Yeah the Granada in lawrence is a cool venue. Like wider than it is long so you are never too far from the stage. Ive seen neurosis there twice. It seems like a cool college town. I believe one of my cousins lives on Olathe. Small world man.
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Stoner/Doom Bassists Thread, Part 90: Maxed Out
- Thread starter Korladis
- Start date
I'm no expert, but if you value your speakers, a bass cab.
We all know an amp doesn't really care what you plug into it, it just makes it louder.
We do know that the speakers do, and if they're not built for what you're feeding it they'll overwork and fail.
Regardless of how you're shaping the sound, you're still feeding a bass signal. Unless you run it through a LPF and cut off all the bottom, you're going to be hitting those speakers with more frequencies and power at a level that guitar speakers weren't meant to deal with.
Furthermore, does a guitar cabinet really sound that much different than a bass cabinet to warrant the risk? It might be a little darker, a little fuller, based on the specs of the cab and the the way it's made but ultimately if you plug a guitar into a bass amp, it's gonna sound like a guitar just like if you plug a bass into a guitar amp.
Then again, its your money. But, as you say "full Lemmy mode" still used bass cabs.
That was my overall thought but I've never done this before. I was concerned anout muffling the top end of the JT, but now that I think about it, The JT100 is plenty bright thru the GK cab.
If the Gk Neo 2x12 is the same width as the 4x12, it would make a killer amp stack of doom: 800RB atop the JT100, which is on top of the 2x12, all resting on the 4x12's mighty shoulders. drool
I've listened to them before, the slowness doesn't bother me as much as the noise levels. It sounded like I was trying to listen to them on an a radio with tons of static while a blender full of gravel was on in the next room.
I kind of agree. They are clearly talented but there just no dynamics at all. The intensity and noise was just on 11 the whole time. Kind of exhausting.
Well thats out. ALL the other neo cabs are 1.5 inches narrower, so it will look weird and drive my ocd crazy. If i want to be sensible, i could do 2 15"s or 2 2x12 or 2 4x10s. But theres a little voice whispering: "2 ampeg fridges, it's the only way..." though ampeg 810s are splittable in stereo - i could run the GK at 8 ohm (200w) into the bottom half and the JT on the top 4x10 as it has a 8 ohm tap.
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I’ve been going to the Granada for like 15 years for shows. I do like the layout a lot we just saw thrice there a couple
months ago and anti flag this summer. Been a favorite for a long time. My wife is pretty short and likes that she can see
From that little raised area over the pit
Yeah last time i saw neurosis converge opened for them and like that whole lower area infront of the stage turned into a pit. Craziest pit ive been subjected to since i stopped going to hardcore shows after highschool
I keep having fantasies about biamping, too. I've got a head capable of doing so a couple different ways & a Traynor YBA4 that overdrives real nice. Throw a coulple-few hundred watts at the 15" in my fearful for lows and the mids & highs into the Traynor. Separate effects for each.
More HM-2 talk:
Got an Arion Metal Master. Definitely an HM-2 clone. It’s definitely got fuller lows, and has already displaced the original as my preferred HM-2 on bass for this reason. It seems slightly less harsh as well, which is a bonus for me, as I typically deviate from the “everything on 11” usage by reducing treble just a smidge. It’s also significantly louder than my MIT HM-2s. Haven’t tried the “stereo” function yet, though I hear it can also be used on “soft mode” for less harsh tones. I’ll probably try it, but as I don’t really want that, I doubt I’ll use it.
Basically, more bass, slightly less treble, LOUDER. WIN.
Update: Tried “soft mode”, which I did enjoy a bit. While the “soft mode” is pretty good, I prefer the standard tone. The “direct mode” is basically for tracking in the studio or bi-amping, as when that is engaged, the pedal doesn’t do anything to the sound whether or not the pedal is on. Could be cool if you need that. Also an interesting idea to bi-amp on “soft mode” to have 2 flavors of HM-2 simultaneously.
Anyway, cool enough pedal that I just searched and found another one cheap and scooped it up. My favorite HM-2 on bass by far. Even better than the LHW, which is almost 6x the price.
Got an Arion Metal Master. Definitely an HM-2 clone. It’s definitely got fuller lows, and has already displaced the original as my preferred HM-2 on bass for this reason. It seems slightly less harsh as well, which is a bonus for me, as I typically deviate from the “everything on 11” usage by reducing treble just a smidge. It’s also significantly louder than my MIT HM-2s. Haven’t tried the “stereo” function yet, though I hear it can also be used on “soft mode” for less harsh tones. I’ll probably try it, but as I don’t really want that, I doubt I’ll use it.
Basically, more bass, slightly less treble, LOUDER. WIN.
Update: Tried “soft mode”, which I did enjoy a bit. While the “soft mode” is pretty good, I prefer the standard tone. The “direct mode” is basically for tracking in the studio or bi-amping, as when that is engaged, the pedal doesn’t do anything to the sound whether or not the pedal is on. Could be cool if you need that. Also an interesting idea to bi-amp on “soft mode” to have 2 flavors of HM-2 simultaneously.
Anyway, cool enough pedal that I just searched and found another one cheap and scooped it up. My favorite HM-2 on bass by far. Even better than the LHW, which is almost 6x the price.
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Back from the practice room. I had time to put together the Super Fuzz Kit. Holy copulation. It's an evil evil fuzz. A huge amount of gain/volume to the point unity gain is at approximately 1 on the vol knob. The tone knob version was a good move. So many good points in between the original's two positions.
It is simply put, Electric Wizard circa Dopethrone in a can. Jus's secret weapon fuzz was the Boss Hyper Fuzz, which afaik is a modded Super Fuzz circuit (it has a lot more control options). Theres a subtle upper octave that thickens and gives it fullness and a certain amount of chaos. No bass suckage, though at high volume/gain the bass gets really loose and potentially farty. The muff has a tighter, fuller low end, but this thing just sounds huge and snarly. I love the poopie out of it.
I also got to dabble in bi-amping. Playing at a guitar speaker safe level, I hooked up my JT100 to a marshall 1960A 4x12. Threw the 800RB in biamp mode witb a fairly low crossover. GK by itself sounded like reggae/dub sub bass. JT ran with bass off and mids and treble up high. Didn't need a heck of a lot of volume from the JT. The GK did most of the heavy lifting. I have a new gear goal. Haha
I am going to need a dedicated ABY box though. The big muff only adds in the dirty side when a pedal is active. So hows it sound? Heavenly and worth it imho. Its nothong like a clean blend on a pedal. With fuzz, it is one unified sound, with the tightest booming lows and the wild fuzz at the same time. Highly recommended for fuzz lovers.
It is simply put, Electric Wizard circa Dopethrone in a can. Jus's secret weapon fuzz was the Boss Hyper Fuzz, which afaik is a modded Super Fuzz circuit (it has a lot more control options). Theres a subtle upper octave that thickens and gives it fullness and a certain amount of chaos. No bass suckage, though at high volume/gain the bass gets really loose and potentially farty. The muff has a tighter, fuller low end, but this thing just sounds huge and snarly. I love the poopie out of it.
I also got to dabble in bi-amping. Playing at a guitar speaker safe level, I hooked up my JT100 to a marshall 1960A 4x12. Threw the 800RB in biamp mode witb a fairly low crossover. GK by itself sounded like reggae/dub sub bass. JT ran with bass off and mids and treble up high. Didn't need a heck of a lot of volume from the JT. The GK did most of the heavy lifting. I have a new gear goal. Haha
I am going to need a dedicated ABY box though. The big muff only adds in the dirty side when a pedal is active. So hows it sound? Heavenly and worth it imho. Its nothong like a clean blend on a pedal. With fuzz, it is one unified sound, with the tightest booming lows and the wild fuzz at the same time. Highly recommended for fuzz lovers.
Here's an observation tied to a question for our female doom\stoner enthusiasts:
It seems like this genre has the most parity when it comes to women in the audience and in bands. I tend to think it is because it doesn't have a lot of the crotch grabbing of 80s metal, the "yeah Bruh!" of other more modern forms of metal, or the violent nihilism of death metal. Whatever it is, I like the diversity it adds to the music, and that the shows aren't total sausage fests.
What I find odd is the artwork used on shirts and album covers features a lot of female nudity. Metal has always had a questionable relationship with exploiting the female form, but that "toxicity" hasn't seemed to strike home even though nearly 50% of Stoner\Doom album covers feature some level of T and or A. Including bands with women in them.
So my question is, in these enlightened times we live in, how is unequal display of the female form (because the depictions of men in artwork for these genres is almost exclusively old wizards in long robes) not "problematic"? There is no sarcasm here, I am genuinely trying to figure this out.
It seems like this genre has the most parity when it comes to women in the audience and in bands. I tend to think it is because it doesn't have a lot of the crotch grabbing of 80s metal, the "yeah Bruh!" of other more modern forms of metal, or the violent nihilism of death metal. Whatever it is, I like the diversity it adds to the music, and that the shows aren't total sausage fests.
What I find odd is the artwork used on shirts and album covers features a lot of female nudity. Metal has always had a questionable relationship with exploiting the female form, but that "toxicity" hasn't seemed to strike home even though nearly 50% of Stoner\Doom album covers feature some level of T and or A. Including bands with women in them.
So my question is, in these enlightened times we live in, how is unequal display of the female form (because the depictions of men in artwork for these genres is almost exclusively old wizards in long robes) not "problematic"? There is no sarcasm here, I am genuinely trying to figure this out.
Yeah. Another planet entirely. I couldn't believe how good it sounds until I tried.
It doesn't bother me much, but I find it's really cliche and I would never use it. I would never use old wizards, skulls and stuff like that either
Things that I find sexist are others tho, for example the idea of "All female band"
Stressing the fact that a band is all female, or, worse, looking for female members to form "all-female-bands"
I can become violent over things stupid like this.
good question. i have no idea as I have never asked the women their thoughts about it.
We avoid the typical imagery like the plague. The whole thing has become such a caricature of itself.
The thing about album covers or logos is they are supposed tell the potential buyer what it is without knowing. Death Metal albums are the same way. You know what genre they are before you listen. It is a two edged sword.
for me when i see the "same old cover" then i know it will likely be the same old songs. but yeah i see your point.
