If you want my Jan 5751, I'll let you have it for what I've got in it, which isn't much. It's a great tube, I just like the slightly bigger/wider tone I get from the stock tube or the Tung-Sol.
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.
Mesa M6 Carbine Mega-Thread Pt Deux
- Thread starter Chef
- Start date
- Status
I have to agree that some amps or preamps take to a tube swap much better than others and did notice in my previous Mesa 400+ the preamp tubes Mesa chose were the best. The amp took well to power tube changes though. I usesd Svetlana 6L6's and like them.
I guess by 'whoosh' I might clarify my take a bit further by comparing it to less decay of the note with the M6. Sort of like a round wound wound string doesn't decay as fast as the flat wound. So in that comparison I mean the lows end a bit faster with the DB750 if that helps to explain. Sorry I'm not great at articulating this stuff very well. shrug.
I guess by 'whoosh' I might clarify my take a bit further by comparing it to less decay of the note with the M6. Sort of like a round wound wound string doesn't decay as fast as the flat wound. So in that comparison I mean the lows end a bit faster with the DB750 if that helps to explain. Sorry I'm not great at articulating this stuff very well. shrug.
My M6 came today from anther TB'er. 
Seems like a nice package. I'll mess with it a bit first, but I may take it to a gig this weekend with the NV610. (and leave the SVT at home)
Seems like a nice package. I'll mess with it a bit first, but I may take it to a gig this weekend with the NV610. (and leave the SVT at home)
Should have mine by tuesday!
Just to check (saw a couple of posts earlier, but want to confirm), will the Carbine fit in a shallow rack with a depth of 35.5 cm with cables staying connected?
Just to check (saw a couple of posts earlier, but want to confirm), will the Carbine fit in a shallow rack with a depth of 35.5 cm with cables staying connected?
I'm hoping you do take the M6/NV610 and then give us a full report, the more details the better.My M6 came today from anther TB'er.
I posted this up in the Strings forum in a thread about flat strings, but I thought I'd post it here as well since I wrote about the amp settings and cab combos.
I'm diggin the M6. It is such a solid product. It is clean and punchy and just plain works. Sometimes I get a bit frustrated because I keep looking for "the" sweet spot, but can't find it... because there isn't just one. Every time I flip the dials around, I find another useful tone. I dig having the 115 and 212 PH cabs since they have such different (but useful)voicings, and they work well together. Of course, the mission-control style knob/switch configuration on the $$ helps quite a bit in the versatility department as well.
I'm diggin the M6. It is such a solid product. It is clean and punchy and just plain works. Sometimes I get a bit frustrated because I keep looking for "the" sweet spot, but can't find it... because there isn't just one. Every time I flip the dials around, I find another useful tone. I dig having the 115 and 212 PH cabs since they have such different (but useful)voicings, and they work well together. Of course, the mission-control style knob/switch configuration on the $$ helps quite a bit in the versatility department as well.
Wow...that's some heavy bottom there. If I did that, walls would tumble to the ground!
It is cool how many great tones are burried in the M6.
Yeah, it is pretty rumbly, and it came through on the recording as probably a bit closer to boomy than I would call "ideal" but it wasn't anywhere near mud. Keep in mind, my gain wasn't cranked super high and I have dropped the pickup height so that the big $$ pickups don't just hammer the input. It also allows me to use the single coil setting to get the attack characteristics I like without giving up the phat the humbuckers provide.
This project is getting out of hand here. I got the nice chrome dpdt switches and the 1/4" jacks alright. I can't find a box to fit 5 switches so my big feet won't stomp two at once. Where to go...?
You'd think it would be easy, but no one makes a 5 pair cable of decent size. I'm thinking I'll have to group 5 sets of speaker wires together with some flextech braid and shrink tubing unless anyone's got an idea.
Help?
You'd think it would be easy, but no one makes a 5 pair cable of decent size. I'm thinking I'll have to group 5 sets of speaker wires together with some flextech braid and shrink tubing unless anyone's got an idea.
Help?
I'm sat here in the office with my new M6 Carbine head on my desk and a few hours until I can take it home for a test drive!
Had to order the Mesa Head-'case' version as prices go up shortly in Europe and this was the only one in stock. Will be racking it though and selling off the case to make it a bit lighter and more portable.
Can't wait for this evening.....and then rehearsals on Wednesday!
Had to order the Mesa Head-'case' version as prices go up shortly in Europe and this was the only one in stock. Will be racking it though and selling off the case to make it a bit lighter and more portable.
Can't wait for this evening.....and then rehearsals on Wednesday!
I'd have thought the grounds were common(not sure though), in which case you'd only need 6 conductor wire. Easy enough to test. Mesa makes a 5 button pedal you could use as a basis:
Link Removed
You're having some boom issues and yet you have the deep option enabled and the mids scooped and bass boosted with mid setting 2? That seems a bit counter-productive. First thing I'd do is push that back in to enable the high pass filter to tighten up that low end, and put the mid selector at setting 3 (flat). Am I missing something?monsterthompson said:
You're having some boom issues and yet you have the deep option enabled and the mids scooped and bass boosted with mid setting 2? That seems a bit counter-productive. First thing I'd do is push that back in to enable the high pass filter to tighten up that low end, and put the mid selector at setting 3 (flat). Am I missing something?
It isn't super boomy, but it is getting close to it. The "live" sound in the studio was good, but the way the mic picked it up and the resulting sound on the un-mixed track came back a bit closer to boomy than I would consider ideal. Had it been bad, I would have gone back and redone it. The guitars and keys haven't been layered on yet, so we will wait and see what the full mix sounds like before making any changes.
As for the boost being pulled, I'm not using it to get more bass, I'm using it for the change in the bass tone that it gives (inspired by Chef's settings he described earlier in the thread), which is why I left it set at the noon position. Without it pulled, I would run it a bit higher. Having switched to flat strings changed my tone enough that I don't need as much bass, and I like the more "open" feel of the boost engaged. I've found that it does at a bit more trebble to the sound, as does using position 2, so I needed to roll that off a bit. With the single-coil tap setting using the bridge pickup, I get a tone that I like with just enough bump that I don't need the cut. Rolling back the trebble also helps minimize the 60hz hum.
BTW - I noticed that when writting parts or learning new parts, I found myself using the mid-boosted settings to "hear" myself more, and then once I had a part I liked, I pulled back to the flat or mid-cut settings to hide away in the mix and leave the mid-range for the guitar and keys. I'm beginning to conisder using the foot-switch jack to tweak the settings a bit for songs and sections where the bass is a more featured instrument. Has anyone out there been using the footswitch to change the mid settings? I'm assuming if you set the footswitch jack in position 4 and had the switch engaged, that it would give you the tone of setting 4. My question is, when you disengage the switch, does it go to position 3 (flat) or does it default to the setting the knob on the face of the amp is at?
Cool idea!
On the footswitch, not quite...
All those filters are in parallel inside the head, so whatever you engage from the pack panel, which can be more than one at a time, is engaged AS WELL AS whatever is set on the front panel. It's just that the rotary switch on the front only gives you access to one at a time. It could just as easily have been a series of 4 latching push buttons that could be used in any combination (which is the same way the footswitch jacks can be used).
So if you want to basically bounce back and forth bewteen 3 and 4, the way to do it would be to set the rotary at 3 and use the footswitch to turn 4 on and off.
Interesting. So if I wanted to bounce between 2 and 4 and set the front at 2 and engaged 4 via footswitch I would get the same as if I engaged 2 & 4 at the same time which could put me in the neighborhood of 3 (since 3 is flat)??? I'm guessing if that is the approximation, I would need to get to 4 by setting the front pannel knob at 2 and using a footswitch to get to 5 to offset the mid-cut of the 2? I'm guessing that math isn't perfect, so the tone will be slightly different, but roughly get me there. Thoughts?
No, I'd never combine a dip with a peak to approximate "flat". The only way to bounce between 2 and 4, would be to set the rotary to flat and literally do it via the foot switch by disabling 4 and then enabling 2, then disabling 2 and enabling 4. You could make a custom footswitch for some things. It'd be up to you if the effort would be worth it.
- Status
