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Markbass Megathread PART 3

#381
chadds said:
Went after all these threads to GC to pickup an F1.
Sales manager says it's $849 plus $109 for the warranty.
I said oh no it's $849 + tax out the door and this warranty is included.
I told him the US rep for MB said so on TB.
I told him the salesman reduced the price of a LMII and added the warranty which then ended up being $599 + tax out the door.
He looked it up in the system and said oh.
Then he said let me see if the system will let me do this.
It did.
He said he was going to email MB because he may have been over charging folks.
:hmm:
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Location? State?
 
#385
chadds said:
Went after all these threads to GC to pickup an F1.
Sales manager says it's $849 plus $109 for the warranty.
I said oh no it's $849 + tax out the door and this warranty is included.
I told him the US rep for MB said so on TB.
I told him the salesman reduced the price of a LMII and added the warranty which then ended up being $599 + tax out the door.
He looked it up in the system and said oh.
Then he said let me see if the system will let me do this.
It did.
He said he was going to email MB because he may have been over charging folks.
:hmm:
Click to expand...

Guys, that's ridiculous:scowl: There must be some kind of official organizations for customer protection in U.S.
I used to work for such governmental body here in Ukraine and it was responsible for dealing with such cases.

As far as I know (and remember from my not so short stay in CA) almost every company in America is concerned with its public image. :confused:
 
#387
Vic said:
Yeah, but doesn't that just compound the problem? If they're that unskilled, aren't they gonna' just do the same thing to your signal putting eq on top of eq and mess it up even worse? That's what I'm getting at.

Or, are you saying you're going to try to eq your stage rig to compensate for the shortcomings of the FOH sound? Again, YMMV, but IME that's always been a bad deal. Either FOH suffers, stage tone suffers, or both.

The worst problem I've had with even the most limited production guys is they like to pull the high end out of my tone and just make my bass more old school than it really is... thing is, I don't see how you can compensate for that. They have the final word on your tone in FOH. You can feed them a crystalline MTD sound and they can still yank the high end out if they want. Those are the (thankfully rare) cases where I get out there with my wireless and just tell them to add some high end. Has worked ok so far.

All this assumes, of course, your stage sound is not part of what the audience hears.
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See, that's not the problem. I don't want 'high end' or crystaline. I specifically DON'T want that. I want to remove most everything above the mids out of my signal altogether. By removing it at the amp, I know that they're not going to have any to add to the FOH. If I feed a 'full range' signal to the house, they'll want to reproduce the full range.

I don't set up to push the full room, but I do set up so that everyone on stage gets what they need at the volume they need. In the type of music I play, the biggest demand everyone has on stage is bass volume.

The big difference is that when people here talk about 'pro' sound men, most of what they're talking about is guys who see almost all rock and maybe a bit of jazz/blues bands come through a stage...that's not what I do. There are very few pros who mix jamaican music as it is supposed to sound. When we have the luxury we bring a 'friend' to help the FOH get the sound right, but it doesn't always happen that way.
 
#388
BurningSkies said:
See, that's not the problem. I don't want 'high end' or crystaline. I specifically DON'T want that. I want to remove most everything above the mids out of my signal altogether. By removing it at the amp, I know that they're not going to have any to add to the FOH. If I feed a 'full range' signal to the house, they'll want to reproduce the full range.
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Good point. Totally different situation from me. Basically, you're lookin' to cap the signal, I'm looking to keep it open. Obviously, what you're doing makes the most sense for your conditions and goals. I figured there had to be a reason, 'cause I've read enough of your posts to know you're up on this stuff, which is why I phrased my post intentionally as questions instead of criticism (thanks for not reading that in, as well... some might have).

Also, just to clear up one potential thing about me (re: "crystalline" since I brought it up)... even when I play an MTD, I don't necessarily want ALL the high end it can produce... I do like a bright, but controlled high end. FYI if it matters.

The big difference is that when people here talk about 'pro' sound men, most of what they're talking about is guys who see almost all rock and maybe a bit of jazz/blues bands come through a stage...that's not what I do. There are very few pros who mix jamaican music as it is supposed to sound. When we have the luxury we bring a 'friend' to help the FOH get the sound right, but it doesn't always happen that way.
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Great points.

Here's a funny thing... when you say "rock band" referring to sound folks, you also say they tend to add high end... I (clearly) thought the opposite, which is also where part of my confusion about your comments came from. :).

Most of the rock bands I've seen the bass tone is a lot more old school... if anything, they'd take the high end out, not try to support it or add any. Frustrating too, 'cause some of those guys play really nice basses, and I'd really like to hear more of them. Oh well. :D

P.S. Oh, and your avatar still disturbs me... :D
 
#389
Perfect bass amps!
Here is my rig
 

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#391
Vic said:
Good point. Totally different situation from me. Basically, you're lookin' to cap the signal, I'm looking to keep it open. Obviously, what you're doing makes the most sense for your conditions and goals. I figured there had to be a reason, 'cause I've read enough of your posts to know you're up on this stuff, which is why I phrased my post intentionally as questions instead of criticism (thanks for not reading that in, as well... some might have).

Also, just to clear up one potential thing about me (re: "crystalline" since I brought it up)... even when I play an MTD, I don't necessarily want ALL the high end it can produce... I do like a bright, but controlled high end. FYI if it matters.

Great points.

Here's a funny thing... when you say "rock band" referring to sound folks, you also say they tend to add high end... I (clearly) thought the opposite, which is also where part of my confusion about your comments came from. :).

Most of the rock bands I've seen the bass tone is a lot more old school... if anything, they'd take the high end out, not try to support it or add any. Frustrating too, 'cause some of those guys play really nice basses, and I'd really like to hear more of them. Oh well. :D

P.S. Oh, and your avatar still disturbs me... :D
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Its cool! We all live in our own skin, and what is natural to us, may not be to others...We all have different answers to what works in our situations. In my case, I've had more than a few years on stage to learn the hard way and 'hone' my approach to live sound, as you have too.

It really struck me how different everyone's individual tone and sound can be when I went to a GTG and heard a room full of bass players doing 'their thing'. I'm sure it all fits into very specific and unique musical settings when in a band, but it doesn't always make sense outside of that structure.

Lately I've been playing as part of a project that is 100% in the other direction, a very indulgent combination of VERY rockish stuff and I use my LMII flat or even with some treble added and I think it sounds raunchy by itself like that but in a band setting sounds great. I would probably deliver a pre-eq sound in a live setting for that. Its also nice to hear the "other" side of my Dingwall as opposed to the fat warm clean part of it...the cutting edgy bright side of things.

In the end, I do my best to sound right for the song on stage and out front. I don't want to solo or grandstand unless it furthers the song in its arrangement or melody and luckily I play with whole band of people that all say "what's right for the song?"

In reggae I can play loud and low without it getting muddy or washy because there's no one else in my sonic neighborhood and I can still be heard clearly with heavily boosted lows and not much else (yes, I do adjust for room and stage but anyone who plays a lot live knows when they've found their tonal "sweet spot"). Also the highly syncopated nature of the music allows everyone to have their space and melodic content without bumping heads.
 
#392
This evening I finally picked up a new Standard 151HF cabinet for my LMII. I can't believe how light this thing is. It's MUCH easier to lug around than my giant Traynor YCV-18.

I haven't been able to try it out at higher volumes because of the time (don't want to disturb the neighbors), but I had it up to low-moderate levels with my Bergantino HT210s and played it with my Hellcat VI and usual effects pedal array, and was able to dial in a very satisfying full tone, something that has been impossible for me to do until now. I can't wait to try out the rig at practice on Sunday. I just wish my Rivoli was up and running, because I really want to try that out through this thing. I need to find a Gibson mudbucker pronto and have this bass made playable...
 

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