TC Electronic RH750 ???!??

[Thombas]

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.

That's definitely something I'll experiment with! However, I really would like to avoid having to fiddle with the attenuators on the back of the cabs, I mostly need to change between a clean and a gritty tone on the fly. Could you approximate some of the effect of turning down the tweeters the way you do, by using the tweetertone?

 

[KJung]

That's definitely something I'll experiment with! However, I really would like to avoid having to fiddle with the attenuators on the back of the cabs, I mostly need to change between a clean and a gritty tone on the fly. Could you approximate some of the effect of turning down the tweeters the way you do, by using the tweetertone?

+1 That control is quite similar to the Markbass VLE (some variation of a variable lo pass filter), and you can literally 'turn the tweeter off' by setting it so that very little or no sound is getting to the cab at the tweeter/crossover frequency.

Edit: And, you can save that 'tweeter roll-off' setting in your 'grindy' preset. Amazingly cool amp.

 

[Thombas]

+1 That control is quite similar to the Markbass VLE (some variation of a variable lo pass filter), and you can literally 'turn the tweeter off' by setting it so that very little or no sound is getting to the cab at the tweeter/crossover frequency.

Thanks! I'm having such a great day here I liked the VLE for getting a vintage tone on my SD1200, but I usually wasn't really able to use it on a gig, as clean is my 80% of the time tone. The preset function is so cool for what I need.

Rubber feet will have to wait till tomorrow, no time for shopping today

 

[Eublet]

+1 to what Ken said. I don't have the 750 to give specific settings, but use that instead and store it in your preset.

 

[4-string]

That's definitely something I'll experiment with! However, I really would like to avoid having to fiddle with the attenuators on the back of the cabs, I mostly need to change between a clean and a gritty tone on the fly. Could you approximate some of the effect of turning down the tweeters the way you do, by using the tweetertone?

+1, I prefer to set and forget the attenuator knobs on the cabs. About noon or a tad more seems to suit me.

That TweeterTone is great, and I am glad I waited for it. I don't think I would have been happy without it (ie with the RH450) at all. Not that it has to be particularly bright all the time, but I like the way the tone really opens up when you open the TT.

All in all, the feature set of this amp is just beyond anything else I know, and when it sounds great too, I am a believer.

 

[Thombas]

+1, I prefer to set and forget the attenuator knobs on the cabs. About noon or a tad more seems to suit me.

That TweeterTone is great, and I am glad I waited for it. I don't think I would have been happy without it (ie with the RH450) at all. Not that it has to be particularly bright all the time, but I like the way the tone really opens up when you open the TT.

All in all, the feature set of this amp is just beyond anything else I know, and when it sounds great too, I am a believer.

I agree. There is not one thing on that front panel, that I havn't got a use for. Really functional, and musical sounding all the way too.

 

[GrowlerBox]

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

Ken's video review of the RH450 (sorry, Jarrett) with his Rob Allen Mouse was what convinced me to go with TCE for my EUB, and I have not been disappointed -- your findings pretty much exactly parallel mine on the smaller amp.

It's probably not quite so ideal for my acoustic upright (what is?), but I have found starting with the flat settings (as seen in BassGear Magazine's review) and essentially using it as a power amp with my Fishman pre gives me a nice relatively uncoloured tone. This sounds better to me than going into the effects loop, for some reason.

Anyhow, I see no reason why the RH750 wouldn't work just as well, perhaps better still with the TweeterTone option.

 

[vin*tone]

I usually have a screwdriver sticking out of my tweeter so the 450 does me fine

 

[Thombas]

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.

An edit based on yesterdays noodling: I experimented with the tweetertone yesterday, and instead of turning it all the way down, setting it around noon/1 o'clock, and sending some of the (cut) treble through the tweeter, makes things even better. More air, but still no piezo-clank.

 

[Thombas]

+1 to what Ken said. I don't have the 750 to give specific settings, but use that instead and store it in your preset.

Experimented with this yesterday, trying to get a good, gritty vintage tone following your "recipe" - but turning down the TT entirely instead of messing with the attenuators on the back. I now have a preset that immediately sounds like the chainsaw massacre, lot's of fret noise, but very ooomphy mids, reminding me of the sound I relate to sealed cabs and tube amps. I'm looking forward to playing it in a band situation, it's pretty in-your-face soloed! I have a gig tomorrow night with a blues band, they'll be the guinea-pigs.

 

[Jarrett]

(sorry, Jarrett)

for what?

 

[John D Harris]

I usually have a screwdriver sticking out of my tweeter so the 450 does me fine

LOL!

 

[GrowlerBox]

for what?

For bringing the RH450 back into your 750 thread.

 

[Jarrett]

For bringing the RH450 back into your 750 thread.

LOL that's funny. When I made that post I was talking about the folks that dragging the TC's RH450 wattage specs anger into this thread since there was a thread made especially for that to keep it out of other TC threads. It was an attempt to help keep what happened in the original RH450 thread from happening in this one. It's a moot point now since the "anger" thread was closed. And it's far from my thread, to the contrary, I consider myself an outsider here just trying to soak up knowledge from the serious players.

 

[Thombas]

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.

Tried Jasons recipe at a loud rock gig last night, playing with (against...) 2 half stacks and a loud drummer. 3 sets of classic rock and blues - and 300 mad bikers

I boosted the lows at -5 LEDs, cut the low mids a bit at default, left the high mids flat, and boosted the highs at centre. Tweetertone all the way down, which, if I understand correctly, sends the full signal through the 10s and nothing to the tweeters. Tubetone a around 9 o'clock. It DOES sound pretty harsh by itself, but what a great rock tone when in the mix. I was grinning from ear to ear all the way through "Keep on rockin in the free world"

If been following the watts discussion closely, and I don't want to stir the pot, but, like 4-string, I'm amazed by the real-life volume of this thing. When I gigged with these guys regularly (yesterday was just subbing), I used an Aggie GS412 and a MB SD1200, so I was half-worried how it would put up. I had my preset turned all the way down, and never had the master past noon. It didn't get hot or stressed sounding, I could hear myself fine all night, and so could everybody else. Naturally 2 210s don't move air in the same way as my old GS412, but those little buggers really hold up surprisingly well. It's a loud 210, and with the tone I was using, they had no problem cutting through the guitars. Actually, the only problem was the look on the others guys faces, when I placed my new hi tech rig between their mesa and marshall stuff - they thought I brought my iPhone instead of my amp

Thanks for the eq tips Jason, this is TB at it's best

This afternoon I'll be taking the same rig (well, just one cab) to a gig with a singer/song-writer at a cafe, where I support on 4 songs. I'll be playing my RA. That's versatility to me.

 

[tom-g]

... It's a moot point now since the "anger" thread was closed...

and a second thread called "Thank you" which just disappeared.

 

[Eublet]

Tried Jasons recipe at a loud rock gig last night, playing with (against...) 2 half stacks and a loud drummer. 3 sets of classic rock and blues - and 300 mad bikers

I boosted the lows at -5 LEDs, cut the low mids a bit at default, left the high mids flat, and boosted the highs at centre. Tweetertone all the way down, which, if I understand correctly, sends the full signal through the 10s and nothing to the tweeters. Tubetone a around 9 o'clock. It DOES sound pretty harsh by itself, but what a great rock tone when in the mix. I was grinning from ear to ear all the way through "Keep on rockin in the free world"

If been following the watts discussion closely, and I don't want to stir the pot, but, like 4-string, I'm amazed by the real-life volume of this thing. When I gigged with these guys regularly (yesterday was just subbing), I used an Aggie GS412 and a MB SD1200, so I was half-worried how it would put up. I had my preset turned all the way down, and never had the master past noon. It didn't get hot or stressed sounding, I could hear myself fine all night, and so could everybody else. Naturally 2 210s don't move air in the same way as my old GS412, but those little buggers really hold up surprisingly well. It's a loud 210, and with the tone I was using, they had no problem cutting through the guitars. Actually, the only problem was the look on the others guys faces, when I placed my new hi tech rig between their mesa and marshall stuff - they thought I brought my iPhone instead of my amp

Thanks for the eq tips Jason, this is TB at it's best

This afternoon I'll be taking the same rig (well, just one cab) to a gig with a singer/song-writer at a cafe, where I support on 4 songs. I'll be playing my RA. That's versatility to me.

Glad it worked for you! Thanks for sharing.

 

[husky123]

Yep, listen to that man. Jason knows his stuff.

 

[Thombas]

Yep, listen to that man. Jason knows his stuff.

Absolutely. Picking up on Munji's setting for a modern, aggressive tone, Ken's for the RA, and a rocktone from Jason, well, that's not the worst starting points you can get. Thanks!!!

 

[husky123]

Absolutely. Picking up on Munji's setting for a modern, aggressive tone, Ken's for the RA, and a rocktone from Jason, well, that's not the worst starting points you can get. Thanks!!!

Yep now TC needs to give us another bank of presets! I love this little 236 watt amp.