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TC Electronic RH450 Favorite Settings © Thread

#62
Rick Auricchio said:
Your best bet might be to go with less of everything compared to what you do live, if that's possible. Think of it like a chef. If you add salt and pepper while cooking, nobody can remove it from his dish. If the chef cooks with a lighter hand, each person can always add a little to taste. Go with lighter compression---give the engineer room to add it. Avoid heavy distortion---he can't undo that, but he can add.
Click to expand...

Good point, going through the professional recording process is new to me so I'll definitely keep that in mind.

Thanks!
 
#63
That "punch loss" is probably because you're used to the physical effect of a speaker cabinet nearby. And, if you were going through a PA and a stage cabinet, you might have experienced room effects due to the two different sound sources (PA cab and yours).

If you haven't listened from the audience position, you really don't have a valid point of reference anyway.


RadioHead: Trust your engineer too. If he's a deaf moron, you'll know it right away. If he's good, as most are, he'll make you sound great.
 
#64
When I was comparing I my bass direct to the RH450 direct I meant both direct into my PreSunus AudioBox. I can get close but with less punch.

I record and rehearse allot through the PreSonus, helps me keep roommates when playing late at knight:)
 
#67
James_E said:
In non-shift mode, tubetone is adjusting the tubetone.

When I'm in shift mode, and I turn the Tubetone ... what exactly is it adjusting? It says "preset level". Sorry if this is a dumb question but what does that mean?
Click to expand...

That is the 'post EQ' volume level of the preset. Very useful for balancing the volume of the different presets. Since the master volume is a little jumpy when the preset volume is cranked, try setting the basic preset volume to around 1 o'clock or so. That gives you more play with the master (i.e. a smoother, longer taper and more control), and will allow you to then balance the volume of the different presets.

For example, if you have a preset with a lot of compression that results in the volume being softer than another preset, you can store a higher volume for that preset. The cool thing about this is you don't have to compromise your optimum input gain for signal to noise. So, you have three volumes on this amp... the pre gain (set based on the input clip light), the post EQ volume we are discussion, which allows you to balance the volume of the presets, and then the master volume, which is the only control that is not 'storable' (you wouldn't want it to be).

K
 
#68
Cool. That makes sense.

So I do:

1. Gain setting, set it based on input clipping (ie. let it just clip a bit, then back off.) This setting is not stored with each MEM.
2. Preset setting - use it to ensure that each preset, given the same gain/master positions, has the same output level.
3. Master - use it, as expected, to globally set output volume for room size, other band members volume etc.
 
#69
James_E said:
Cool. That makes sense.

So I do:

1. Gain setting, set it based on input clipping (ie. let it just clip a bit, then back off.) This setting is not stored with each MEM.
2. Preset setting - use it to ensure that each preset, given the same gain/master positions, has the same output level.
3. Master - use it, as expected, to globally set output volume for room size, other band members volume etc.
Click to expand...

+1, except the gain setting IS stored with each preset. The only thing not stored is the master. So, the cool thing is, if you have two basses with very different outputs, you can program a preset for each of them, including input gain, compression level, tubetone level, EQ (level and center points), and then a 'post volume' just before the master. Cool!
 
#70
Here's two scenario's.

Scenario 1:

Two basses... a passive jazz bass, and a DB with piezo pickup.

So, preset one for the Jazz Bass... very high input gain, since the passive output of those basses is pretty low... a bit of low end boost, some tubetone

Preset two for the DB... much lower pre gain stored since the piezo pickup is very hot.... bass shelving start point moved down and bass cut to eliminate 'DB boom and bloom', treble cut a bit

For this scenario, that 'post EQ' volume is not that useful (although can still be used to equate the two basses volume pre master if you are using extreme EQ cut on the DB), since you have two totally different basses and tones, and wouldn't be switching back and forth 'on the go' (i.e., you can only use one bass at a time).

Scenario 2:

Jazz bass only, but with different tone presets

Preset 1..... clean, wide, modern.... input gain set optimum, deep bass and upper treble dialed in, post EQ volume set to 1 o'clock

Preset 2..... similar tone, but for 'soloing'... so everything the same, but preset 2 'post EQ volume at 3 o'clock... so it acts as a boost setting.

Preset 3 ..... moderate tube tone, moderate compression, low end reduced a bit... old school 'SVT through sealed cab' vibe..... input gain obviously the same because it is the same bass, but now, the post EQ volume would be cranked up (maybe all the way) to compensate for the EQ cut and compression, etc.... so that when you hit that preset... the tone changes, the volume doesn't.

Awesome design IMO!
 
#71
Great description of the power in the RH450 feature set, KJung. The presets sold me for just such use. I go back and forth between an active five string and a passive, hollowbody fretless four. Apart from different tone goals from the eq for each bass, they have different output levels. Now I push one button and I've got the right sound at the right level. Neato!
 
#72
Addlepate said:
Great description of the power in the RH450 feature set, KJung. The presets sold me for just such use. I go back and forth between an active five string and a passive, hollowbody fretless four. Apart from different tone goals from the eq for each bass, they have different output levels. Now I push one button and I've got the right sound at the right level. Neato!
Click to expand...

Nothing out there does this so easily!
 
#73
Hey everyone,

Well I got the chance to use the DI out yesterday for my band's recording session. I used my Lakland Skyline DJ4, and want directly out from the DI line driver out into the rack mixing board.

Settings wise: I boosted my bass and low-mid a hair, as well as high-mids, which I moved back the center freq back from 1100Hz to 800Hz. I'm guessing that this is a common thing (I don't have enough DI experience to know, but I noticed that the DI out was very dry sounding; I ended up boosting the Tubetone knob from 0 to about 11 o'clock, which seemed to fatten up the tone quite a bit. I also left a little bit of compression on from the head (about 9 o'clock, so about 6 dots I think).

The initial raw mixes sound pretty good, I'll post links to the bass tracks once I get them from the engineer.
 
#75
bassmanjla said:
what?!?! that doesnt' make any sense. please explain
Click to expand...

It makes perfect sense! Standard speaker arrangement calls for speakers to be connected in parallel - I don't know of a single cab/amp manufacturer that doesn't. 2 8ohm speakers in parallel results in a 4 ohm load to the amp and 2 4 ohm cabs in parallel results in a 2 ohm load to the amp, but parallel isn't the only way you can hook speakers up. You can also hook them up in series. 2 8 ohms speakers in series results in a 16 ohm load to the amp. 2 4 ohm cabs in series is 8 ohms.

The problem here is that you need custom speaker cables to hook your cabs up in series.
 
#77
I'm not sure if this makes sence but I just found amazing tones by bypassing my j-retro preamp. Sunday my Retro ran out of juice halfway through a rehearsal so I had to switch to passive mode and wow! I switched to the Rocco center freq's (one of my Presets) with:

Lows: 3:00
Low Mid: 1:00
High Mid: 11:00
High: 4:00

Between the bridge alone or bridge + neck pickups I could get my two favorite finger tones (snarly and thumpy) and an acceptable slap tone (still needs work).

maybe two powerful EQ's is too much, the Retro makes my tube amp go from vintage to modern for amazing tones, however, I think it made finding the sweet spots of the RH450 hard. Perhaps 5 para's, a bass boost/cut, a treble boost cut, a 7k boost switch, pickup selector, tone knob and tube tone was to much EQ power. :bassist:

My goal is:

Preset 1: Passive greatness (done)
Preset 2: Best HiFi sound I can get (in progress)
Preset 3: either 6-String fretless or Envelope&dirt channel (in progress & last priority)
 
#78
Bump for justice. I'm using a slight variation of Radiohead860's design as my primary tone. I have another dedicated flat channel for my VT Bass to own. Third channel is a super aggressive boost to the high mids, but I am not totally happy with it yet.
 
#79
I'm waiting for the AE112 cab to show up tomorrow, but was messing with the head via phones and both Sadowsky and Rob Allen. There seems to be a lot of interaction going on if you start to dial in tubetone and spectracomp, so you need to play around a bit. I did find that for the tone I'm looking for, boosting the hi mid at the default freq center is perfect on the Rob Allen to give a bit more definition and attack. I also dial down the bass a bit. So far I'm running the PJ dead flat, but I'll know more when I am running it at a gig friday night.
 

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