Dood

She's here! She's here! Yippeee!!! Though it's too late to crank her up... noooooooo... so I plugged into the stereo to see how it fairs. BLIMEY!

Already I am surprised at how good this cab sounds with just normal HIFI audio. I cant wait to hear what the cab sounds like up loud. I guess I'll be doing a full review for you all at the weekend.

[quote]UL-610
When you need to move air you have to have speakers -and the more the better! The UL-610 was a custom design made exclusively for bass legends Daryl Jones (Rolling Stones) and Christian McBride but we were so impressed with the results that the UL-610 has now become part of our standard production line. This monster is equipped with six 250 watt Epifani 10" drivers that handle an astonishing 1500 watts (RMS) of power. Utilizing two separate isolation chambers, the UL-610 delivers unsurpassed clarity and accuracy even at high decibel levels.[/quote]

Sorry to hear of your troubles. I had to wait a day extra for a delivery from another shop.. it was only a day.. but it was a long 24 hours!! Have you called them directly?

Hi Steve! I have never really dabbled with external MIDI gear, except for my Korg X3 workstation. Bit knackered now, but has a whole host of Dream Theater type sounds on. (Indeed, Derek Sherinian used to play one, way back)

My only other 'MIDI' stuff has all been in the 'virtual' world, using VST instruments to make my noises. Never really got a hold of working with them, but they have been a lot easier to get hold of than their hardware equivalents.

I have messed about with BFD for drums, Halion and Sampletank for synth noises and used amplitube and Ampeg SVX for guitar and bass noises respectively. They all have MIDI functionality in one way or another.


The only other MIDI I do is between my foot controller and my effects unit.

On a related note, one of the very few preamps that I have seen that have an effects loop between the bass input and the input gain control (pre amplification, pre EQ) is the Trace Elliot V-type. Just a great design for simplicity!

[url="http://www.aguilaramp.com/pdf/support_manuals_db680.pdf"]http://www.aguilaramp.com/pdf/support_manuals_db680.pdf[/url]


I have had a very brief look.. it appears the Di can be post or pre EQ. I would make the assumption that the post EQ sections is also post FX as well. There isnt a block diagram to refer to and I cant be bothered to read the whole manual. The EQ section is pre FX loop.

yup good point. I guess we need to know what the amp in question actually is! ;o)

There's another reason why wireless systems *can* sound a bit rubbish, especially in the bargain basement types. (in comparison to a good cable). They use a technique called 'companding' to help get a good strong signal from the transmitter to the receiver.

This means , that the signal is compressed by the transmitter (yup, like a normal compressor pedal for example) then the signal is shoved out the aerial. When the receiver picks up the signal, an 'expander' err 'uncompresses' the signal, in an effort to make it sound the same as the signal being fed into the transmitter. There are many reasons why this can be a bit hit and miss. Everything from quality of components, to just limitations in compreession/expansion can have an effect. There are good systems out there. There are also some pretty grim ones too. the choice seems to get lower if you use a B string.. and you may as well give up on em if you have an F# string lol lol!!

cool! try it! There are definitely many pro bands out there that swear by them.

[quote name='Dan_Nailed' post='11836' date='Jun 4 2007, 01:54 PM']You can't plug your bass directly into the compressor as it doesn't have a proper Hi-Z guitar input. -10 and +4 are both line-level standards that are meant to be used with already line-level inputs and outputs, such as other effects gear, preamps and poweramps.

The best place is in the FX loop, or ideally between your preamp out and poweramp in(if you have one).

If you plug your bass straight into the dbx you'll either get stupidly low signal and very unusable compression, or nothing at all. If you have an active bass things might be slightly better but your signal to noise ratio will still be terrible. You could go Bass>DI box>dbx if you wanted though. I think it's always better to compress after the preamp as you compress any boosts in EQ that you've put in previously.

As for amp DI out, if your amp DI has a Pre EQ/Post EQ button, make it post-EQ and it should include everything in the FX loop. This is what I do when sending a DI to the soundguy and I want my out front sound gated. However, most engineers like to use their own compression and EQ so I wouldn't worry too much about sending all your signal to the soundguy.[/quote]

I'm going to have to disagree Dan. pretty much every compressor rack that I have used has had a far higher input impedance than that of a passive bass and has worked fine IF as you say the pickups have enough output volume. Active pickups don't suffer to badly from from the impedance miss-match, having a far lower impedance. Low into high is fine. I do agree that if the bass is too quiet the s/n will be a bit grim. Pups like EMG for example are pretty hot and I find that I have to switch down to take care of the extra input gain.

I also have to disagree with the placement of compression after the EQ. It isn't wrong as such to do this, but there is a good reason not too, unless it is the effect you are hoping to get. I'll do my best to explain!

ok.. lets get theoretical.

We'll take it that we have plugged a bass into a preamp and then into a compressor. We will assume for this example that the bass is a flat response across the frequency spectrum to make my life a little easier explaining.

we'll set the compressor to kick in at -10dB

ok, if you strike a note down the bottom end of the scale, the 'bassy' sounds will go over the threshold and pull the compressor output level down closer to the -dB level.
Also if you hit a high frequency note and it goes over the threshold level, the compressor then pulls the whole output level down to the -dB level.

How's that sound so far? and frequency that goes over the threshold volume level will make the compressor pull the total output level down toward the threshold.

ok, here's my problem with putting the EQ before the compressor. Remember we are assuming the bass is flat response. (most basses have a greater bass end than top end)

ok, lets play a bassy note and a trebly chord at the same time. because both are a similar velocity the compressor pulls down both by the same amount towards the threshold.. you can stil hear them both clearly. good.

now. lets wind the bass end up to +15dB at say 40 Hz.

this is where it gets difficult to explain!! if the threshold of the compressor is -10dB, the bass frequencies need a whole 15dB less to kick the threshold of the compressor and drag the output right down by an additional 15dB.

now play a chord (something high up) and then strike a bass note whilst the top notes are sound. you will notice that the extra 15dB boost on those low notes will tug that output level down by that extra 15dB. You'll hear your bass note at the right volume, but because the total output volume of the compressor has been forced down ward.. your high notes / chords whatever will just disappear. Too much bass boost and you will loose top end and the compressor will sound woolly.

The only way round this on a budget compressor is to ensure it has a side chain filter, or.. go out and grab yourself a dual band or multiband compressor.

Failing that, simply move the EQ after the compressor, so it has no effect on the compressors threshold.

I have tried and tested this on many amps to the same effect.

a nice cheap rack compressor with said side chain filter is the Behringer Autocom.

I'd finish off by saying, that if you want a woolly bass sound that pumps annoyingly, set a lower threshold say -20dB and crank the ratio nice and high.. 4:1 or higher then pile on the bottom end on your EQ!

I hope this makes sense. It'd be easier with pictures!

The 'short' description would be that it is an amp and cab simulation in a pedal. It has a DI output that is 'meant' to simulate the sound of an amp and cab combination miked up, that can be fed to a PA. I know a lot of players that will feed the DI straight to the PA, but take the 'unnaffected' sound to their usual backline. You can treat the unit like a 'clever' DI box.

The sounds you can get out of the bddi are wide and varied. I understand that Geddy Lee only uses sansamp gear, instead of his old tour rig. You can get that Ampeggy crunch out of the pedal too.

If like me you are a fan of a HIFI tone, this pedal may not be for you. In that case, try the MXR M80. A very similar pedal, with extra switching options. The overdrive sound is ver different too.

I A/B'd the BDDI Vs the M80 at the last bass bash.

hoffman's law?

I'm glad you have said that, as my 'fiddling' with WINISD made the Deltalites the more desireable out of the lot.. though for looks alone (yes I know...) the CA2010 is my cup o' tea! MMMM Alu cones!

Wise words Andy.. defintely worth doing. It'd just take longer to get sorted out, if the UK side of distro is slow.

[quote name='Machines' post='11663' date='Jun 4 2007, 07:54 AM']A natural finish on the Bongo does help a bit in masking it's shape, I like.[/quote]

I agree!

*sings* There's a new cab on its way.. a new cab on its way.. I hope to have some info for you all later!

ah yes.. you beat me to it, re the previous threads. Infact the drivers have been discussed on other threads too. Another good place to find info is over at Bill Fitzmaurice's site.

When it comes to getting hold of eminence speakers, I *think* JPJ can. I'm not sure though.

I'm slightly put off my what *looks* like areally wide string spacing. Mebbe it's just that hooj bridge that makes it look that way?

I would like to add some details about the Hartke 4.5XL cab, as I see you have mentioned pairing it with a 1x15.

This will sound harsh, but trust me.. don't bother with the 115XL. On it's own its a nice cab.. and with less sensitive cabs its is fine, but the 4.4XL eats it for breakfast in every department. the 4.5 is deeper, bassier, fuller LOUDER and also has all the other benefits of 10" cones and the tweeter. If you want to pait the XL with any cab.. another 4.5 sounds amazing. I really dont mind admitting that I miss mine so much.. but I have a poorly back and am hoping my new cab will at least sound similar.

I really cant say anything bad about Hartke. (oh except for the transporter and VX ranges)

Feel the force Luke!! I sense he is near....

Simply yummy! What a lovely bit o' wood. That fretboard looks scrummy!

I couldnt find a better way to describe it so I went on a googlehunt

[url="http://en.wikipedia.org/wiki/Switched_mode_power_supply"]http://en.wikipedia.org/wiki/Switched_mode_power_supply[/url]

Back to the point though.. Do MB heads use a switch mode powersupply? They use *in laymans terms* high frequency switching (usually 100Khz or higher I believe) could the radio be picking up this 'rf' output?

I think they'd take one look at him, turn on all 3 heels and run away as fast as possible!

I've not heard any stories of the Behri' cabs 'blowing up' or anything. I would totally agree with how well the cabs appear to be built. Effort has gone into the little details that make cabs good. The wheels, side handles and a decent from grill make for a good package. Like stew says.. for the price, you really cant go wrong. Think how many of these cabs you could buy in comparison to other 'more expensive' makes.

I guess it depends on what sort of sound you want and how deep your pockets are too.

[quote name='Dazzlovski' post='4550' date='May 22 2007, 05:31 PM']Hi Dood..

I've been trying to find a worthy Multi-Fx replacement for my ageing Alesis Midiverb 4 which has been bolted into my 6U for what seems like an eternity. Its old and kranky now (...and loses marks because the display backlight has had it too), but was wondering how highly you rated the G-Force ?
Seen a few reviews 'leaning' towards electric 6-string use rather than bass...so woz wondering if you give it a big thumbs up ?
ps... where did you aquire the unit,

All,
For the record,
4U containing 1 x Thunderfunk550, 1 x Midiverb 4....and some space in between [/quote]


Soory chap I hadn't spotted your post. Well, the GFORCE gets a massive thumbs up. It's actually a studio processor, as opposed to a guitar specific unit. It really is as good as everyone says. I have had mine for a few years, and despite new units coming out on the market, it looks like only these, the Lexicon kit and the TOTR Eventide kit have remained in big touring rigs. Vai and his band use 'em.. infact I think he has just upgraded to the new TC foot controller/rack.
The GFORCE can do bass and has absolutely no problems with my low F# string.

If you cant stretch to the G Force, I would highly recommend it's little brother, the G Major. Another stonkingly good FX unit. This one is tailored more to the giiging/live musician and has some different functionality on board, such as external amp switching.

I have a lot of respect for TC!