Hi guys...recently bought GK MKB150s amp for my UB(and electric), and was wondering what settings you GK owners who play bluegrass use on you amps. Not so savvy on all these new terms, i.e. mids, highs, lows. I'm from the old school of volume, bass, and treble. Like that big fat sound for bluegrass. Any help appreciated. Thanx.
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Double Bass Settings for GK amp
- Thread starter Hammertime3
- Start date
Can't remember who suggested this technique, but I do it this way first time with a new uprite or pickup.: input at 12:00; master 9:00; high boost off; contour 12:00; all tone controls all the way to the left. Play the open strings slowly EADG-GDAE and start adding the tone section of the amp from the bottom up: low, low mid, high mid, high.
The other way, of course, is to start with the tone controls at 12:00 and go from there. I found it faster to add what I want rather than try to figure out what I don't want. I've messed with the contour knob, and always end up with it back at 12:00.
For EBass, my settings are:input:2:00, high 1:00, high mid 1:00, lo mid 11:00, low 12:00, master as needed.
It's a pretty versatile tone section, so don't get discouraged if you don't find your sound right away; you have to learn to play the amp, too.
The other way, of course, is to start with the tone controls at 12:00 and go from there. I found it faster to add what I want rather than try to figure out what I don't want. I've messed with the contour knob, and always end up with it back at 12:00.
For EBass, my settings are:input:2:00, high 1:00, high mid 1:00, lo mid 11:00, low 12:00, master as needed.
It's a pretty versatile tone section, so don't get discouraged if you don't find your sound right away; you have to learn to play the amp, too.
I put the input and all the EQ settings at 12 o'clock. I adjust the volume from the master. I also put mine on a Link Removed. I think that amp sounds better off the floor though not as high as a bar stool.
If you want even more responses, you might could start a new thread over in the Bluegrass forum too.
Keep in mind that the tone controls are flat when they're straight up. turning them all down mainly reduces the overall level of the signal.
The GK manual suggests acoustic bass set at flat with a bit of treble turned down. With my BugBass EUB, my settings are pretty close to flat on the MB150E.
The GK manual suggests acoustic bass set at flat with a bit of treble turned down. With my BugBass EUB, my settings are pretty close to flat on the MB150E.
Probably produces an overall freq curve with a bunch of steep trenches in it joined by "flat" plateaus too.
Also, it's generally better to cut frequencies you don't want, rather than boost the ones you do.
If you want more bass and less mids, lower the mids a bit instead of boosting the bass. A little EQing goes a long way, and cutting too many mids will get you lost in the mix. Boosting too much bass will get you feedback and make you sound like a bass guitar.
Have someone play your bass and stand out front if possible to check your sound. Experiment. Your sound can be totally different up close to your amp where you stand.
If you want more bass and less mids, lower the mids a bit instead of boosting the bass. A little EQing goes a long way, and cutting too many mids will get you lost in the mix. Boosting too much bass will get you feedback and make you sound like a bass guitar.
Have someone play your bass and stand out front if possible to check your sound. Experiment. Your sound can be totally different up close to your amp where you stand.
Hi
you could search on those two threats
How do you EQ your GK MB150?
http://www.talkbass.com/forum/showthread.php?t=306899
and
Learning to use tone controls, eq
http://www.talkbass.com/forum/showthread.php?t=413689
Alain
I've posted about this misunderstanding before. I don't mean to jump on you in any way, Gearhead, but this is one of those myths that seems to have taken on quite a life of its own. I believe it stems from the desire to avoid overload conditions. Specifically, if one boosts too many filters to too great a degree, one can cause the next stage of amplification to overload if there is no independent gain adjustment following the tone shaping.
Overload conditions aside, because most players use fixed (or parametrically adjustable) filters to achieve tone shaping, the best rule of thumb is to apply the smallest amount of gain or cut that achieves the response that's desired. This will result in the smoothest spectrum.
For example, suppose you need a small relative boost in the mid-frequency region (i.e., 1-2 kHz). You are far better off applying a small boost in that region than you would be by cutting the surrounding regions. Doing the latter would leave you with a bit of what is referred to as a "rippled spectrum."
And depending on whether the flat or 12:00 position is really flat ... which I suspect it ain't.
Sorry Hammertime3. I know we ain't helpin' much. I'll shut up and sit down now.
Oh .. just one more thing.
Excellent threads, kudos to Alain and the original contributors. Hang in there Hammertime3. Those links are the mother lode.
I've been using an MB 150 or 2oo for about 15 yrs now playing bluegrass music. Considering there is no drums to fatten the bottom end out in Bluegrass Music I've always found that my best settings were to run the high boost completely to the left (off), turn the contour all the way to the right (full on).
Set the high at around 7 or 8 oclock position (so almost off) the mid high at around 10 or 11 oclock the mid low at 12 oclock and the low at about 2 oclock.
The main (volume) at 12 oclock and then the output volume at around 9 or 10 oclock is all I have ever needed on stage.
I plug direct to the GK amp and then lineout to the board from the quarter inch output jack on the rear of the amp.
You can use the di on the front of the amp but it is pre preamp eq and the signal to the board will be without any eq you have dialed in and it results in a nasal sounding bass unless the sound guy is adding major eq on the main board.
I use the 1/4 output and the signal sent to the board is then nice and fat and the guy on the board can usually leave his board flat or do a little tiny bit of eq'ing to meat it up.
For bluegrass you need that big bottom sound with strong mid punch for drive and push.
The amp is especially nice and match's the Eminence EUB I now use pretty much exclusively as it cuts right throught the mix....
With the 3/4 acoustic you may need to roll a little more off the low eq back to around 12 oclock.
Other than that you should be good, if you don't like using the 1/4 output jack and insist on the Di on the front then I would suggest you use a preamp prior to plugging into the amp.
It will match better and fatten up your signal to the main board......
Set the high at around 7 or 8 oclock position (so almost off) the mid high at around 10 or 11 oclock the mid low at 12 oclock and the low at about 2 oclock.
The main (volume) at 12 oclock and then the output volume at around 9 or 10 oclock is all I have ever needed on stage.
I plug direct to the GK amp and then lineout to the board from the quarter inch output jack on the rear of the amp.
You can use the di on the front of the amp but it is pre preamp eq and the signal to the board will be without any eq you have dialed in and it results in a nasal sounding bass unless the sound guy is adding major eq on the main board.
I use the 1/4 output and the signal sent to the board is then nice and fat and the guy on the board can usually leave his board flat or do a little tiny bit of eq'ing to meat it up.
For bluegrass you need that big bottom sound with strong mid punch for drive and push.
The amp is especially nice and match's the Eminence EUB I now use pretty much exclusively as it cuts right throught the mix....
With the 3/4 acoustic you may need to roll a little more off the low eq back to around 12 oclock.
Other than that you should be good, if you don't like using the 1/4 output jack and insist on the Di on the front then I would suggest you use a preamp prior to plugging into the amp.
It will match better and fatten up your signal to the main board......
Rubby,
I was talking in real-life, upright bass, live onstage, using a bass amp, terms. I think you may be over-spectralanalysis-izing my post. Let me "dumb it down" for ya to my level.
Sometimes upright players who are newish to amplification, who want a big mellow fat sound will often boost the bass knob on their amp, leave the mids centered, and maybe even boost the highs to get a scooped sound which sounds warm and fuzzy - but often gives you instant feedback. It sounds like this: "RUmble rumble rumble Oooooooooohhhhhuhhhhhh."
What I meant by my post is, instead of boosting frequencies you like, cut the ones you don't - and you won't get as much feedback this way. Keep in mind he is playing Bluegrass, so I very much doubt he wants a nasal midrangey "uncolored" "jazz" tone. Nothing wrong with boosting the bass a little, but too much is a sure-fire feedback getter, "rippled spectrum" or no. The OP isn't using a 55 band graphic EQ either, just a GK MB150.
Hammertime3,
The "contour" control on these amps is quite useful. As you increase the contour control, you are reducing or "scooping" some of the midrange frequencies (probably in the area of 350 -650 hz) For a warm bluegrass sound, scooping some of these frequencies is usually desirable. (If you boost them, you'll get more of a nasal, fretless bass sound) Try keeping the bass and treble about midway and adjust the contour to your liking. But too much scoop can make a bass muddy and indistinct. Maybe a third to a half of the way up, just enough to get rid of some of the honk and nasalness.
The "contour" control on these amps is quite useful. As you increase the contour control, you are reducing or "scooping" some of the midrange frequencies (probably in the area of 350 -650 hz) For a warm bluegrass sound, scooping some of these frequencies is usually desirable. (If you boost them, you'll get more of a nasal, fretless bass sound) Try keeping the bass and treble about midway and adjust the contour to your liking. But too much scoop can make a bass muddy and indistinct. Maybe a third to a half of the way up, just enough to get rid of some of the honk and nasalness.
Hey guys, I'm back. No, I haven't been working on this problem since my first post, just off and on since I don't play professionaly. Here is where I am. I play a 40's ASUB with a new set of Silver Slaps from Fretwell equipped with a Fishman BP-100 pickup, playing into my new GKMB150S. I have it now to where the E and A strings sound pretty good, but I seem to lose volume on the D and G strings. I bought an inexpensive pre-amp from my local amp guru yesterday..we set the amp to "acceptable" but when I went back to it today, I wasn't very pleased. Is there any way my set-up pieces are not compatible, i.e.strings, pickup, and amp? I have even enlisted the advice of Allen Mills(Lost and Found) who has graciously agreeded to talk to me on the phone if all else fails. Where do I go from here? (Allen plays GK equipment.) I need advice in LAYMAN'S TERMS. Thanx.
The D and G strings only sound about half as loud as the E and A strings. Seems to me they should all sound equally loud.
The D and G strings only sound about half as loud as the E and A strings. Seems to me they should all sound equally loud.
The BP-100 is a very nasal, twangy sounding outdated pickup. Because of it's extremely close proximity to the strings, there is little to no "woody" sound in the equation.
I would seriously consider getting a better pickup.
For a nice fat Bluegrass sound I would recommend a Bassmax, or Underwood (using E side pickup only) which are both bridge wing pickups. The David Gage Realist is also very popular and picks up the sound under the bridge foot, which can sound very natural but can also have more feedback issues at higher volumes.
Do some reading on pickups here and it should help you make your decision.
I would seriously consider getting a better pickup.
For a nice fat Bluegrass sound I would recommend a Bassmax, or Underwood (using E side pickup only) which are both bridge wing pickups. The David Gage Realist is also very popular and picks up the sound under the bridge foot, which can sound very natural but can also have more feedback issues at higher volumes.
Do some reading on pickups here and it should help you make your decision.
My preferable setting with the GK is to place it in the closet. Own one since 1997 - still don't like anything with it other than it's size. Sorry, but that's my 2 cents.
