VTypeV4

We've all been there! I love all three of the Squier basses I own - I've not had a Fender for many years.. 👍

Whilst not the bass I play the most, it's the one that's appeard on more sessions at the studio than anything else. The Squier is only an 'Affinity' example but there's just something about it. I've done at least one gig on it too. 👍

The V6 taking a little break whilst the freshly serviced V4 took centre stage for a bit of testing. The Status Energy 5 and AH400SMX at use as part of a live electronica session the other week - I actually played in front of an audience again. Both were as ever, completely faultless and worked a charm.

Thanks, Mike. 👍 I've started an electronica project with an old friend so I was making some piano / synth loops in Reason - the 02R was simply monitoring today but I do have a live album on the go with that particular desk currently so it's not heard it's last - far from it. ❤️ I've no plans to retire this one or the example at the studio just yet. 100% with you on the current market. I've only used one TF and that was at Colchester pre-Covid but that has since been retired and replaced with a far more capable and useful QL5. X and M32s are fine and anyone that complains about their sonics clearly can't mix a bag of concrete let alone a band but I'm just a bit bored with them now - far more so than my older Yamaha collection - go figure? Do you feel the same with them? Aa for Soundcraft, I've never really used one I didn't like - even the Spirit stuff was good enough most of the time. Don't get me wrong, I don't much fancy a gig on a Live 4224 now but 20 years ago, I certainly wasn't complaining. Only a little less than 20 years ago, I had the pleasure of one of the very first production GB-8 consoles and it was a lovely thing - it out performed both the Spirit it replaced plus the A&H GL2200 and GL3000 I was also using at the time. I wasn't so keen on the MH series and thought the A&H ML was better all round but it was still ok. I know the original 328 was dogged with issues and didn't do their 'digital' reputation any good but I still feel the later 328XD was a fantastic and mind blowingly capable machine as archived in this topic. As you suggest, hopefully someone will buy the brand and bring it back as the VI and other digital mixers are starting to show their age a little now. 😬 The DM1000 got an outing a few weeks back doing the band / orchestra mix (about 20 channels) for a production of 'Grease'.. Not in the shot but to the right is an X32 capably operated by friend and fellow studio owner, Mark - arguably I had the easy job as he was on cues, sfx and handling all vocal channels.

I've been doing a little work from home today - the 02R performing as well and reliably as ever. 😃 A&H have done so well with the SQ range - they've certainly rattled some cages, no doubt both Behringer / Midas and Yamaha must be cursing them as the SQ has absolutely stormed that end of the market. I wonder if Soundcraft will hit back with something as there's been nothing special from them for a while?

Looking great Mike, it's good to see you keeping busy despite it being January. Modern stuff lights up so pretty! ❤️ I've enjoyed all of the Academy gigs - I've worked all three rooms at various points over the last few years and Marius has usually looked after me pretty well although he's not a fan of the Spear / TOH / Ruts / DMW manager.. 😆

It's been an 02R day with the one at the studio being used for a tuition session this morning and then the pic above is the example that lives at The Rigger on live sound duties. 😀

I bought a proper 'F brand' bridge cover for the VM - I'm a happy bunny. 😀

I've never used the bigger Yamaha REV units although I do have two 500s in the rack - I find them useful as 'utility' reverbs rather than something exciting or stand out. I still have three ancient SPX 90s, too - the reverb in those is a little questionable and not a sniff near the TC M1 (or Unity card) but the other effects are pretty serviceable, especially the modulation patches. I rather fancy some Lexicon units as they're a different flavour again although the price of the PCM 91 is a little off putting these days. 😐 I couldn't say as to whether the d8b and 02R Unity TC 'verbs are the same but given the common character between M1 and Unity, I imagine there's a good chance they're at least similar. 👍

The M1 is a cracking 100% with the M1 - I've no plans to replace them as they really are a cut above everything else in my FX rack. I still have a pair of the Drawmer 221s although, being honest, I find them a little underwhelming - I was hoping for a little more of 'something' from them. I may get shot for this but I much prefer my Alesis 3632 units. I've been looking at some BSS units to replace them. Glad you're still rocking a d8b - it's been more than 20 years since I've had my hands on one of those! I guess it's like my 02Rs, if they ain't broke and still deliver then why change for the sake of change. On the subject of the 02R (and I appreciate, it's not a rack), the TC Electronic Unity cards can still muster some incredible 'M2000' style FX (arguably even better than the M1) and are amongst my favourite big, expansive 'verbs..

Most of these snaps are from the Spear of Destiny tour which has just finished - the final show at the Rigger I used both the 02R and the DM1000 together. The 02R took care of monitors whilst the DM was used for FOH with the consoles linked by pre-fade direct outs via ADAT duplicating the 1-16 channel set on both machines. First go with an Avantis here in Barnsley - a lovely tool that seemed straight forward to get along with.. Good old d&b.. Rain in Edinburgh just outside Bannermans.. The fantastic Colchester Arts Centre with new Funktion One and Yamaha QL5.. One due for retirement here, the old SC48 at tthe 229 Club in London. There'll be a Digico here next time, so I'm told. And the gig I do every year at the Victoria Hall for St Josephs with Barry's somewhat tired Midas Pro1.. It seems rather fittingly that my last gig of the year will be on the 02R - still going although there is discussion of retiring it in place of a Qu32 at some point next year.. ❤️

That's a really tough question and there's some great replies here. 😃 For me (fundamentally at least) it's a Jazz-ish style bass in whatever form plus a graphic or semi-parametric EQ so I can reduce the clang / clank. Being a bit more specific, I don't like to leave home without a Trace V-Type, Yamaha NE-1 and Boss LMB-3 - all add up for me and feel they are the 'magic ingredients'.

Hey Mike, you've been busy! Great pictures and really pleased you're getting so well with the flagship A&H machines. Last one I used was at the former TV studio in Norwich with SOD / BC but think it was the larger one with more faders. I still can't really fault them and the more I use the SQ, the more I love that too - hats off to A&H, they've left Soundcraft in the dust. 😃 As for work, I tend to just do FOH or FOH with wedges - I'll be honest, I just don't enjoy mixing ears and wedges. Hope the bands are appreciating you. 👍 The good old 02R was used to put a classical piece together recorded at the school. Being honest, the performance wasn't quite up to it despite various timing and tuning fixes so it seems probable it won't get used although it was enjoyable to mix.

Very much so, yes. 😀 I've got several rigs and all are different; the Bassman with it's 15" JBL speakers with a Jazz bass is distinctly different than the Trace V4 / SWR 2x10 with the Warwick Streamer. My choice of rig currently is Squier Jazz VM or 40th Anniversary > Trace V6 > Trace 2103H & 1153 of which I'm very happy with - no gigs with it yet but a few rehearsals and it's immense. As time has gone on, it's generally things I 'want' rather than things I 'need' these days, for example the Ampeg rig I bought last year for the studio. I love it as it sounds awesome. I've generally been pretty happy with every setup for the last 15 years or so but currently, I couldn't be happier. ❤️

Just finished a mini project with the 02R - spot on, as ever. 😀

I thought my arty V-Type themed wall paper came out rather well. 🥰

Lovely old thing, very cool. Probably a bit gritty and dirty for my personal tastes but I bet it'd be a fantastic tool to record with. ❤️

It seems to be cheating a little as I run a commercial studio with an extensive analog setup but here's some of my rack candy through various stages of development. 😬 I'll not list everything as we'll be here for days but a few personal favourites are.. TC M1 multi-fx units as they have a size and fidelity particularly with reverb and delay that's tricky to match with other units. TC HOF 2 specifically for the drag / shimmer reverb effect. ART VLA 2 - almost certainly my favourite hardware compressor as they just make things sound better. WA Bus Comp does exactly what it says adding a positive 'binding agent' to mixes. KT76 which are as good as any plugin I own. For recording, I tend to use a Trace SMX as a first stage then feed out of this to other setups including an SVT, Bassman and sometimes a V-Type. The rack gear is exclusively for mix down with the A&H ML5000 console.

Thanks for the reply. 👍 Based on the last 20 years or so, it seems a V-Type will likely always be my choice of weapon. They need a little support and as such I use a Yamaha NE-1 for additional EQ getting rid of that 'clank' and a Boss LMB-3 adding a little squeeze and 'ping' - I never leave home without them. I do agree, the Trace is not the most flexible tool which is something I've seen in various reviews of the CTM too. Despite these limitations, I still haven't found anything that quite delivers in the same way both my V4 and V6 do - something that's really difficult to put into words and is almost a feeling. Without much doubt, my SVT has a far more useful set of tone controls with it's EQ that does much more honestly what it says without too much interraction plus the 5-way frequency selection is an instant character shift assuming some boost or cut is applied. When the CTM appeared, I expected they'd be more like the Ampeg but seeing the familiar V-Type style control panel is probably why I jumped to the conclusion I did. As for having to drive the V-Type hard, I never felt I needed to, particularly. I drive the gain at 12 and keep the Yamaha / Boss quite hot in the FX loop - I'm not after drive or clipping but a little audible saturation and compression complete the sonic picture for me. Maybe after Christmas, I'll pick up a used CTM100 from the market place here and draw my own conclusions - many thanks, folks.

This thread is ancient, I know but I wondered if anyone had any further experience with the two? Since this thread was started, I've bought another V-Type (I know, I know!) but it's an older V6 (green, furry carpet) which is a little different than my V4 plus I also purchased an SVT-CL setup - I've done all sorts of comparisons elsewhere so I'll not go on about them here but the CTM is still a point of interest. I'd love to hear from anyone who has had both. Cheers. 😀

My lovely Squier VM 'plated up'.. I've gone backwards and forwards on this a few times and may well get a bridge cover with the 'F' at some point but I'm very pleased overall - added mojo! ❤️

Glad it's been of use to you. 😀 My 400 is currently aloft the Ampeg PR810H at the studio which is a pretty formidable rig although it's usually used fo it's comprehensive I/O often linking into other setups and / or a clean DI rather than it's brute power. Recently, I've liberated the 2103H and 1153 for use with the V-Type V6 which also work really well together.

Great purchase - that rig looks fantastic and I'll bet it sounds just as good as my SVT. 💯

All Trace stack with V6 head plus 2103H and 1153 cabs - all original drivers too. It sounds a little harder and a bit less hifi than the V4 / SWR combination but it's still great. ❤️