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TC Electronic RH750 ???!??
- Thread starter boriology101
- Start date
- Status
BurningSkies
CRAZY BALDHEAD
- Feb 20, 2005
- 27,956
- 20,348
- Disclosures
- Endorsing artist: Dingwall Guitars
If you want to get it closed just thread bomb it with pictures and off topic nonsense.
I finally got an opportunity to spend some quality time with my new RH750 and my Rob Allen MB2. And what a nice combination. I've made a RA preset, cutting the bass a couple of notches at a cutpoint around 9 o'clock, boosting the low mids a little at a cutpoint around 1 o'clock, leaving the high mids flat, and cutting the treble a bit at a cutpoint around 1-2 o'clock. Tweetertone, compressor, and tubetone all the way down. This gives me a piezo-clack free, warm tone, that totally brings the "wood" out of the RA, and literally makes it sing. Very, very inspiring tone, it's always been a bass that was hard to put down, and now it's even harder. It's just cool to have a rig that can handle both my basses well, and the preset function makes it a breeze to change between them. Now I'm hoping for a gig where I need to bring both
i know it's a crummy iPhone shot, but it looks good too
Very cool! I again found my RH450/RS210 to be among the best rigs I've experienced with the Rob Allen basses. The warm, mid present voicing really works wonders with that uber wide piezo voicing. And, as you post above, since the Rob Allens have such massively hot output and unusual voicing, the ability to set a preset to deal with that is really wonderful. Really nice! Enjoy!
Thanks Ken, I am. I'm having a day off from work today, and have been noodling with the set-up more or less all day. It's hard to detect what's what in terms of what the amp does and what the cab does, but it also seems the 210 is a great cab for that bass. Very focused, and especially the highs are just so smooth sounding, I'm in tone heaven right now. It's the best I've heard that bass.
+1 The tweeter/crossover in that cab is magnificent, and as you say, does a great job of allowing you to keep some of that piezo sparkle in the voicing of the Rob Allen without getting that awful piezo harshness up top. Really works well if you are trying to get a bit of 'DBishness' from the Rob Allen. Cool!
Get some rubber feet on the bottom of that cab if you are going to use it as a stand-alone. Really helps keep the bottom from getting beat up, and provides a more solid feel/platform on stage.
I had another rehearsal and spent more time with the RH750 last night. I experimented with turning the Tubetone up this time. Sounded good at low volumes, but really got mushy at band volumes. My low end notes became indistinct. I'm finding I like to keep my gain low, master high and no Spectracomp or Tubetone to get a good clean sound out of this thing.
How much did you turn it up? I used just a tad on a "vintage" preset at a gig last saturday, but find that it's really sensitive to how much you dial in. It got too much for my taste already at 9 o'clock, but just a couple of lights gave me some additional warmth and just a hair of ol' school grit, without losing definition at stage volume.
+1 The tubetone is highly interactive with the pregain and EQ. It isn't a 'just crank it up' knob IMO.
The pregain should be set just below clip light on these amps and left alone for optimal performance. +1.. the 'magic' of the tubetone control is within that very early travel of the pot.
It really didn't matter the range. It's not useful for the tone I am trying to achieve. Keeping the gain low and master high gets as close as I can get with this head.
I get your point. I have no tubetone dialed in on my "basic" tone either, keeping it 100% clean. Does it make a difference for you if you keep the gain low or high, as long as it's below where the clip light sets in?
Thombas said:
As long as it is below where the light flashes, it is low, by definition. I haven't experiened any meaningful difference between low and even lower.
I am all about clean tones myself, but I actually add a tad of TubeTone to all three presets. Up to 8:00, no problem IME. YMMV of course.
It does. The closer I get my input to clipping, the more low mids are dialed in that I can't dial out and the muddier the amp gets. The guys at Bass Emporium suggested I run the master full up, then dial the gain to taste on the TC heads. At first, I didn't think it made sense but the more I played with that idea the more I realized this was the way for me to go to get the sound I wanted from the head.
I dime the master and run the gain low. If I need more volume, I dial the master back 30% or so and turn the gain up one click, that causes a jump in volume and low mids. I then re EQ and set master to taste again after that. It's a little unorthodox compared to other amps I've used, but it gets the desired result for me.
Exactly. I was just wondering if Jarrett was keeping it LOWER than where the input starts clipping, in order to achieve the clean tone he wants - and if so, why. I guess no one would start driving this amps input stage into clipping, so I was just wondering what "low" is in Jarrett's set-up.
On that note, apologies from me for my part in that, didn't realize pics were a no-no, and am used to forums that run a little looser in that regard, within reason.
Duly noted, will not repeat. Am interested in the RH750 more than the RH450, maybe will just kick back and lurk. Sorry!
Cool! I didn't know that. I'll have to try that out, but I have an idea it would be a good thing to do in a rehearsal room
With regard to tubetone, or any kind of overdrive, the key in general is to control your mids. If you want some top end crunch but not a lot of low-end blurrieness, then cutting low-mids works well as it concentrates the tube tone in the upper-mids and highs. Then you can boost lows, and get a full sound. This also means you'll hear the grit at lower overdrive settings, so you'll have even less of it affecting your tone. If you want low-end warmth and a bit of wool, then scoop high mids, dial up the amount of tubetone you want, and then adjust highs to taste.
Another key with overdrive is not to have your tweeter up too high. I like to run my RS210 stack with the bottom tweeter off and the top tweeter set around 8 o'clock when I'm going with tubetone. The cabs will be pretty dark sounding at this point, but if you leave the Treble knob at the defaul setting, then you'll be boosting 1.6khz, which really adds a good bit of top clarity without the sparkle as would happen with a sealed, tweeterless cabinet. It really brings out fret buzz and pick attack which is great for that bap-bap, tick tack rock sound. If you aren't used to it, then doing this outside of a mix will sound really harsh and way too edgy. But add in some drums and a screaming guitar stack and it cuts right through with big bottom, relaxed low mids, and lots of top end crunch.
Easy to get a perfect rock tone with the RH rig IMHO.
Another key with overdrive is not to have your tweeter up too high. I like to run my RS210 stack with the bottom tweeter off and the top tweeter set around 8 o'clock when I'm going with tubetone. The cabs will be pretty dark sounding at this point, but if you leave the Treble knob at the defaul setting, then you'll be boosting 1.6khz, which really adds a good bit of top clarity without the sparkle as would happen with a sealed, tweeterless cabinet. It really brings out fret buzz and pick attack which is great for that bap-bap, tick tack rock sound. If you aren't used to it, then doing this outside of a mix will sound really harsh and way too edgy. But add in some drums and a screaming guitar stack and it cuts right through with big bottom, relaxed low mids, and lots of top end crunch.
Easy to get a perfect rock tone with the RH rig IMHO.
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