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Noticed something with the Markbass amps
- Thread starter BullHorn
- Start date
Thank you for the very good reply. Yes, indeed I isolated the problem as the amplifier itself.
I will try to dial in different EQ and further usage of the magic filters VLE and VPF, which I never really used before.
+1 to a good post by Craigb!
And, pre my post above, if you are pushing the LMII at 8ohms, I can possibly understand what you are hearing, especially if you are using some aggressive technique like slapping or strong pick playing. While I've never experienced anything but a clear, clean, glorious low end with the LMII into my large, relatively high SPL 4ohm cabs, I too have been a bit underwhelmed when using, for example, an 8 ohm 210. The low end and the upper treble tend to compress a bit, and get a little 'blurry' to my ear also.
Sounds like it needs Eq'ed a little better. Turn down the bass a little bit. I don't have any problems differing between the E-G# on my 'vette standard.
vision
It's all about the groove!
- Feb 25, 2005
- 3,988
- 618
- 47
- Disclosures
- Endorsing Artist: MTD Basses, La Bella Strings, and 64 Audio IEMs
Look at it the opposite way. Sometimes I like to add a little VPF to sweeten the tone a touch but I don't want to boost the highs while doing this. So I'll add a little VLE to smooth out the high end. The VLE works much better for me than the "treble" knob for smoothing out the high end because of the frequency response. I don't know the technical reasoning for this, but I try to stay away from boosting and cutting the treble knobs on amp eq's because you can end up with a "peaky" tone. I use both the VLE and VPF in moderation though, whether I'm using one or both. I never go past 9:00 on either knob.
To the original poster - the LMII is by far the most clean and clear amp I've used throughout all frequencies, all the way down to low A on a detuned B string. If you're hearing lack of definition as high up as a G on an E string and you've isolated the problem to the amp, I think you should call Markbass to find out if there is a problem with your unit. It's worth it to have then see if they can make it right.
It's not that guys are just blindly defending an amp that they love - the LMII definitely isn't for everyone. But this characteristic is one of the "calling cards" of the amp - it's transparency and definition is exactly the reason why I bought it. If you went to a car forum and said that the 911 Turbo you just bought doesn't have enough acceleration from 0 to 60, you'd have some Porsche guys wondering what was wrong - acceleration is what the 911 Turbo is known for!
I'm just reporting in that my MB 2 x 10 combo is amazingly articulate on the low notes of my E string, more so than any amp I've used. Because of this, it has changed the way I play for the better. Not only is the pitch articulation suburb, but the suppleness of the amp has allowed me to hear all my grace notes as never before. I play two very different sounding basses through the combo, and it is very true. I have no explanation for the OP's situation, but I'm certainly not experiencing the same thing.
Peter Murray
Commercial User
- Dec 13, 2005
- 627
- 80
- Disclosures
- Marketing and artist relations for Xvive (ex-Markbass, ex-Supro, ex-Pigtronix)
Hi there,
Like others, I don't doubt what you're hearing. But I think the defensiveness comes from the fact that you say "Markbass amplifiers seem to have a weird way to amplify low frequency notes"... in this statement you are making a guess about all Markbass amplifiers that is clearly not true.
I am in touch with Markbass users every day and I can tell you I have NEVER heard of this problem. That's a fact, not an opinion. And as many users here report, the norm is generally the opposite of what you report.
For a very detailed (and more "scientific"), third-party assessment, check out the ridiculously in-depth analysis of the Little Mark II by Bass Gear Magazine: Invalid Link Removed. The editor of the magazine told me that in fact the Little Mark II was unusually even when it's output was measured string-by-string, analyzed by all their fancy measurement apparatuses. And you can see their measurements and findings in the review, which was very positive. Furthermore, I don't think any amp with such a fundamental failing as you describe could possibly win the awards and kudos that the Little Mark II has!
I don't really know what to guess is wrong with your amp/bass/cables/pickups/strings/cabinet configuration. There is always a possibility (although slight) that there is a problem with the individual amp you are using, and if this is this case you should get it serviced. But I can tell you with absolute confidence (and hundreds of gigs of personal experience) that what you describe is not a general issue with our amps in any way.
Cheers,
Peter
After reading this earlier I thought I'd see just how distinct the definition between notes was on my rig. I tried 3 different basses including a fretless, no problems encountered, there was plenty of clarity between the notes. Not that this refutes the OP's findings, it's just my own results.
+1
Don't fight against it. After all the hype on MB stuff I went to the local GC to try them out and found them dull, blah, lifeless, shy and not worth the money... Not for me, definitely...
Just sell it and you'll be happy again...
Hmmm. Did you ever try the MB heads with your Bergantino cabs. I've played everything, and that is just an amazing, wonderful combination of transparent and pure combined with transparent and pure. I even sold my beloved Walter Woods Ultra after finding this combination (I actually prefer the F1 myself).
Again, no problem if the tone is not to your liking, but 'dull, lifeless and shy' is about as far from my experience and 'not clear in the low end'
I'm trying to like the amplifier, but it just fails to cut through the very-loud mix the way I expected it to cut from all the positive reviews I've read.
Anyhow, I haven't used it at a band practice since I made this thread yet. Might take a few days before we rehearse. I'm still waiting for an official reply from Markbass. I'm planning to try sending them my combo's serial number for verification of a possible defect, etc.
Read the whole thread. I sympathize with the OP because I experienced a similar phenomenon - LMII w/Avatar 2X12; tried MusicMan and Fender basses. Problem was way too much VPF + mucking up tone controls on the amp and the instrument. Eg, creating mud that made it difficult to discern low pitch differentials. If anything, the amp is 'too good' because it let me dial out too much mid & high... People also say Porche 911s are "bad" cars because you can throw them into a 360 tailspin by working the brake & gas just right...just didn't know what I was doing with the LMII at first.
alexclaber
Commercial User
Very loud mix and a 2x10" combo are not a good combination. I highly doubt the problem is with the head but I would not expect the 2x10" cab to be able to reproduce low notes at high volume without high levels of distortion. You may not realise you are hearing distortion as this increased lower frequency harmonic content tends to be perceived as mud or boom.
If your problem only happens at higher volumes then this is the cause - expecting too much from a small 2x10" and thus driving the speakers beyond Xmax into >10% distortion.
Alex
I just tried applying VPF at around 9o'clock and it sounds brilliant in my room! It adds a bit of lows (My J-Bass lacks the bottom end anyhow) and at the same time, keeps it clear and with a bit of 'zing!' thanks to the extra highs.
I'll experiment this at the studio later too.
I'll experiment this at the studio later too.
Hmmm. Did you ever try the MB heads with your Bergantino cabs. I've played everything, and that is just an amazing, wonderful combination of transparent and pure combined with transparent and pure. I even sold my beloved Walter Woods Ultra after finding this combination (I actually prefer the F1 myself).
Again, no problem if the tone is not to your liking, but 'dull, lifeless and shy' is about as far from my experience and 'not clear in the low end'
No, I didn't have a chance. Made a few combinations with gear that you can find at GC, probably MB, GK and Eden... I usually can tell how the amp will behave on the gig by the way it sounds in the store, and no MB could really please my ears.
It could be that "transparent and pure" doesn't exactly work for my taste, as I don't enjoy WW or AI amps either, but I will try to match MB and Berg when I have a chance. Thanks for the advice.
No, I didn't have a chance. Made a few combinations with gear that you can find at GC, probably MB, GK and Eden... I usually can tell how the amp will behave on the gig by the way it sounds in the store, and no MB could really please my ears.
It could be that "transparent and pure" doesn't exactly work for my taste, as I don't enjoy WW or AI amps either, but I will try to match MB and Berg when I have a chance. Thanks for the advice.
Hey, I don't mean to push you back. If you don't dig that sort of thing (Walter Woods, AI, etc.), I TOTALLY get that
There are lot's of different tone goals, and I dig most of them for what they are. I obviously have my own preferences, given my goals and playing styles.I guess my point was, if you dig relatively clean, transparent, 'pseudo flat', etc., etc., the LMII and F1 are among the best executions of that sort of 'hear the windings on the B string' type tone. If you don't dig that tone (and many don't), then it's not for you
Suppose they want the mid cut that the VPF dials in and then want to take some of the top off?
Some people do just that and understanding the difference in the controls and the EQ points would likely clear up the misconception for you. That's why using the VLE sounds different from rolling off the "High" control.
+1 !!!
Nobody seems to be emphasizing it enough, that he is using a 2-10 combo running at 8ohms and trying to cut thru a "very loud" mix. ?????? That isn't gonna cut it!
The OP needs to get an extension speaker and then try this again.
When I say 'very loud' I mean two guitarists with Fender Blues Reissue with the volume on 1.5 and a drummer with amplified kick-drum in a 4x5 meters room. A Fender Rumble 100w could cut through that most of the time...
