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Discussion in 'Amps and Cabs [BG]' started by mp40smg, Nov 18, 2016.
So why hang out in an amp forum?
The stimulating repartee?
For the stimulating wit and repartee?
Even if it's not true,...really good answer!!!
That's why I like clean powerful tube amp too. Gives ya what ya put in but with balls!
Why I like the B-Amp also. ... and I agree with the TONE HAMMER biz too. It seems to me pretty flat unless you use the drive or move the eq. The GAIN is very interactive here too . . anyway. .
The Fender Super Bassman . ...Berg B-amp AND Aggy Tone Hammer 500 all work 4 me.
And. ... I use a lil drive sometimes and when I do...I'm going post eq to the board. my S.E. copes just fine .
And. 2. All me basses sound different thru each.
Welcome to the wonderful world of good quality bass gear.
Just to make you wonder Downunder!
Certainly depends on the engineer these days in my area. The ones I've had lately are inquisitive, they ask questions and want my signal post eq, because my eq settings aren't extreme. Maybe every 1 out of 8 gigs the engineer will ask for a pre-eq signal.
Munji, i'm not disagreeing with your experience at all re: TH pedal, but i've got it set with knobs flat, and gain slightly past noon, and it's frequency flat, IMO. I A/B it with it's bypassed tone into an IEM rig. The rig is flat. I've used a Radial JDI and Neve DI with this rig. (I prefer the Neve over the TH, btw) but i don't notice any difference between TH & bypassed.
Of course, i play a passive Pbass with year old nickel rounds, so maybe I don't know what I'm missing.
I guess it gets down to what one considers "flat," as I said in my original post. I never could get a tone that was even across the frequencies - there was a definite absence of high mids and highs. I prefer a clean sound as opposed to vintage. It always gets down to a matter of personal taste.
Without going in to details - I bought a "hi-fi" bass head known for its clarity and uncolored sound and combined that with a full range cab known for the same thing. And I quickly realized that it was TOO honest sounding for me! Ugh - the gear might be "studio perfect", but my playing certainly isnt!
I'm not sure I want a "flat" amp.
I need an amp I like the sound of when all the controls are at 12 o'clock and don't need more then half a click left or right to maintain that sound.
If that's flat then good. If it's not then good.
That's why we have EQ controls.
I like my amp to add color depending on the type of music I'm playing, but if I'm sending a signal to the PA I'm going to have to let whoever is running the sound eq it and so I'm sending a clean signal. A good sound guy will make me sound good through the PA, he can add effects at the board, but if I send an eq'd signal that sounds great in stage but sounds muddy or over processed through PA then if the sound guy is unable to make it sound good he will just turn me down in the mix. Then again I don't play any big time stages like I'm sure a lot of you guys do.
Sorry, but that approach doesn't work for me. I hate tweeter highs on electric bass (I do like them for upright, though I don't find them 100% necessary), I hate lows below what an Ampeg 810 delivers, and I like a slight dip in the mids between 500 and 800 hz. If it works for you guys, that is wonderful and I hope you enjoy it, but none of these comments are hard and fast rules for many of us, and if an engineer or sound tech tries that approach with me, it usually ends up sounding wrong for the music I'm playing, so I will rebel.
My comment only applies to situations where the FOH engineer and I have discussed my tone goals and that person is working with me to get that type of sound sitting well in the FOH mix. I greatly respect your experience and agree that an engineer who is looking to make my low bass notes set off car alarms in a 2 mile radius or contain enough top end to annoy dogs and cats is going to get considerably less frequency bandwidth to work with from me.
I've seen a number of occasions where the FOH mix suffered because the FOH engineer got a great stage cab/head mix, but needed some additional amplitude in frequencies that were just not there in the signal coming to the mixing desk. A modern scooped bass type voicing is an example of where the stage tone may can be great, but it may need to be tweaked a bit in some of those scooped frequency areas to sound equally well in the house. As always, actual mileage varies!!
The HandBox R-400 is a bit of a new kid on the block, but I've had mine for about 6 months now and I adore it.
It's got a beautiful, clean pre with a simple Fender / Baxendall tone stack. It's as flat as you'll get, in a good way.
Here's the new amp thread.
Have you compared the post-eq DI signal to going straight into a mixing board? After a lot of A/B listening, the only difference I hear is a bit more treble extension when going direct. And I can't even hear this with when playing bass (my basses don't put out much high end). I can hear it when pumping recorded music through the system.
I've also thrown the amp on a scope. Between 30 hz and 4khz, it's +/- less than 1db. That's like a rounding error when looking at the frequency response of any bass cab.
I'd suggest that if the TH sounds way mid-forward, your ears have been calibrated by amps that are way-scooped. Which is a lot of amps!
Edited to add: I assume when we're talking about the knobs at noon, we're not talking about the drive control. If that's at noon, then yeah, big mid-bump.
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