Did some random solo jamming tonight mostly just Ric straight into head. Good stuff.
Edit: notice where the master volume is.
Last edited:
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Stoner/Doom Bassists Thread, Part 90: Maxed Out
- Thread starter Korladis
- Start date
Did some random solo jamming tonight mostly just Ric straight into head. Good stuff.
Edit: notice where the master volume is.
Now that's a rig.View attachment 833619
Did some random solo jamming tonight mostly just Ric straight into head. Good stuff.
Edit: notice where the master volume is.
Further follow up on the preamp valves. Did some more testing, gave each some more time in #2.
The Tung-Sol definitely has more gain on tap. Reviews said it has a bit of a scooped mid-range, and that seems to hold true. That's not to say it's lacking in mids, but they are a bit further back overall, allowing the highs to sparkle a bit more. I think this allows the drive to be a bit smoother and remain sharp and articulate. I think my descriptor of taut earlier is a really good way to describe this tube. This really comes across at lower volumes. It's much stiffer sounding when turned down, some might say a little "thin" in that the bass doesn't speak with quite as much authority as the B759 (I'll get to that). I think this helps when it gets cranked, since it keeps the attack strong without losing focus as the tube breaks up.
While I wasn't initially as impressed by the B759 as I was by the Tung-Sol, I've got to reassess that judgement. Neither are better or worse than the other, they're just different. Where as on 7 the Tung-Sol is pretty much well into overdrive, and it takes really dialing down the playing touch to get it to clean up, the B759 is still just on that edge. Digging in a bit causes it to give into the overdrive, but it can still remain clean riding that edge. I think the best way to describe the Gold Lion is big and glassy. The lows seem a bit bigger and the mids fuller. More balanced across the frequency range, maybe a bit more bold. While it doesn't give into overdrive as early, I think when it does, this fullness leads to it not being quite as focused as the Tung-Sol. It helps to back the contour (mids) knob off when getting into over drive to help the mids from getting too driven and edging towards becoming a bit clouded. With lower volumes, as I said, the sound is full. More bloom and lower richness than the Tung-Sol, fatter. I prefer the B759 over the 12AX7 for lower volumes because of this. While I normally keep the bass knob rolled well off to keep the sound from getting to farty as I reach overdrive, sometimes on lower settings it seems to be a bit flat (and I'm lazy to the point of not bothering to turn the knob up), but the B759 has plenty of plump in the low end to negate this issue.
Interestingly, despite the B759 being lower gain, it wants to feedback much more easily. It actually allows for very nice control of feedback, in fact just doing some light vibrato and keeping the pickup at the right point in relation to the speaker allows for some nifty feedback swell ala Hendrix. The Tung-Sol, when it does feedback, seems a bit more prone to just go straight to squealing. From what I've read, this might have something to do with the construction, in that the B759 is a long-plate, vs the 12AX7, which is a short plate. It seems long-plates are more prone too feedback and microphonics.
For now, I think the B759 will be staying in #2. When I get around to retubing #1 with some Gold Lion KT88s, I'll do some more testing, but I'm thinking the B759 will then move to that amp and the Tung-Sol will replace it in #2. Besides the nice and orderly organization of having one amp with all new Tung-Sol valves and one with all new Gold Lions, if there's any truth to the difference between KT88s and 6550s, I have an inclination the pre-amp valves will be best paired with their brand's output valve. The B759 will help get the KT88 amp (#1, which has the tube recs and is quieter) as much headroom as it can eek out while the 12AX7 will keep in line with the smoother breakup 6550s are supposed to have. Or hey, maybe I'll mix them up if that's what ends up sounding best. I'm really just dumbstruck by how much effect they really have on the sound.
I'll say this though, I don't think the GE that was in the amp will be going back in. Comparing it now to the two new valves, it just seems too gainy and harsh. Fullness-wise, maybe somewhere between the two, but the drive is much more...well, harsh. Maybe my opinion of that will change as I continue messing about with them, but I popped it back in after fiddling with the new ones for a while, and immediately went back to the Gold Lion. It may have been made in the USA, but I think these Russian valves sound better. Of course, that's just for my ears and my tonal goals, others may think it's the bees knees and the other two stink. I'll be interested to see what 12AX7 is in #1, I think it might be a JJ or even another old GE.
Or that we even want the bass going through the PA. I don't lug my whole rig around to look pretty and be a stage monitor. I'm more of the mind set that if there's a PA, it should be complimenting the amps, filling in what they can't accomplish (vocals, drums), not replacing them. That's really what a Soundman's job is, balancing what's there with what needs to be there, but of course that requires more experience and skill, so it just easier to have everyone plugged directly in or through a tiny mic'd amp and do what you think seems okay.
The Tung-Sol definitely has more gain on tap. Reviews said it has a bit of a scooped mid-range, and that seems to hold true. That's not to say it's lacking in mids, but they are a bit further back overall, allowing the highs to sparkle a bit more. I think this allows the drive to be a bit smoother and remain sharp and articulate. I think my descriptor of taut earlier is a really good way to describe this tube. This really comes across at lower volumes. It's much stiffer sounding when turned down, some might say a little "thin" in that the bass doesn't speak with quite as much authority as the B759 (I'll get to that). I think this helps when it gets cranked, since it keeps the attack strong without losing focus as the tube breaks up.
While I wasn't initially as impressed by the B759 as I was by the Tung-Sol, I've got to reassess that judgement. Neither are better or worse than the other, they're just different. Where as on 7 the Tung-Sol is pretty much well into overdrive, and it takes really dialing down the playing touch to get it to clean up, the B759 is still just on that edge. Digging in a bit causes it to give into the overdrive, but it can still remain clean riding that edge. I think the best way to describe the Gold Lion is big and glassy. The lows seem a bit bigger and the mids fuller. More balanced across the frequency range, maybe a bit more bold. While it doesn't give into overdrive as early, I think when it does, this fullness leads to it not being quite as focused as the Tung-Sol. It helps to back the contour (mids) knob off when getting into over drive to help the mids from getting too driven and edging towards becoming a bit clouded. With lower volumes, as I said, the sound is full. More bloom and lower richness than the Tung-Sol, fatter. I prefer the B759 over the 12AX7 for lower volumes because of this. While I normally keep the bass knob rolled well off to keep the sound from getting to farty as I reach overdrive, sometimes on lower settings it seems to be a bit flat (and I'm lazy to the point of not bothering to turn the knob up), but the B759 has plenty of plump in the low end to negate this issue.
Interestingly, despite the B759 being lower gain, it wants to feedback much more easily. It actually allows for very nice control of feedback, in fact just doing some light vibrato and keeping the pickup at the right point in relation to the speaker allows for some nifty feedback swell ala Hendrix. The Tung-Sol, when it does feedback, seems a bit more prone to just go straight to squealing. From what I've read, this might have something to do with the construction, in that the B759 is a long-plate, vs the 12AX7, which is a short plate. It seems long-plates are more prone too feedback and microphonics.
For now, I think the B759 will be staying in #2. When I get around to retubing #1 with some Gold Lion KT88s, I'll do some more testing, but I'm thinking the B759 will then move to that amp and the Tung-Sol will replace it in #2. Besides the nice and orderly organization of having one amp with all new Tung-Sol valves and one with all new Gold Lions, if there's any truth to the difference between KT88s and 6550s, I have an inclination the pre-amp valves will be best paired with their brand's output valve. The B759 will help get the KT88 amp (#1, which has the tube recs and is quieter) as much headroom as it can eek out while the 12AX7 will keep in line with the smoother breakup 6550s are supposed to have. Or hey, maybe I'll mix them up if that's what ends up sounding best. I'm really just dumbstruck by how much effect they really have on the sound.
I'll say this though, I don't think the GE that was in the amp will be going back in. Comparing it now to the two new valves, it just seems too gainy and harsh. Fullness-wise, maybe somewhere between the two, but the drive is much more...well, harsh. Maybe my opinion of that will change as I continue messing about with them, but I popped it back in after fiddling with the new ones for a while, and immediately went back to the Gold Lion. It may have been made in the USA, but I think these Russian valves sound better. Of course, that's just for my ears and my tonal goals, others may think it's the bees knees and the other two stink. I'll be interested to see what 12AX7 is in #1, I think it might be a JJ or even another old GE.
Or that we even want the bass going through the PA. I don't lug my whole rig around to look pretty and be a stage monitor. I'm more of the mind set that if there's a PA, it should be complimenting the amps, filling in what they can't accomplish (vocals, drums), not replacing them. That's really what a Soundman's job is, balancing what's there with what needs to be there, but of course that requires more experience and skill, so it just easier to have everyone plugged directly in or through a tiny mic'd amp and do what you think seems okay.
UPDATE!
Things are coming along. Things have moved SLOW with this. In between trial and error in finishing techniques and waiting on warmer weather I've been stareing at this body too long.
So out with the burst idea. So far I've got the edges and back ebonized now I'm doing a flood coat of Danish Oil to hopefully(fingers crossed) prevent cross contamination of the sides and the back.
More to come.
For those keeping score at home.
using the sb-2 with flats into the mini moog delay/drive, not too doomy maybe post free jazz/pre super funk, but i like it, gotta do a recording for an art show in hollywood on may 18th at last projects, gonna print the psych imagses 12x12 on aluminum photo paper like album covers, i'm recording the bass and drums on the beat boy just to get that lo fi late 80s early 90s cassette sound that i like so much, gotta go to work and sit through another advisory board meeting, if you had six years to solve a problem you'd think somebody would figure it out and stop having us talk about the same issues every 4 months
Quick and dirty flyer I put together for next week's show, got a better response than I thought it would:
Quick and dirty flyer I put together for next week's show, got a better response than I thought it would:
Fired up.
This thing is an absolute beast. Huge passive output. Three split coil pick ups in series is just ridiculous. The Darkglass preamp is perfect for heavy.
Quick and dirty flyer I put together for next week's show, got a better response than I thought it would:
ill be there! Im, bringin the vta400 with me to drop off with Paul from Lions Den for its overhaul.
Pretty.
Anyone else digging the new Amon Amarth?
Hard to explain my excitement level.
Its always a solid listen and is just great background music for whatever, but always sits just below my Top 10. I suppose its too "metal" for me to just love it, maybe not enough groove.
Still always glad to see new stuff from them, its always competent even if exactly what I'm going to get attached to.
Think I'm getting old.
Its of a time. For the most part image isn't very high on my radar. If I'm watching a video I'm always trying to look past the people at gear porn.(Somewhat related, but their bassist gets almost equal screen time to their guitarists.)I
Idk, the synchronized windmill headbanging put me off Amon Amarth long ago.
Saw Invalid Link Removed in another thread, music is the typical Japanese POP-metal but their bassist has this very articulate pillow-tone. Was putting up with the video for FAR longer than I intended just to try and get an idea what he was using, before I considered the chances of studio magic.
I
Idk, the synchronized windmill headbanging put me off Amon Amarth long ago.
ha ha, for me on the other hand, the quickest path to my heart for a metal band is for them to make abundantly clear that they are NOT too cool for unison headbanging. Well, that and great riffs, songwriting, vocals, tone, etc etc etc.
and I like Amon Amarth. Not a huge dedicated fan, but I find that most of their albums have at least two or three really good songs. That one about burying his 6-year old son who didn't survive the winter hits me right in the feels.
Best thing I've seen all day: a guy revived a 16 year old thread on using an SM57 for a bass cab mic to say essentially "I can't imagine why you'd ever need to mic a bass cab, since you can just DI it".
*Slow clap*
*Slow clap*
The saga continues.....
While working on the oil finish for the body I got the urge to "test fit" the parts I've have in hand.
Still need to acquire a bridge, neck plate, output plate, strap pins, and a pair of battery connectors.
After the finish is cured on the body I'll just need to cut a nut, assemble and setup.
Haven't decided on where to locate the lower strap pin.
Which side of the pointy bit do y'all think?
While working on the oil finish for the body I got the urge to "test fit" the parts I've have in hand.
Still need to acquire a bridge, neck plate, output plate, strap pins, and a pair of battery connectors.
After the finish is cured on the body I'll just need to cut a nut, assemble and setup.
Haven't decided on where to locate the lower strap pin.
Which side of the pointy bit do y'all think?
