-optimal, and PA enclosure = not ideal for bass guitar amplification…the combination sounds pretty good! Fuller and smoother with both together than with the Hartke alone. And it seems to be stable when stacked, while looking janky:
So my recent purchase of a can of Duratex to coat the rack case with might seem a little incongruous. I just made my free scrap homemade rack case cost almost as much as the power amp or Hartke cab did. But so what. Glopping that stuff on was kind of fun, and now my case is both heavy and bumpy-textured.
My homemade rack case is still in use, and still contains a (guitar) Behringer V-amp Pro feeding a Crown MicroTech 600 power amp…but it's feeding a Hartke 410 XL cab for basement band jam use these days:
The AudioKinesis 4 x 8" cab this rack was pictured with earlier in this thread is still around, outperforms this Hartke in most ways—even sound distribution, clean lows, solar plexus impact on low notes, high end extension, ease of carrying, rejection of pet hair and lawn chaff.
But the Hartke has mids that sound nice in our band mix, so the AudioKinesis is my home cab right now.
Sometimes this orphan Peavey SP5ti PA cab that lives in the practice space gets pressed into duty underneath the Hartke also. It has a dead HF horn but the 15" Scorpion works, and despite all the talk of (4 x 10) + (1 x 15) = sub-optimal, and PA enclosure = not ideal for bass guitar amplification…the combination sounds pretty good! Fuller and smoother with both together than with the Hartke alone. And it seems to be stable when stacked, while looking janky:
So my recent purchase of a can of Duratex to coat the rack case with might seem a little incongruous. I just made my free scrap homemade rack case cost almost as much as the power amp or Hartke cab did. But so what. Glopping that stuff on was kind of fun, and now my case is both heavy and bumpy-textured.
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I know but in some circles, this is Jank…
At least the room is for sure
At least the room is for sure
The Comb Filter Cops are going to be banging on your door soon for mixing cabs.
I know huh?
I found my best setting yesterday of turning the tweeter full on the Mesa cab and turn off the tweeter on the Aguilar letting the full bloat of fat mix with the Mesa's nice even tone. Increasing the jank factor about ten feet out
Old Torque amps were actually pretty good, additional in for key also helps..
below that is my first amp.. a homemade thingy with no way to trace back the origins
below that is my first amp.. a homemade thingy with no way to trace back the origins
Same basic rig, with added effects in the signal chain, and a new, this time, yes, 5 string GSRM25 Mikro Bass:
My "amp-less" setup:
My signal chain explained in written form:
(*pedals listed in [ red/bold/underline text ] are "always on" effects*)
5 string 28.6" scale Ibanez GSRM25 Mikro Bass (strung with Elixir Nanoweb guitar strings, of the gauges .080 - .062 - .046 - .036 - .026, tuned in G# standard tuning, that is one half step bellow the upper 5 strings of a 7 string bass in regular B standard tuning) ->
->> XVive Undulator (tremolo pedal, but never actually engaged and used exclusively for its great buffer) ->> EHX Black Finger (tube driven optical compressor, with 2 preamp tubes operating at proper high 300V plate voltage, primarily functioning as a tube preamp stage, driven to just at the edge of the tubes's breakup point, but with some very subtle compression dialed in as well) ->> TC Electronic Sub'N'Up Mini (for adding a 1 octave up, mimicking an effect somewhat similar to that of an 8 string bass, using a custom made Toneprint) ->> DigiTech FreqOut (feedback generator) ->> EHX English Muff'n (Marshall based genuine tube preamp/overdrive) ->> Boss TR-2 Tremolo ->> EHX Tri Parallel Mixer (parallel effect loops mixer/switch) ={ [Channel 3]: ->> clean blend (bridged send/return for extra clean blend mix, depending) |+| [Channel 2]: ->> Monarch MFL-22 Stereo Flanger (basically a rebranded Arion) |+| [Channel 1]: ->> Behringer VP1 Vintage Phaser (clone of the original big box EHX Small Stone) ->> [Return Loop 1-2-3] (each loop soloed with parallel clean blend, or combined in various ways) }=>->> Boss LS-2 [A+B Mix <-> Bypass] (parallel effect loops mixer/switch) ={ [Loop A Send] ->> Mosky Black Rat (RAT clone, in Turbo RAT, LED diode clipping, mode, quite raunchy, high gain distortion, always used blended with "clean" signal from parallel effects [Loop B]) ->> [Loop A Return] ->|+|<- [Loop B Send] ->> clean blend ([Loops B] empty, used to blend in "clean" signal) ->> [Loop B Return] ([Loop A] + [Loop B] mixed at an approximate 60/40 ratio) => [LS-2 Output] }=>->> Boss LS-2 [A+B Mix <-> Bypass] (parallel effect loops mixer/switch) ={ [Loop A Send] ->> Joyo Oxford Sound (clone of the Tech 21 Oxford, which is an all analog emulation of an Orange Amp type preamp, dialed in to deliver a high gain overdrive, always used blended with "clean" signal from parallel effects [Loop B]) ->> [Loop A Return] ->|+|<- [Loop B Send] ->> clean blend ([Loops B] empty, used to blend in "clean" signal) ->> [Loop B Return] ([Loop A] + [Loop B] mixed at an approximate 60/40 ratio) => [LS-2 Output] }=>->> Zoom B1Xon (used predominantly as reverb and delay unit, among those an always on {subtle plate reverb -> subtle spring reverb} patch, additionally with various different reverb and delay patches, among others, an extremely thick, lush reverb patch, used as a pad effect with volume swells from the build in expression pedal, and a trippy reverse delay patch, though also used for a couple of other types of effects) ->> Mosky XP Booster (Xotic EP Booster V.1 clone) ->> EHX Pico Deep Freeze (sample sustainer) ->> NUX Tape Core Deluxe (amazing digital emulation of the legendary Roland RE-201 Space Echo tape delay, most of the time dialed in to deliver a lush reverb like effect) ->> NUX (NBP-5) Melvin Lee Davis Bass Preamp + DI (loaded with a digitally emulated Aguilar Tone Hammer amp, and an Ampeg SVT-212AV IR cab simulation, with HPF @40Hz, LPF @14kHz, and a subtle low gain overdrive blended in at a 50/50 clean/drive ratio) ->> Boss RC-500 Loop Station ->
->> ART Tube MP Project Series (tube preamp and DI, with build in HPF, fixed @40Hz, engaged, tube driven to just on the verge of breakup point) ->
// ->> Band rehearsal/jamming/gigging // ->> Home practice // ->> Home recordings // :
// ->> Band rehearsal/jamming/gigging ->> Effects Return (poweramp input) of a Peavey Solo Special 112 (160W combo amp, with the build in speaker disconnect and instead hooked up to a passive PA speaker) ->> The Box PA 502 (passive full range flat frequency response PA speaker with 1x 15" woofer/mids driver + 1.7" high frequency tweeter horn (crossover 2.3kHz)) // ->> Home practice ->> The T.Mix Mix 502 (mixer) ->> Sennheiser HD 380 Pro (studio grade, that is FRFR, headphones) // ->> Home recordings ->> M-Audio Fast Track (audio interface) ->> Reaper (DAW) //
.
Where my jank purveyors at
This thread must live on
Do I need to get another rig together myself?
This thread must live on
Do I need to get another rig together myself?
This is always the answer.
I've been away from the Jank for some time, but today I felt it calling me back...
"The road goes ever on and on, down from the jank where it began."
As a fellow Tolkien fan, I feel compelled to finish (and slightly alter) this...
The tone goes ever one and on,
Down from the jank where it began
Now far ahead my tone has gone,
And I must improve, if I can,
Pursuing inexpensive rigs,
Until I join some paying gig,
Where drums, and bass, and guitar meet.
And whither then? A meet and greet?
