Ooooook... Well. Tried that and it played through my small amp. Hooked it all back up and now it works again. Strange. Oh well. Happy now. False alarm, I guess. Thanks!
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Mesa Boogie Walkabout Mega-thread part Four!
- Thread starter Chef
- Start date
- Status
- Apr 3, 2003
- 35,515
- 19,942
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- Editor-in-Chief, Bass Gear Magazine
I'm just really beginning to enjoy my Walkabout now that I have these cool speakers to go with it!!
Can anyone tell me what frequency corresponds with the 3:00 position on the low parametric band?
Can anyone tell me what frequency corresponds with the 3:00 position on the low parametric band?
You'll just have to look at the numbers that are on there, and extrapolate for yourself.
Or, at least, the blackface have numbers on there.
That lower band runs from 30 to 300, with 60 being straight up.
Or, at least, the blackface have numbers on there.
That lower band runs from 30 to 300, with 60 being straight up.
Thanks - last heard from you at G&L fanclub thread. Hope all's well. Yeah, thought maybe that in all these WA threads there arose a consensus on 3 pm. Just curious, really; that's where my ears are kinda leading me to cut a bit.
Thanks. You can understand it's a little confusing since you and Chef just disagreed in two back-2-back posts.
had the luxury of recording with the walkabout this weekend... simply glorious. for bass we just ran through the DI, using the scout combo for live monitoring purposes and for our hung-from-the-rafters room mic (we recorded in a massssssssive warehouse, 30 ft ceilings, 250 ft long hall). i experimented a bit from track to track with clean and gritty sounds with both my rick and precision and got a great range of flavors. the precision played gently with the pad of my thumb with clean settings was gorgeous on one of the slow songs.
here you can see the other use we found for it... we ran my keyboardist's rig into the Walkabout, set the tweeter low so we wouldn't hurt it, and used a gritty Vox Continental organ sound. we had both cabs going side by side, each with a different mic, lots of gain on the WA, but with the "active" switch engaged to pad the line level signal coming from the keys. worked like a charm, and this was by far the best key sound we've gotten in the studio. usually we just go direct or sometimes run it through his JC-120, but having a closed-back cab with tube drive made a huge difference.
here you can see the other use we found for it... we ran my keyboardist's rig into the Walkabout, set the tweeter low so we wouldn't hurt it, and used a gritty Vox Continental organ sound. we had both cabs going side by side, each with a different mic, lots of gain on the WA, but with the "active" switch engaged to pad the line level signal coming from the keys. worked like a charm, and this was by far the best key sound we've gotten in the studio. usually we just go direct or sometimes run it through his JC-120, but having a closed-back cab with tube drive made a huge difference.
Really?? Interesting... all the Walkabouts I've ever seen say 60 in the noon position on the lower parametric band. I even double checked the mesa site and a picture of an old silver faced model and they both said 60. Are we sure we're talking about the same amp?
Really?? Interesting... all the Walkabouts I've ever seen say 60 in the noon position on the lower parametric band. I even double checked the mesa site and a picture of an old silver faced model and they both said 60. Are we sure we're talking about the same amp?
Interesting yes, and weird. 60 here, BTW.
had the luxury of recording with the walkabout this weekend... simply glorious. for bass we just ran through the DI, using the scout combo for live monitoring purposes and for our hung-from-the-rafters room mic (we recorded in a massssssssive warehouse, 30 ft ceilings, 250 ft long hall). i experimented a bit from track to track with clean and gritty sounds with both my rick and precision and got a great range of flavors. the precision played gently with the pad of my thumb with clean settings was gorgeous on one of the slow songs.
here you can see the other use we found for it... we ran my keyboardist's rig into the Walkabout, set the tweeter low so we wouldn't hurt it, and used a gritty Vox Continental organ sound. we had both cabs going side by side, each with a different mic, lots of gain on the WA, but with the "active" switch engaged to pad the line level signal coming from the keys. worked like a charm, and this was by far the best key sound we've gotten in the studio. usually we just go direct or sometimes run it through his JC-120, but having a closed-back cab with tube drive made a huge difference.
Love to hear clips when yr done.
They must have had a batch of pots with different tapers at some point (my other Blackfaced Walkabout had the same):
Notice that the center values are different for all three parametric controls, but the values to either extreme are the same on all three...
Notice that the center values are different for all three parametric controls, but the values to either extreme are the same on all three...
Really?? Interesting... all the Walkabouts I've ever seen say 60 in the noon position on the lower parametric band. I even double checked the mesa site and a picture of an old silver faced model and they both said 60. Are we sure we're talking about the same amp?
The 60/340/2k version just seems like a mistake by Mesa to me. Why in the world would they not stick with a linear taper pot so you can visually estimate the frequency being selected and the frequencies don't get all jammed closer together as the knob is turned to the right? And yes, I know "use your ears" but I'm speaking from a design perspective. Why?
Buzz, I don't think the 60/340/2K was a mistake by any means. It seems (to me at least) that the vast majority of WB's out there are made this way.
I'm guessing that Mesa went with logarithmic pots due to the way the 3 parametric controls overlap each other. Basically, you have fine control on the very low end, then as that first (lowest frequency) para increases in frequency, it starts to crossover into the beginning region of the next pot, and so on. I'm guessing that because of the minor differences most people may hear at the highest frequencies (above 6-8K), that having fine control on the top end (the last 1/3 of the last pot) wasn't as critical as the rest of the spectrum. Based on how it sounds to me I think they got those controls just right, and wouldn't want it any other way.
I'm guessing that Mesa went with logarithmic pots due to the way the 3 parametric controls overlap each other. Basically, you have fine control on the very low end, then as that first (lowest frequency) para increases in frequency, it starts to crossover into the beginning region of the next pot, and so on. I'm guessing that because of the minor differences most people may hear at the highest frequencies (above 6-8K), that having fine control on the top end (the last 1/3 of the last pot) wasn't as critical as the rest of the spectrum. Based on how it sounds to me I think they got those controls just right, and wouldn't want it any other way.
will do. we should be releasing a free streaming/downloadable EP in the next week or two, as soon as we finish recording vocals, piano, and mix/master everything. considering we started writing these songs around January 1, I'm really impressed with the pace we've been able to get everything done.
just remembered it now, but one of my favorite tones came about through random experimentation... we were laying down a track with kind of a Beatles' "Get Back" vibe, and the guy who wrote the song wanted me playing mostly straight eighths pickstyle. Well the bass part was sounding a bit too much like the Cure or something and wasn't really fitting the song quite right... so for the first time in the several years I've had my Rickenbacker, I actually found a use for the foam string mutes! Recorded it DI with a good amount of gain, I couldn't believe the amount of thud I got out of this bass... kinda like a P-bass with flats tone taken even further.
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Post a funnier picture than the one above - Parallel Universe Edition
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