Kindly help me catchup 30 years.

[Jhili]

@dbsfgyd1: May I ask what profession you have/had?

@MultiScaleMale: Thank you for the warning about the snappy handles, the Mesa 210 is indeed one of my top contestants.

 

[dbsfgyd1]

@dbsfgyd1: May I ask what profession you have/had?

@MultiScaleMale: Thank you for the warning about the snappy handles, the Mesa 210 is indeed one of my top contestants.

Finance, mostly working in banks, and S&Ls as a financial advisor. But over the years I also originated loans and for a time rebalanced institutional investment portfolios. I had securities registrations and insurance licenses.

The amazing thing is, with all that turmoil, I never missed a pay check and surprisingly my income was pretty consistent adjusted for inflation .Which considering most of the time I worked on incentive pay, what I found was a really good month meant something pretty expensive was coming around the corner.

 

[Jhili]

I have no knack for finances, I always buy bass stuff

 

[dbsfgyd1]

I have no knack for finances, I always buy bass stuff

That’s ok. i’t’s not like our school systems thought something like this might be important to learn. I learned all about mutual funds on a street corner from a friend of mine when I was 12.

My market niche, was doing financial reclamation projects for people over age 40 with student loans and deferred payment coming due that weren’t taught any marketable job skills along with that sheepskin, and wondering how they were going to retire some day.

 

[Ejek]

Like others in this thread, I had a hiatus from playing bass - 20 years in my case - life and kids took centre stage. Got back into playing 2 years ago. I sold off my Eden WT800 and 4x10 (such a great sound) and since then have been using a pair of Ampeg SVT-210AV cabinets powered by an Aguilar Tonehammer-350 head. I can’t believe how good these things are for their size - the head weighs less than my bass, and I can easily carry one cab in each hand! This rig is more than I need for everywhere I play; I play silent stages at church or coffee-shop/cafes. At church I just take the head and use the built in DI. For cafes I only use one of the 2x10 cabs and spend my time wishing I had a less powerful head -100W would be heaps.

Welcome back on board. Enjoy the journey.

 

[Jhili]

Is the Aguilar fan as loud as so many suggest? It is the only thing that keeps me off them.

 

[Ejek]

Is the Aguilar fan as loud as so many suggest? It is the only thing that keeps me off them.

Not at the volume I run it. Generally I have the gain between 9:00 and 10:00 o clock, and the master anywhere between 9:00 and 11:00, rarely higher. This is into a 4 ohm load. Fan is barely audible - not problematic- to my ears between songs, standing 3 feet away.

I should probably add that I do not have the head in a case of any kind - it just sits naked on top of my cab(s). Settings from last gig shown in photo.

 

[Jhili]

Would you consider it "loud" (as many describe it) in a bedroom practice situation?
Maybe that is what they mean.

 

[Ritter667]

Second problem is, I can't wrap my mind around different tones. Very often, reading through the threads, I found that people experience the cabinet to be more important than the amp for your sound. But we have a billion threads about amps and barely (in relation) cabinet comparisons. Why is that? It furthermore rather irritates me that the reference to mids, highs, etc. is, well, let's say not standardised. One calls 1,2kHz highs, the next uses highs above 8kHz. Mids from 400 to 1k? So thinking what an amp with pronounced mids may sound like is more guessing than knowledge.

Taste, preferences, and priorities I would say, rather than guesswork.

Also all these have different curves and bandwidths at which the curve stretch, so while they might have different center frequencies some of them might obtain much of the same.

Just as with most thing a one ultimate greatest bass tone does not exist.

It is all very subjective.

So you need to ask yourself, what do I like and want, then how do I achieve this, rather than searching for an objectively greatest tone, cause such does not exist.


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, modulation and other special effects has not been set up yet) :


(*pedals listed in [ red/bold/underline text ] are "always on" effects*)


5 string 28.6" scale Ibanez GSRM20B Mikro Bass (with stock J bridge pickup wired directly to output jack socket, strung with Elixir Nanoweb coated nickel-plated roundwound hex steel core guitar strings, gauge .080 - .062 - .046 - .032 - .024, tuned in tenor/baritone bass, A standard, tuning, that is as 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) ->> 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 or {Orange Juice -> Metal Zone} 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 or {Orange Juice -> Metal Zone} 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]) ->> Boss MT-2 Metal Zone (dialed in with a medium gain distortion, always mixed with either the Black Rat or {Black Rat -> Super Fuzz} from parallel effects [Loop B], and always with the Orange Juice in front of it stacked into it) ->> [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) ->> Behringer UM300 Ultra Metal (Metal Zone clone, 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) //

 

[Jhili]

I think my country is not big enough for that board

 

[Ejek]

Would you consider it "loud" (as many describe it) in a bedroom practice situation?
Maybe that is what they mean.

I don’t use it for private practice at home, so can’t really comment. I practice using my pedal board and headphones.

 

[Jhili]

Thank you nevertheless.