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Origin Effects BASSRIG

#261
jacoby75 said:
On a side note, does the '64 incorporate a true Fender tone stack? Is "flat" with the bass and treble at minimum and mids maxed? Or is noon flat for both models?
Click to expand...

i would have to think that the '64 would have to be 0-10-0 if it's indeed a fender tone stack.
 
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#264
I was thinking that as well. That seems to be the case for the showman side, but the bassman side seems to be too middy and thin at the 2-10-2 settings. Idk how that stacks with the historical circuits. Hopefully origin can straighten that out. Digging the 64 btw, but I'd still love to try out the SV.

Edit: Meant tweed vs blackface, not bassman vs showman
 
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#267
epoxo57 said:
Was curious since I'm a user/fan of the TH.......and then these show up.......:meh:
Click to expand...
lol, well, I got to test these out at home and in a live situation at a women's conference.

For my purposes, I can dial them both in to sound very similar to the Tone Hammer. It's basically just a different flavor of the same tone. The downfall of the Origin Boxes are the less versatile EQ (at least for my use cases). The origin boxes are very much like an amp's EQ (that's kind of what they are, no surprise there). The Tone Hammer's EQ is very powerful, and the shaping is in the right spots. The bass control is for 40hz. This is really clutch in a live situation where you need to provide the most solid EQ'd tone you can do the sound guy can move on. Mid shaping can be controlled in a multitude of ways. For the origin boxes, the 64's mid control is stuck to one frequency. The Super Vintage's mid control has 3 selectable frequencies.

for me, these boxes aren't the end all be all for live tone. They are great tools in the studio when you have time to obsess over some details, or you are running multiple clean/dirty lines.

Your mileage may vary!
 
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#268
Lowendtech said:
2-10-2?
Click to expand...

fender tonestack.jpg
 
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#269
MoonQuake said:
Hi there gents,

Serial number #100 got here today and here are two sound clips of my bass with the Bassrig off and engaged after a quick dialing.

Settings for the recording are the ones on the picture and both clips are also through a Cali76-CB.





View attachment 4603371

Will test it on the gig in a couple of days when we resume touring.

Best!
Click to expand...


Your bass sounds great with the BassRig on or off. Definitely, there's a fatter sound with the BassRig on, but that could be just the "fat" switch setting. Would love to hear a sample with the Blend full clockwise (to get full cab sim), just a bit more Drive, and the fat switch in neutral.
 
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#270
dmk said:
Your bass sounds great with the BassRig on or off. Definitely, there's a fatter sound with the BassRig on, but that could be just the "fat" switch setting. Would love to hear a sample with the Blend full clockwise (to get full cab sim), just a bit more Drive, and the fat switch in neutral.
Click to expand...

Added three more clips to the original post reflecting what you wanted to hear

Cheers
 
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#273
MoonQuake said:
Hi there gents,

Serial number #100 got here today and here are two sound clips of my bass with the Bassrig off and engaged after a quick dialing.

Settings for the recording are the ones on the picture and both clips are also through a Cali76-CB.

Edit : Added three new clips as I realized that having the blend knob not fully counterclockwise didn't give all the true colour of the Bassrig. I used the Motor City settings with a bit more bass and did a run with more drive and another with the fat toggle to neutral.











View attachment 4603371

Will test it on the gig in a couple of days when we resume touring.

Best!
Click to expand...

Good work!!!.
I have to say I actually prefer the 1st clip, although I guess I am more interested in the SV than the 64 anyway. That clean tone is absolutely gorgeous. What bass and strings?
 
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#275
dwagner said:
lol, well, I got to test these out at home and in a live situation at a women's conference.

For my purposes, I can dial them both in to sound very similar to the Tone Hammer. It's basically just a different flavor of the same tone. The downfall of the Origin Boxes are the less versatile EQ (at least for my use cases). The origin boxes are very much like an amp's EQ (that's kind of what they are, no surprise there). The Tone Hammer's EQ is very powerful, and the shaping is in the right spots. The bass control is for 40hz. This is really clutch in a live situation where you need to provide the most solid EQ'd tone you can do the sound guy can move on. Mid shaping can be controlled in a multitude of ways. For the origin boxes, the 64's mid control is stuck to one frequency. The Super Vintage's mid control has 3 selectable frequencies.

for me, these boxes aren't the end all be all for live tone. They are great tools in the studio when you have time to obsess over some details, or you are running multiple clean/dirty lines.

Your mileage may vary!
Click to expand...

I also have the Tonehammer DI/pre amp. I think that box is different than the Origin boxes (haven't tried those though). The TH is not an amp simulator whereas the Origin is. The goal of the Origin is to come as close to the real amp as possible whereas the TH is 'just' a preamp with EQ. They won't sound the same I guess.
 
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#276
Les Fret said:
I also have the Tonehammer DI/pre amp. I think that box is different than the Origin boxes (haven't tried those though). The TH is not an amp simulator whereas the Origin is. The goal of the Origin is to come as close to the real amp as possible whereas the TH is 'just' a preamp with EQ. They won't sound the same I guess.
Click to expand...
The AGS (adaptive gain shaping) mode in the pedal makes it behave like a vintage tube amp… it tightens the low end and shaves off top end… also has great responsive drive. It is modeled off an Ampeg V4B which explains why it sits between a Fender Bassman and a SVT so similarly.
 
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#277
dwagner said:
The AGS (adaptive gain shaping) mode in the pedal makes it behave like a vintage tube amp… it tightens the low end and shaves off top end… also has great responsive drive. It is modeled off an Ampeg V4B which explains why it sits between a Fender Bassman and a SVT so similarly.
Click to expand...

Yes I like the sound of the AGS. But what I really don't like is that it has a huge volume boost. It doesn't have a separate level knob. So for live switching in the same song it is useless.
 
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#278
Les Fret said:
Yes I like the sound of the AGS. But what I really don't like is that it has a huge volume boost. It doesn't have a separate level knob. So for live switching in the same song it is useless.
Click to expand...
TH wasn't designed to be switchable. Just one or the other. Would have been good if they spent the time to work them in together for sure, but it definitely is like 2 totally different voices that don't really go together imo anyway.
 
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#279
keatz said:
TH wasn't designed to be switchable. Just one or the other. Would have been good if they spent the time to work them in together for sure, but it definitely is like 2 totally different voices that don't really go together imo anyway.
Click to expand...

Maybe not designed that way but it would make a lot sense if they added a level knob for the AGS. Then you could go from clean to overdrive with the AGS switch. Why else make a switch? It's not practical to have an AGS switch if you can't really switch without an enormous volume bumb.
 
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#280
Les Fret said:
Maybe not designed that way but it would make a lot sense if they added a level knob for the AGS. Then you could go from clean to overdrive with the AGS switch. Why else make a switch? It's not practical to have an AGS switch if you can't really switch without an enormous volume bumb.
Click to expand...
it's not meant to be switchable during a set.
I'm not really arguing anything about the volume or the switch itself. Not sure why we are even discussing it. All I'm saying is the Tone Hammer AGS is very similar to the amp tones on the Origin Units. I'll even post some sound demos for those ;)
 
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