As far as I understood the transformation is constant, so change the input and the output is changed too.
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Double Bass Yamaha SLB300 New model
- Thread starter Henry Rose
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- silent bass slb 300 slb300 yamaha
- Jul 28, 2009
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- Is not compensated for endorsements. Does not sell for profit.
In short yes it does change along with the string and in a natural way.
It’s not as that the SRT provides is a recorded sound. It takes the signal from the piezo and applies what was mathematically different between the original reference pickup and their reference microphone when they created the program. Because of that the resonance provided will be based on whatever is coming in through a pickup. Changes in what enters does certainly change what comes out of the the SRT. Changes in timbre (such as change of strings) will likewise change what is produced by the SRT.
I don't disagree, but I will say that the SRT processing does somewhat obscure the string difference. Don't expect a drastic change in sound from changing strings. Since the SLB300 has virtually no acoustic sound of its own, your amplifier is going have a bigger influence on the sound at lower volumes than it does when you use your "real" bass, so consider putting some of your upgrade dollars there.
- Jul 28, 2009
- 387
- 314
- Disclosures
- Is not compensated for endorsements. Does not sell for profit.
I have a completely different experience that what yours has been. The sound is completely different when I went from steel core to a synthetic core. Night and day and very much like the difference when I did the same on my real DB. Much more than from plugging into one sound system than the next. But perhaps if you're plugging it into bass guitar cabinets then the sound would vary. However, I don't see why anyone would opt to use one of those unless that's all you own, because it sounds remarkably better through any PA or full range speaker system, as it should.
I'm not sure what you mean by no acoustic sound of its own. It has it because it has a chamber which you can hear when up the fingerboard and the SRT is what provides the acoustic sound when further down on the fingerboard.
- Jul 28, 2009
- 387
- 314
- Disclosures
- Is not compensated for endorsements. Does not sell for profit.
Rehearsals/Beater: Alto TX208
Gig: one or two Turbosound IP300
Fishman Sub or Bose Sub1 on bottom depending on the room and how loud I need to get.
I use the same setup for my real DB also.
Gig: one or two Turbosound IP300
Fishman Sub or Bose Sub1 on bottom depending on the room and how loud I need to get.
I use the same setup for my real DB also.
Those turbosound speakers look promising. Can you get a direct signal to the house speakers using that? I see what looks like XLR outs on it. Also, do you feel the need to run a preamp between the Turbosounds and your bass (either the Yamaha our your acoustic) for more control? I could see one of those on the stand right behind you being great for stage monitoring, even at high volumes.
- Jul 28, 2009
- 387
- 314
- Disclosures
- Is not compensated for endorsements. Does not sell for profit.
Yes, the Turbosound has an XLR parallel out, which can go to the house. Most sound engineers will want to run a DI before my speakers. I think they just are used to doing that. I've mentioned they could go out from my speaker, but they like to stick with what they know. What is great is that my system sounds like the house because it is in fact a PA as well. What I hear is what the audience hears and I like that a lot.
No preamp is needed with the SLB300. I found preamps are unnecessary except perhaps a HPF. I do have a Source Audio EQ2 when I want to EQ to adjust for the room's acoustics, a HPF and/or want to run a customized crossover map. I think this device is a nice to have, but not a must have. The EQ2 is pretty much necessary for the cheapo Alto speaker which really sounds unnatural without EQ (which I like for its ridiculously low price and lack of weight), but not necessary for the Turbosound since the Turbosound is fairly flat frequency and I can do EQ on the Turbosound if I needed to. The EQ2 is a must for my real DB though. The pickup and mic need specific parametric band EQing.
What I like about the Turbosound is that it's tall and slim. It's less visually bulky especially since I like to have the main speaker at ear level. Compared to any other quality speaker for the same purpose (for example QSC) the difference isn't that big and it's negligible once the music gets going. I say this because in this day and age, quality PA's are consistent enough between brands that you should keep your mind open in order to choose what meets your needs whether it be more SPL, lighter weight, more features, etc.
No preamp is needed with the SLB300. I found preamps are unnecessary except perhaps a HPF. I do have a Source Audio EQ2 when I want to EQ to adjust for the room's acoustics, a HPF and/or want to run a customized crossover map. I think this device is a nice to have, but not a must have. The EQ2 is pretty much necessary for the cheapo Alto speaker which really sounds unnatural without EQ (which I like for its ridiculously low price and lack of weight), but not necessary for the Turbosound since the Turbosound is fairly flat frequency and I can do EQ on the Turbosound if I needed to. The EQ2 is a must for my real DB though. The pickup and mic need specific parametric band EQing.
What I like about the Turbosound is that it's tall and slim. It's less visually bulky especially since I like to have the main speaker at ear level. Compared to any other quality speaker for the same purpose (for example QSC) the difference isn't that big and it's negligible once the music gets going. I say this because in this day and age, quality PA's are consistent enough between brands that you should keep your mind open in order to choose what meets your needs whether it be more SPL, lighter weight, more features, etc.
Slight thread drift moment...
So I'm super intrigued by the idea of the Turbosound. My trio has a few gigs where I bring my bass amp/cab and a small PA (mainly for vocal stuff between tunes and such) and we've talked about getting a bigger PA, but it's just something else to haul around and the ones I've been looking at are pretty hefty like the EV Evolve 30M or the Bose L1. I've played through the Bose and I'm not crazy about it, but the EV sounded nice. What context are you using that Turbosound for, my goal is to find something that does not require FOH support when we're doing private gigs at what I might call "medium venue, medium volume" type gigs. If it gives me the sound I want, and we can throw the voice of our frontman in there as well then this might be a viable option.
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As far as I have tried various strings on SLB300, they sound pretty much same. Not only strings, everyone playing SLB300 sounds pretty much same.
As far as I have tried various strings on SLB300, they sound pretty much same. Not only strings, everyone playing SLB300 sounds pretty much same.
You can hear the SLB300 in a quiet room, but you can't hear it at all when playing with a band at any volume. If the band isn't painfully loud and you're playing a real bass with some amplification, the bass itself contributes to the sound you hear in the room. In the same situation with an SLB300, or any EUB, the amplifier is the only source of the bass sound.
both. because piezo signal is what is processed. you basically have a balance pot between piezo and processed signal.
I received mine with Pirastro Jazzers, disliked them (on my "real" DB as well). Tried the (factory) Helicores, better. settled with Spirocore Mittels (like on the real thing).
I recently found myself in a situation where I actually missed the doghouse: background music at a private event, three of us jammed in the corner of a carpeted room, asked to play below talking level. lacked the body that a real DB has even when played softly. also had to set HPF at 120Hz because of too much bass (in the corner, duh). not sure what would have happened with the real DB.
- Jul 28, 2009
- 387
- 314
- Disclosures
- Is not compensated for endorsements. Does not sell for profit.
If volume levels are down that low, I'd opt for the acoustic. Nothing can beat the sound of an acoustic with no amplification. Acoustic no amp is probably not that much more to schlep than the SLB with an amp anyhow.
didn't know we'd be asked to play that soft. still, in my particular situation, SLB + amp is still an easier schlep: SLB on the shoulder and amp in the hand, other hand free to open doors and/or remove hordes of fans. also, fits in the car without taking any of the two child seats out. the DB wants both seats out, flat back row (in a Volvo estate).
but yes, as stated above, the situation totally had me wishing for a real McCoy...
- Jul 28, 2009
- 387
- 314
- Disclosures
- Is not compensated for endorsements. Does not sell for profit.
Oddly when I had child seats and even though I had an estate, I ended up loading the acoustic like I would a sedan, in through the front passenger seat. Seemed easier for me than removing the child seats and moving them into storage only to have to reinstall them.
Otherwise I don't have hordes of fans awaiting for my arrival or even attending so I don't suffer that issue. I'm glad when there are more people in seats than on stage. Doors aren't a big issue either way, except fire doors with springs that could catapult a toddler or a supermodel clear across a room. Yes, during those moments I'm certainly glad that I have the SLB. I can actually hold the doors for those supermodels that I wish would attend our concerts instead of bulldozing my bass in front of them in a game of survival of the fittest. The supermodels would not for be for me of course because I'm happily married, but for the guitarists who are always single and not by choice.
I think the SLB now gets 90% of the gigs, but I do completely agree with you on its limitations. I certainly prefer playing the DB at home or where minimal amplification is needed but the convenience and the parity of sound once the volume is above a certain threshold makes it such a great thing to have.
Otherwise I don't have hordes of fans awaiting for my arrival or even attending so I don't suffer that issue. I'm glad when there are more people in seats than on stage. Doors aren't a big issue either way, except fire doors with springs that could catapult a toddler or a supermodel clear across a room. Yes, during those moments I'm certainly glad that I have the SLB. I can actually hold the doors for those supermodels that I wish would attend our concerts instead of bulldozing my bass in front of them in a game of survival of the fittest. The supermodels would not for be for me of course because I'm happily married, but for the guitarists who are always single and not by choice.
I think the SLB now gets 90% of the gigs, but I do completely agree with you on its limitations. I certainly prefer playing the DB at home or where minimal amplification is needed but the convenience and the parity of sound once the volume is above a certain threshold makes it such a great thing to have.
I've only seen videos of people fitting the DB in the passenger seat, never tried it myself - where I live, many times the parking space doesn't allow for the doors to be wide open, let alone have a dance with the DB there. the boot is however always possible. I hear you regarding moving the child seats.
we've recently moved into a newly built building, over here the spring fireproof doors are the law, must go through three to reach the car. so... yeah. two times two doors to remove both child seats. same to put them back. planning for a gig sometimes feels like playing chess.
these days I bring the DB if I know the situation requires an acoustic instrument, or if the project leader specifies it while being aware of amplifying limitations. so, yeah, you said it, 90% it's SLB. it's quite eye catching, too - at least nobody claims it's a cello...
I am considering some kind of angled pin for SLB, or at least doing something about the sliding... I have this puck that supposedly prevents sliding, not always working. and RobPin on the DB spoiled me (@robobass any suggestions?).
we've recently moved into a newly built building, over here the spring fireproof doors are the law, must go through three to reach the car. so... yeah. two times two doors to remove both child seats. same to put them back. planning for a gig sometimes feels like playing chess.
these days I bring the DB if I know the situation requires an acoustic instrument, or if the project leader specifies it while being aware of amplifying limitations. so, yeah, you said it, 90% it's SLB. it's quite eye catching, too - at least nobody claims it's a cello...
I am considering some kind of angled pin for SLB, or at least doing something about the sliding... I have this puck that supposedly prevents sliding, not always working. and RobPin on the DB spoiled me (@robobass any suggestions?).
- Jul 28, 2009
- 387
- 314
- Disclosures
- Is not compensated for endorsements. Does not sell for profit.
I made my own.
I also had an adapter made to go external power from USB when I'm at home so that I don't have to deal with batteries. Endpin plus this were worth the effort.
I also had an adapter made to go external power from USB when I'm at home so that I don't have to deal with batteries. Endpin plus this were worth the effort.
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100% of the gigs I've taken the SLB to over the last 3 years has had someone ask me what kind of instrument it is. Sometimes they'll do it while on a break, sometimes they walk up to the stage while we're playing. It's almost ironically funny at this point.
