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NAD: Carvin BX700

#41
I use a BX500 and I love it. Small, light powerful and durable. It's lived in the back of a truck 364 days a year for the past 4 years. Never any problem. Run it through a Ampeg 410he. AND it's cheap enough to be disposable. Great amp. I'm very impressed. I haven't had to use my SVT or PF350 for a long time.
 
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#42
So, at practice I set the compressor knob to the first large dot and it really cut the volume. Soloed I didn't like the squishy sound much but in the full band mix it actually helped out a lot more than I would care to admit. But funny story, as I'm loading my amp on stage for the first band to use I saw my cabs high frequency attenuator was on so I'm wondering if that was what has been causing the insane volume. As soon as we schedule another practice I'll be able to see for sure.
 
#46
Solarmist said:
I just couldn't let it go this time - so today I purchased a BX700 with the 20% off deal, and can't wait to try it out through my Carvin BR115.
I'm used to GK - I hope I like it.
Click to expand...

My all time favorite amp is my rb700ii and love my BX1500. Two completely different amps, the BX is very very clean but can get a bit of grit, the comp is also very reserved but effective. You can also use the graphic as a 2nd channel.

Be sure to take your time to really figure out the nuances of the BX. Very easy to dive right in as there are sooo many possibilities, sooo many many tones, kind of easy to get lost at first.

Have fun!

-Benny
 
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#47
I have a BX1500 and it does have a lot of different tones but you have to work at it. Plus, with the style you play with your fingers adds to it too. My Brother recently started playing bass (Great guitar player) he got a TC amp but wants my Carvin BX1500. No way! :)

I connected the Carvin BX1500 to my Hartke 4x10XL and 115XL cabs and it sounds great!

I also bought a Fearful knockdown 12/6/1 cab and have yet to start the build on it. I will try to start after the holidays.
 
#49
I'm using a BX500 with a pair of 112's...sounds absolutely incredible, and stupid-loud.
I'm finding that the BX has a lot of tweak-ability that I'm shying away from these days...I'm curious to try a B1000 for simplicity's sake.
 
#50
TheSeagoats said:
I've been waiting for this day ever since they first released this amp. I originally wanted the BX500 but the lack of pre/post option on the direct out was a major deal breaker for me. It's taken me so long to get this one because I just couldn't bring myself to pull the trigger, my head at the time was "good enough." But then they had a 20% off sale so I decided it was time. I'm so mad at myself for not ordering one sooner. Even set flat this thing sounds a million times better than my old head. And it weighs a tenth of what the old one did. Highly recommend.

View attachment 921930
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Great Amp. I own one and it's greatly underrated. Plenty of power for most anything. Enjoy!
 
#51
Saetia said:
I would love to hear the differences in pre-tubes if you would be so kind. I have had tube equipped pre amps as well as component pres with tubes but never got to tinkering with rolling them. It would be nice to be a bit thicker on the tube side to contrast the SS (which sounds pretty nice).

Benny
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I don't think there would be much difference. JMO
 
#52
Carvin BX series are great amps. I have a few. But I recently made the jump to the Mesa Subway D-800 because of simplicity. I found myself playing with the knobs too much. I still love my Carvins but the Mesa was too sweet to pass up.
 
#56
I've been experimenting with my tone a lot lately and I was just wondering how you all set your knobs. I know tone is all in the hands and different basses and playing styles will make a huge difference but I thought I'd see about trying other people's settings too just as jumping off points.
 
#57
TheSeagoats said:
I've been experimenting with my tone a lot lately and I was just wondering how you all set your knobs. I know tone is all in the hands and different basses and playing styles will make a huge difference but I thought I'd see about trying other people's settings too just as jumping off points.
Click to expand...
I actually tried using the "tone is in the hands" arguement in another thread and got shot down....

It depends on which bass I use, but...
With my Jazz, I keep the contour Flat, all the way. Then on the parametric, boost 125Hz by 3-6 or so and cut 500Hz by 3. Bass up by 3 and treble usually flat.
If I use the Graphic, I would just boost/cut certain frequencies just off center for taste...
But I've been thinking about keeping the parametric flat and just use the graphic to adjust tone...haven't tried that yet, though.

If I use the L2500, I would adjust contour from about 9:00 to 12:00, depending. That bass just has much more midrange than the Jazz. Everything else would generally stay the same.

Edit: forgot about...
Drive set around 2:00 and compression at 9:00
Tube IN
 
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#58
eastcoasteddie said:
I actually tried using the "tone is in the hands" arguement in another thread and got shot down....
Click to expand...
Don't feel bad, everything gets shot down here :dead:

Active bass, BX1600, DIY cab. I love most genres from 50's to 90's. Often I lean towards a darker sound. I am no musician and the closest I get to playing with others is Rocksmith.

Had a PA driver in the cab, sounded very good. I mic'd it, ran a spectrum analyzer and got it flat with the graphic Eq. Then:

-Drive noon to full dime
-Active/Passive to taste
-Contour off to noon
-Comp off to just a little
-Bass +6db*
-Low Mid +6db@100Hz*
-Mid +3db@450Hz
-Hi Mid noon
-Treble noon

* for lower volumes, these need to be backed off to crank it up, or risk mechanical damage to the driver(s). In my 14 x 22 ft room, low volume = loud. How we hear bass freq's, it would be a bit much on the low end and sound better with both backed off or set "Bass" at noon. Take frequent ear breaks or plug 'em!

Then, just when I had several songs in Rocksmith almost nailed, life tossed my salad. For 3 or 4 months, I couldn't drive, type or play without my right hand going numb. Fixed that, then about 6 months of catch up (aka Ketchup mode) at home and work (I type for a living; not a typist a computer professional). During Ketchup mode, I ran across a great deal on a pair of BP1525's modified with an aluminum cone, so of course had to install one. It sounds fantastic. Stock, on paper, the BP would fall short of the PA by about 400Hz, petering out above 2.1KHz. With the mod, it has at least as much treble, and I turn down the Treble from noon, as far as -12db. -12 only if using my B1xon, which I find hissy.

This for 1500/1600 only, to get some overdrive, dime the Drive, Master to 0, Power Amp Control both low, maybe 2, make noise and slowly bring the master up until you just hear it. Then use the Power Amp Control for the channel(s) in use to adjust volume.

Santa-me gave me a Way Huge Pork Loin for xmas, yippy-yahooooooey! Now it really has some grind to it. Now I have a great tone :smug:, but suck at bass :bawl:

Sometime soon, I hope to find the time to mic the cab and set the graphic eq again. Tonight, practice! I was so discouraged by being set back so far, the few times I tried to practice I just gave up. Got the sound I want, head held high, I'm pushing through it tonight. :bassist::bassist::bassist:
 
#59
eastcoasteddie said:
I actually tried using the "tone is in the hands" arguement in another thread and got shot down....

It depends on which bass I use, but...
With my Jazz, I keep the contour Flat, all the way. Then on the parametric, boost 125Hz by 3-6 or so and cut 500Hz by 3. Bass up by 3 and treble usually flat.
If I use the Graphic, I would just boost/cut certain frequencies just off center for taste...
But I've been thinking about keeping the parametric flat and just use the graphic to adjust tone...haven't tried that yet, though.

If I use the L2500, I would adjust contour from about 9:00 to 12:00, depending. That bass just has much more midrange than the Jazz. Everything else would generally stay the same.

Edit: forgot about...
Drive set around 2:00 and compression at 9:00
Tube IN
Click to expand...

Yeah, a lot don't believe or know about the "tone in the fingers" but it is true. Just look at how Guitar players change their tone when play with a pick to playing with a thumb. I always wonder how some bass players got a fatter tone with the same type of bass and gear than mine when I was first starting out. Then I saw in person how a bass player in my Bro's band changed his tone and switch in the middle of a tune from using his fingers to playing with his thumb (not plucking). So that's what I do when I want a older Motown (Flat wound) or 60's sound on some tunes that are not too fast. But the gear you have does build on top of the "fingers" technique.
 
#60
eastcoasteddie said:
I actually tried using the "tone is in the hands" arguement in another thread and got shot down....
Tube IN
Click to expand...

I would say that whoever told you that wasn't quite correct. While I would agree that some tones are much harder, or even impossible, to get out of some gear the person playing is way more important. I dabble on guitar too and I've passed one back and forth between friends on some occasions and it's amazing the difference even with the same gear. My one friend was a classical guitar major, been playing guitar for well over a decade, nearly two at this point and a guitar in his hands sounds spectacular, but once I get it all of a sudden it doesn't sound right. There was another instance where a friend of mine got a new telecaster and it sounded super country but the second I picked it up it sounded incredibly punk. Don't let someone tell you tone isn't in the hands.

Now that I've gotten that out of my system haha, I'll be trying tones out later and I'll let everyone know what I think about it fitting me.
 

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