OK, I gave up on the Comp for now and put in a tuner instead. Anybody think it'll overheat in this SKB thing?
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Mesa M6 Carbine Mega-Thread Pt Deux
- Thread starter Chef
- Start date
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Yeah, I noticed when I had the top off of mine the transformer is labeled the same way.
In all fairness to Mesa, since it's a toroidal trans, it's held by one long bolt. And it's pretty hefty. I think it's more a 'loosened during the truck ride from California to Connecticut' thing, rather than a QC thing. I tightened it and can't see it ever loosening again.
Looks like you 'compressor in the effects loop' guys need to unload your M6s quickly.....
I'm here.
That's the great thing about TB. The folks are just so darn helpful.
Back to the FX loop thing. It is still not resolved in my mind. The Mpulse line has a wet/dry mix on the FX loop and so did my older aguilar pre with the FX loop in parallel. The BB750 and the M6 have the same instructions on the FX loop, however the BB750 has a dedicated DI level control so it's master must not affect the FX loop or the DI output. The M6 master obviously affects the DI in post mode. So my questions are 1. Why would you not run a post DI signal to the FOH absent of any other processing if you were happy with the tone from the head and 2. What is the purpose of the FX signal if not really useable by the compressor? I mean I have had some effects that have a tendency to distort with too much signal and if the master controls the level to the FX I would assume this could be a potential problem in addition to the compressor issues.
1) It's argued but generally agreed that sending POST to FOH is pointless as it will not sound like your rig anyway, and may cause the soundman problems. Mic'ing a cab is better if you want 'your sound' out there.
2) Depends on the effect unit, obviously. Something like a graphic EQ would probably be fine. Not so good with a comp. where the gain ends up chasing it's own tail.
If I feed FOH, I prefer to mic the cab, with post eq being my second choice.
In an ideal world, the soundguy would do both, and blend to my personal taste
A lotta times, it's just me and my rig.
Generally ok with me. I been doing that for a lotta years, and have a fair idea of how to blend myself into the mix/room appropriately.
(true, it does sometimes involve killing a few people. small price for good tone).
In an ideal world, the soundguy would do both, and blend to my personal taste
A lotta times, it's just me and my rig.
Generally ok with me. I been doing that for a lotta years, and have a fair idea of how to blend myself into the mix/room appropriately.
(true, it does sometimes involve killing a few people. small price for good tone).
Ha! I remember that, good one.If I feed FOH, I prefer to mic the cab, with post eq being my second choice.
In an ideal world, the soundguy would do both, and blend to my personal taste
A lotta times, it's just me and my rig.
Generally ok with me. I been doing that for a lotta years, and have a fair idea of how to blend myself into the mix/room appropriately.
(true, it does sometimes involve killing a few people. small price for good tone).
I do four kinds of gigs.
Big, loud theatre or club, often multi-band. Mic only, easy choice since the soundman doesn't have to deal with everybody's differing ideas of what a good Post DI sounds like. He sets the mike channel once, essentially. Works.
Medium club, my band only. Here we sometimes do a Post DI, if it seems like a good idea. More often Pre. I'll try and get out front during SC to A/B the sounds. We might also mic it, or not-depends on the room. Sometimes stage volume is enough to fill it out without mic' ing.
Small club-no bass in the PA. This one's easy. The killing is still hard though, even after all these years.
Studio: Post DI into console direct or thru Neve strip from my SM900, and mic a well-cranked 2x10 or 4x10 Goliath cab in the vocal booth. Blend to suit. Haven't yet tried the M6 in this environment.
gregbackstrom
These aren't stock curves--things move around!
It sounds like I should be pretty happy with my deal: M6 in headcase for $1,100. I got it from a store that was planning to send it back to MB. (Apparently they received one by mistake that they didn't order.)
I got it home tonight, set it on top of my MB Powerhouse 1000, and turned it on. Wow! Now I see why there's so much buzz about this amp!
- Greg
To your response to Saluki.....+1.. not only pointless, but often a real problem. The EQ you use to get your little bass cab to sound good on stage has no relationship to the tone profile that you need at the board to send a hopefully similar tone to the typically much larger and MUCH differently voiced front of house systems.
So if you mic it and then you change your stage volume you still have affected the FOH
. That's it, I won't stand for it, I am going back to my BB750. JK.
I play in a large church with a great FOH support. Although the guys running it are volunteers (some better than others, but always changing). I don't really want a sterile FOH tone and that is why I was hoping to run a post DI sig. To get a better tone without micing.
. That's it, I won't stand for it, I am going back to my BB750. JK.I play in a large church with a great FOH support. Although the guys running it are volunteers (some better than others, but always changing). I don't really want a sterile FOH tone and that is why I was hoping to run a post DI sig. To get a better tone without micing.
Yeah, but how will you know it's "better tone"? You won't be sitting in the audience listening to it, and even if you did set it up to sound good in FOH during a sound check, that might not translate to good stage tone.
Don't underestimate the ability of your bass to sound great right out of the output jack mixed into a big system like a PA. Unless they're complete blithering idiots (in which case they should be nowhere near the board), it's not going to sound bad. Seriously. Also, if you start changing things, that would only serve to confuse them and maybe give them something they can't deal with. Remember, boards have very limited EQ per channel, but LOTS of EQ for the entire system (which is really the way it should be). Seriously, go dry.
Yeah, but how will you know it's "better tone"? You won't be sitting in the audience listening to it, and even if you did set it up to sound good in FOH during a sound check, that might not translate to good stage tone.
Don't underestimate the ability of your bass to sound great right out of the output jack mixed into a big system like a PA. Unless they're complete blithering idiots (in which case they should be nowhere near the board), it's not going to sound bad. Seriously. Also, if you start changing things, that would only serve to confuse them and maybe give them something they can't deal with. Remember, boards have very limited EQ per channel, but LOTS of EQ for the entire system (which is really the way it should be). Seriously, go dry.
+1 to all points
Vic,
Your telling a control freak that I must let go of control
. Almost had a pnaic attack there. I bet that new skjold will sound great through the board.
Ok, OT but do I really need an M6 then? I could just run DI and have them send my bass back in a monitor.
Your telling a control freak that I must let go of control
. Almost had a pnaic attack there. I bet that new skjold will sound great through the board. Ok, OT but do I really need an M6 then? I could just run DI and have them send my bass back in a monitor.- Status
