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Streamliner Vs Shuttle - Discuss
- Thread starter Doctor J
- Start date
Yup. Absolutely tons of info on both these amps, and all things Genz Benz. Seek and ye shall find. good luck.
Owned both. Kept the Shuttle 9.0 longer than the Streamliner. I found the S900 to have too much low/mid wool for my taste but also must say that my P-bass never sounded better through any other amp. I had a tough time getting a tone with my Rob Allen that I liked though. The Shuttle is more towards the hi-fi end of things and is easier to push around tonally imho. If you want fat/tube/vintage-vibe though, the Streamliner is hard to beat.
Thanks guys. I'm suspect I'm looking for a little more flexibility than the Streamliner seems to offer. I had watched the Friedland videos, but he has one close mic'd and the other mic'd about three feet away from the cab so it's impossible to draw a direct comparison. I like what I've heard from the Streamliner, a lot, but I need more than just fat and warm.
Unfortunately the videos can't capture that sinking feeling you get on the gig when you just can't hear yourself in the mix. I got rid of my Streamliner 900 pronto after that experience.
goldsmithr said:
+1 also..... I couldn't hear squat from online videos. Ed makes em all sound superb. Don't matter what bass he uses either
I have been playing, regularly, for just over two months, GB's new Shuttle 6.2. I also have been playing for quite some time, now, a Streamliner 600 and just sold a Shuttle 3.0.
The new Shuttle 6.2 is my head of choice when I am playing in rooms with poor (boomy) acoustics. I used to find that the Shuttle 3, combined with a Bergantino AE112 worked best at these venues but after getting the "boom" under control, the tone, was just not where I wanted it. The 6.2 really nails it in these environments, however, and is able to bring forward tight lows, clean, present, mids and sparkly highs. The AE112 has gone to the back of the bus, now, replaced with a composite Crazy 88 by Mike Arnopol. To my ears, it's a great match.
I am also using the 6.2 combined with two AE112s in larger church environments (in this area, that's normally 200 - 300 people). Works good, with or without FOH support. It's a flexible head with an awesome eq.
The Streamliner 600 combined with my AE112s is my favourite rig, from a tone perspective. I use this with the Bay Buoys, a local band I have been playing with for more than 20 years. We play classic stuff from the 70's along with our own blues and folk arrangements at private parties, festivals and fund raisers.
I sold the 3.0 because it became redundant with the purchase of my 6.2.
In terms of warmth, depth and girth; 1 being the lowest rating and 3 being the highest, I would rank the 3.0 as 1; the 6.2 as 2; and the 600 as 3.
In terms of flexibility, I would put the 6.2 at the top. If I had to choose only one, it would be the 6.2 over the 600 because the venues I play at are extremely varied.
I normally play a four-string fretless with a Nordstrand NP4 at the neck and Nordstrand big split at the bridge.
The new Shuttle 6.2 is my head of choice when I am playing in rooms with poor (boomy) acoustics. I used to find that the Shuttle 3, combined with a Bergantino AE112 worked best at these venues but after getting the "boom" under control, the tone, was just not where I wanted it. The 6.2 really nails it in these environments, however, and is able to bring forward tight lows, clean, present, mids and sparkly highs. The AE112 has gone to the back of the bus, now, replaced with a composite Crazy 88 by Mike Arnopol. To my ears, it's a great match.
I am also using the 6.2 combined with two AE112s in larger church environments (in this area, that's normally 200 - 300 people). Works good, with or without FOH support. It's a flexible head with an awesome eq.
The Streamliner 600 combined with my AE112s is my favourite rig, from a tone perspective. I use this with the Bay Buoys, a local band I have been playing with for more than 20 years. We play classic stuff from the 70's along with our own blues and folk arrangements at private parties, festivals and fund raisers.
I sold the 3.0 because it became redundant with the purchase of my 6.2.
In terms of warmth, depth and girth; 1 being the lowest rating and 3 being the highest, I would rank the 3.0 as 1; the 6.2 as 2; and the 600 as 3.
In terms of flexibility, I would put the 6.2 at the top. If I had to choose only one, it would be the 6.2 over the 600 because the venues I play at are extremely varied.
I normally play a four-string fretless with a Nordstrand NP4 at the neck and Nordstrand big split at the bridge.
in the streamliner threads there were many posts regarding the crucial point of matching the good cab with the STM. This is the primary point IMO. I usually use mid-heavy basses and high-mid heavy cabs with it and the tone is absolutely right. But, having said that, I can see why many others struggle with this amp. Its tonal profile is not flat or neutral in any way, so it becomes important how you build your setup to achieve a certain goal. For instance, I can obtain a wolly indistinct tone with my bold NT 5 strings bass (dark sounding by itself) or I can produce a cutting growling and burpy tone using my warwick and proper technique. With my everyday setup, consisting in the STM + 2 x Berg AE210 (vertically stacked), the tone is very well balanced even with all the knobs at noon. In so many occasions I only adjust here and there but with very subtle moves of the eq.
But, sometimes, in poor acoustic environments, I can be difficult to sculpt the tone to a useable one, the tonal footprint of the amp can be perverted using extreme eq settings, but in that case I prefer to use another amp. I tried all the eq settings suggested by other tbs that wanted to obtain a "flat" tone out of the STM...no way IMO. YOU CAN obtain a neutral tone if you force the eq (very effective), but somewhere the creamy warmth of the amp gets lost in the process...better to enjoy the natural tone of this amp, its a rather unique beast in the market.
But, sometimes, in poor acoustic environments, I can be difficult to sculpt the tone to a useable one, the tonal footprint of the amp can be perverted using extreme eq settings, but in that case I prefer to use another amp. I tried all the eq settings suggested by other tbs that wanted to obtain a "flat" tone out of the STM...no way IMO. YOU CAN obtain a neutral tone if you force the eq (very effective), but somewhere the creamy warmth of the amp gets lost in the process...better to enjoy the natural tone of this amp, its a rather unique beast in the market.
Lomo & Goldsmithr- can totally understand but you gotta list your cab! I got rid of my cab & not the Streamliner ! I had more problems with warm, big in the low cabs than i do with my streamliner. That you can EQ out at the amp but a cab is what a cab is... the Streamliner can make it worse for sure
I gig the Streamliner with the GK NEOs & it works well, VERY clear in the mix, albeit with the bass turned to 9 oclock at times
I gig the Streamliner with the GK NEOs & it works well, VERY clear in the mix, albeit with the bass turned to 9 oclock at times
