I find a HUGE difference in tone. Very little, if any, in the way of upper treble. A hefty boost in low-mids. I really like it. Sounds very good with flats, which is all I use.
Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
LMII: getting low-mid punch
- Thread starter SteveMoodie
- Start date
I, too, tried the settings Mr moodie suggested. Worked well! I've played with the EQ a lot during the last few yrs gigging w/ the LMII. This one works as well as any I've tried.
Nice suggestion!
Nice suggestion!
Just a quick update. I haven't gigged with the LMII since I posted this. Had 2 gigs and a recording where an SVT-CL and SVT-VR were provided - yummy! Which I guess is the kind of sound that I'm trying to wrangle out of my LMII, though I know I'll never quite get there.
Anyway, I took my rig into the studio I compared the SVT-VR & Ampeg 410 Classic (i think?) to my LMII & AE112/AE112 setup and tried to get a similar vibe. I found that the EQ settings I used in my original post didn't have enough bottom end. So I took my original approach of "cutting" vs "boosting" to get big lows and low-mids without the boominess or honkiness that the LMII can produce . These were the settings that I found were a good starting point (take into consideration that I am using 2x Bergantino AE112's):
LOW at noon. LOW-MID, HIGH-MID, HIGH at 9 o'clock. I did adjust a little bit from there, but always left LOW at noon and never put anything else up to noon. It seemed that it kept the low end big, tight and punchy. I also used this approach in a rehearsal the other day and it sounded great.
Anyway, I took my rig into the studio I compared the SVT-VR & Ampeg 410 Classic (i think?) to my LMII & AE112/AE112 setup and tried to get a similar vibe. I found that the EQ settings I used in my original post didn't have enough bottom end. So I took my original approach of "cutting" vs "boosting" to get big lows and low-mids without the boominess or honkiness that the LMII can produce . These were the settings that I found were a good starting point (take into consideration that I am using 2x Bergantino AE112's):
LOW at noon. LOW-MID, HIGH-MID, HIGH at 9 o'clock. I did adjust a little bit from there, but always left LOW at noon and never put anything else up to noon. It seemed that it kept the low end big, tight and punchy. I also used this approach in a rehearsal the other day and it sounded great.
I had the same concern. After trying many potential solutions I ended up setting the bass and low kids similar to you and using a sadowsky preamp and viola great deep and punchy bass tone. The sadowsky pre bass boost seems like it is better geared toward the right lower frequencies than the markbass pre in the LM. IME
Sansamp VT Bass
I did the low/low mid cut w/ a vt bass at practice today.... oh that was saweeeeeeet
I tried Mr. Moodie's recommendations on my MarkBass F1 and it sounds great with my bass in passive mode for ol' school. With the active on-board engaged it kinda defeats the vibe. I can't wait to try it on Saturday at a gig.
I'll definitely have to give this a go. While I love my LMIII, it definitely doesn't get as round or thick of a sound as my SVT. I think this might be a step in getting me there before adding my VT into the chain.
Last weekend a gig in a sportshall with ca. 500 people "paying audience".
Setup: SWR Workinman 212, Markbass LM II, MM SR5.
Bass at 12' clock, mids both at 9' clock. Treble 12' clock, both filters 9' clock. Soundet awesome!
Setup: SWR Workinman 212, Markbass LM II, MM SR5.
Bass at 12' clock, mids both at 9' clock. Treble 12' clock, both filters 9' clock. Soundet awesome!
Sure!
Why not...?
I suspect there are a few more of us on here too
2 MORE & you might be able to start NZ's 5th most popular bass only parody band
I have a LMII into which I run my P strung with Chromes. This is certainly worth a try. What's the worst that can happen, having to put the knowbs back my current "flat" setting of 12:00 across the board? Big deal.
Nice thread and thanks for the suggestions...
Nice thread and thanks for the suggestions...
Tried it last night at home at decent volume. It definitely accentuates frequencies that I'm not used to from LMII, and I like it! I was afraid of getting lost in the mix with all these "cuts," but all these gig stories tell otherwise!
I tried it too when I got home last nite. Very old skool. I eventually gave the low mids a bump, but otherwise it sounded cool for less busy/very supportive styles such as traditional blues, rock-n-roll & reggae.
Lemme get this straight. Do you mean that when you turn any of the eq knobs away from 12 o'clock that they will control other frequencies other than the ones they're centered on? I would think that turning the low and low-mid knobs down would simply lower the volume of 40 Hz and 360 Hz. So, how is it that something like 150 Hz, for instance comes out more when you do this?
Because you then raise the overall volume with the master volume control to compensate. ie:
if you reduce 40hz and 360hz by 3db, then turn up the master volume by 3 db, 40hz and 360hz are back to where they were and the frequency between (let's say 160hz) is therefore 3db louder.
You've got to remember it's not a flat line joining the knob frequencies, turning up 40hz and 360hz does not automatically turn up the frequencies between by the same amount. They are peak/notch controls, and thus there are gaps inbetween that are not touched. I recommend you look at the graphs in the manual.
