Osiris

I can't comment on the BF super twin as I've never played through one myself and am yet to hear another player using one. However, they are very well respected cabs that a lot of guys on here love them. It's also currently (possibly the only) cab on my mental short list of potential replacements for if and when it's time to replace my current cab. Speaking of which, I have been using a Tecamp M212 for 7 or 8 years now and couldn't be happier with it. As I understand it, Tecamp are now effectively Eich. I don't know the details of what happened but someone may well be able to fill us in? [size=4]Anyway, the Eich 212M appears to be more or less the same cab as its Tecamp predecessor. The hardware and specs seem to be virtually identical, although mine is 4 ohm and has a steel grill instead of the grill cloth of the Eich.[/size] So, what do I like about it? It's light, an easy one man lift, lighter than you'd expect considered its size. It's loud, I think the sensitivity is something like 101 db which very good. I've ran it with several different amps and have never needed to push the volume control of each beyond about 10 o'clock even when playing with loud bands. The cab has a huge sound, I've used it without PA support in rooms that will hold around 300 to 400 people and never felt that is was struggling or lacking anything. The projection is superb, even in cramped gigs where it's blasting into my backside all night [size=4] I can still clearly hear everything that I'm playing. Most importantly, it sounds great too. You can clearly tell different amps and basses apart through it so it's not adding its own tonal colouring to the sound, just putting out what you put in. It'll handle deep lows without farting out and the horn is clean and bright without being noisy or abrasive. Some people claim that neodymium speakers have a pronounced mid range response (or something like that) but that's not the case here. The mids are punchy and clear.[/size] [size=4]In my experience[/size], it's been brilliant, a perfect single cab solution. Never had any issues with it either! [size=4]Assuming the Eich is at least as capable as its predecessor, it'll be a very good choice.[/size]

[quote name='hamfist' timestamp='1495974554' post='3307834'] THat should be pretty easy to do using the PC editor, which is the way I access the pedal. I can't comment on using the android app. Once you've downloaded the editor and booted it up on your PC with the pedal connected by USB, the software has two main tabs - "library" (to access TC's online toneprint library) and "editor". If the musclecomp toneprint is already on your pedal then just go straight to the "editor" and all the parameters should come up. If it is not there already, then use the "library" to get to musclecomp and then send it to the pedal, and then go to the "editor". From your description, the easiest way to reduce treble is to reduce "level high" in the gain section of the parameters. THis link has someone else's screenshots of the parameters accessed on the software and what it should look like on screen .........https://www.talkbass.com/threads/npd-tc-spectracomp.1264098/#post-19623477 Once you've tweaked it to your liking then store it using the software to be able to reload it again if you need to (i would then send it to the pedal again (just to make absolutely sure)). [/quote] Thanks for the detailed reply. Admittedly, I haven't actually hooked the pedal up to the editor software yet, but I had read somewhere that you couldn't see the parameters for artists tone prints. I think the justification was some sort of copyright or legal issue, although I've been trying to find where I originally read that, but to no avail.... Anyway, I'll give it a go and see what happens. Is there a simple parameter for blending back the uncompressed signal for parallel compression? Mine seems to hold the tone print without 'forgetting' it. It's powered by a T.Rex fuel tank junior. Should it ever develop pedal amnesia, I could probably live with beaming a suitable tone print back in on power up, but only as long as it doesn't forget it while it is being used I.e. long enough to get through a gig without having to 'remind' it what it's supposed to be doing.

Yes, another happy user of this superb little compressor here too! Agreed that the default tone print isn't the best, with the rest of my gear there was something unpleasant going on with the mid range that I didn't like, it seemed a bit mushy and ill defined, but that was soon addressed by swapping out the tone print. While some of the downloadable tone prints can be a bit OTT, there are some more subtle and very useable ones too; a couple worthy of mention are Fed Comp, which is ultra transparent and even, and Captain East, another subtle one with some parallel compression throw in. I've had look at the tone print editor with a view to trying to create my own print. However, although I understand the principles of compression and what the respective parameters control, what I don't fully understand how best to configure them across the different compression bands to achieve the sound I want. I've only ever tweaked single band compressors before. At the minute, I'm using the Muscle Comp tone print as I like the punch it imparts especially at gig volume. But it also adds more top end than I like, so I simply eq it out at the minute. I'd like to create something with the punch of the Muscle Comp but without the higher frequency boost, and to also experiment with adding in some parallel compression. It doesn't look like you can edit the existing tone prints so I can't see what settings are used in the Muscle Comp print, otherwise I'd start from there and make some changes to suit. Has anyone got any pointers that could help me achieve this, please?

Sounds like it could possibly be a combination of the tweeter and mid driver in the cab and/or pickup balance that make the cable tone noticeably more pronounced with your rig. I use a Tecamp 2x12 with a horn, although this is only up at about 10 to 15%, and tend to play pretty much exclusively on the neck pickup, occasionally blending in a little bit of the bridge pickup if need be, so my tone is possibly darker than your own?

Anyone else think it looks like Groot from Guardians of the Galaxy? Or is it just me?

[quote name='sumorabbit' timestamp='1495730317' post='3306218'] I bought the G55 today and it works flawlessly with all previously mentioned whiney basses. What a difference. Oddly there is a substantial tone difference. The gr55 without cable tone is clicky on the top end and with its considerably dulled. The G10 had a baked in cable tone that was somewhat in the middle of these extremes, nothing I can't solve with my now working preamps though eh! Cheers guys [/quote] Glad to hear that the problem has now been resolved. In my experience, I've only ever found the cable tone button to be subtle. Noticeable, but subtle none the less. But this could possibly down to differences in how we set up our own sounds, perhaps? I tend to play with a relatively flat eq with enough high end to make the bass clear in the mix but no significant treble boost. Do you prefer a more modern glassy top end? Could that be why it's more pronounced with your gear?

Oh no, that sounds a right ball ache I've been gigging a G55 for 2 or 3 years now with both and active and passive basses. My 2 actives both have 9 volt Glockenklang pre-amps and I've never had any high pitched whine or other unexpected noises, crap playing aside. One is also a Sandberg with their own brand pups, not Delano's, the other is an Ibanez with Bartolini pups. I'm powering it with the supplied Line 6 wall wart but off the top of my head I have no idea what the voltage is for it.

[size=4][font=arial,helvetica,sans-serif]This feedback isn't based on any recent BC market place transaction with Paul, but I think he's more than earned the following praise. Paul has done a lot of work for me over the years on a number of my basses, from quick and easy jobs to a couple of outright ball aches. Every job he's done has been completed with great care and attention to detail and he's completely honest about any unexpected issues. He also managed to solve an issue with one of my Sandberg's that 2 or 3 other luthiers/guitar repair guys had not even been able to diagnose, let alone fix. And on top of that, the prices he charges are more than fair. Cheers, Paul. [/font][/size]

[quote name='blue' timestamp='1495414521' post='3303566'] Works like a charm. The trick is finding pre-sets you can apply to your work. Blue [/quote][size=4][quote name='blue' timestamp='1495414521' post='3303566'][/size] Works like a charm. The trick is finding pre-sets you can apply to your work. Blue [/quote] That's good to hear. I don't have the Corona chorus pedal although it looks great, but I recently picked up a TCE Spectracomp and have been having great fun trying out the different tone prints to see which ones work well for me.

[quote name='Al Krow' timestamp='1495389700' post='3303412'] [attachment=245725:Warwick $$ 2007 (3).JPG] I found one! It's not a Streamer, but it is a Warwick. A $$ model (German made- 2007); humbucker PUPs with single or double coil selection and a choice of passive and active modes. Swamp Ash body, Ovangkol neck, Natural Oil finish. In good condition, with a few dinks commensurate with being a 10 year old bass, but acquired for a negotiated price not far above the Warwick Rockbass Streamer Standard I returned last week. I had the benefit of Grangur in tow, for a second opinion, with his SS1 to A/B and my Markbass to play through (the seller had an Orange TB 500 which has a lot more colour). We both agreed that the $$ was worth getting and had good tone and tonal variety. Many thanks BC'ers for all your input on this and other related threads (particularly to Grangur for giving up his time, again, and sharing his expertise) and to the wise voices encouraging me to go for a quality bass, second hand, rather than settle for a lesser new model. I already know I will both enjoy playing this more and it will retain its value much better than the bass I have just returned. Really looking to getting up to speed on 5 strings and getting to know this Warwick $$ bass over the coming weeks and months. AK [/quote] Looks great, let us know how you get on with it once you have put it through its paces

[quote name='blue' timestamp='1495042154' post='3300824'] Thanks Osiris & Bartel Blue [/quote] Did it work?

[quote name='lee650' timestamp='1495120643' post='3301451'] Just a quick question! If you have the TC Corona,could you use a toneprint from the Vortex pedal so you can have chorus/flanger on one pedal? [/quote] No idea, maybe try it and see? My guess is that it wouldn't load - just don't blame me if it kills the pedal

Depending on what you're looking for this thread may (or may not) help you - http://basschat.co.uk/topic/303884-amp-test-drive%3B-aguilar-darkglass-genzler-and-mesa-boogie/

[quote name='lowhand_mike' timestamp='1495018634' post='3300455'] congrats blimey, i've been knocking around here since may 2007, guess i dont post much [/quote] I've been with the site since 2008 and post even less

[quote name='bartelby' timestamp='1495004148' post='3300276'] Make sure the volume is up on your phone too. It took me longer than it should have to work out that bit... [/quote] Oh yes, I forgot to add that

First, find the appropriate tone prints in the app for you pedal. [size=4]Select the specific tone print you want to try from the list available for your particular pedal - there are different tone prints for the full sized pedals and the mini versions, so double check that you have selected the correct pedal within the app. [/size] Next, switch off any other pedals in your signal chain, but make sure that the chorus is on. If your bass has more than one pickup, solo one of them (it doesn't matter which on my jazz) and make sure your basses volume control is on full. Point the phones speaker towards the pickup, holding your mobile as close to the pickup as you can. It gets a bit noisy but don't worry about that. Tap the button on the app that is marked "beam to pedal" or something like that. You'll hear what sounds like an old dial up modem noise for a couple of seconds and the red light on the pedal will flash green a few times. Once pedal light reverts back to being constantly red, that's it, you're done. From beaming the tone print to being able to use it takes no more than a few seconds. Rinse and repeat to try another tone print!

Another Northants chap here! Looking round online, I couldn't find anything about your Status bass. But there may be guys on here who can shed some light on it for you. It might be worth putting a post in the 'Bass guitars' forum under the 'Gear' section of the site. A couple of photos will definitely help too. It clearly holds a great deal of sentimental value for you, and there is the possibility that as an unknown quantity it may not be worth much if you were to sell it on. If that turns out to be the case, and you're happy with the way it plays and sounds, then I'd suggest you hang on to it as it sounds like it's probably worth more to you than it is to sell it on for a few quid. Unless it happens to be a hidden gem that's worth a fortune!

[quote name='Al Krow' timestamp='1494421318' post='3295820'] Hey Osiris - I definitely think we should line each other up as deps for our respective bands Ok you have THREE Sandbergs to my paltry one but we seem to be after exactly the same tone, which you said you achieved by changing your amp to the [b]Genzler Magellan 800 [/b]as set out in your excellent review[b]:[/b] [url="http://basschat.co.uk/topic/303884-amp-test-drive%3B-aguilar-darkglass-genzler-and-mesa-boogie/"]http://basschat.co.u...nd-mesa-boogie/[/url] I'm hoping I can do the same thing by using the BDDI v2 pedal with my Markbass amp. I was thinking about going down the Darkglass BK7 / Vintage Ultra option as the alternative (given how much love BC's have for these two pedals), but from what you and other folk are saying on this thread the Sansamp route does seem like the best way of getting to that warm tubey sound... [/quote] Yes, it sounds like we're both after the same tone. And I could do with a dep as I don't have anyone to cover any gigs that I can't make - but then again I tend to book my life around gigs so haven't missed one in years! As for depping for you at some point, you never know... Send me a set list and I'll take a look. Re the Genzler Magellan, I clearly rate the drive channel very highly but in contrast to the Sansamp, the sound is not quite as immediate, for want of a better word. Don't get me wrong, it's not a bad sound, far from it, it's warm and rich and smooth, but the Sansamp just has that [i]something[/i] that a lot of guys really like. I suspect is the slightly scooped edge. But for me, the way the Genzler drive works in the mix makes it invaluable, particularly with my experience with the VT pedal (although that was with my old TC RH450 amp). The Genzler sits perfectly in the mix, it cuts through as much as the clean channel, it is clear and punchy and has great dynamic sensitivity too. It just works. Having owned both a Mark bass little mark 2 amp and the VT pedal, my guess is that they ought to work well together. the VT adding some warmth and character to the amp. But as with everything, the only way to really tell is to try it yourself and see if it works for you. My thoughts on the Darkglass sound are detailed in the [url="http://basschat.co.uk/topic/303884-amp-test-drive%3B-aguilar-darkglass-genzler-and-mesa-boogie/"]Amp test drive[/url] thread. I love the DG sound when I hear it on YouTube clips particularly the new Alpha/Omega, but as Musicman20 says, it's more of a high gain guitar sound rather than the traditional driven bass tone. Not that that's bad in itself but it's not going to work for everyone. I couldn't see it going down to well with the rest of the band, or the crowd, if I started playing [i]Groove is in the heart[/i] with a ragged B3K tone

[quote name='Cosmo Valdemar' timestamp='1494416627' post='3295745'] Were you using the VT bass as a normal pedal between bass and amp or in the effects loop? The Tech 21 Character pedals sound best if you bypass your amp's preamp stage in my experience. Particularly if you use the speaker sim. [/quote] I tried both, as well as the pedal in the loop still using the amp's pre-amp, and got the same results with each different configuration. It's bloody annoying though as it sounded great and that was the tone I wanted to use, it's just that it wouldn't work with the rest of the band. But as I said in my previous post [color=#282828][font=helvetica, arial, sans-serif]I've not really seen anyone mentioning these issues with the VT so maybe it just didn't play well with the rest of my gear?[/font][/color]

[quote name='mcnach' timestamp='1494415422' post='3295732'] There seems to be a recurring theme here... [/quote] I went the other way, from a Mark Bass little mark 2 to the TC . The MB certainly has more low end in the 40hz ish range, but in my experience its these lower frequencies that need to be tamed when playing on boomy stages so a bass eq control set that low is only really useful for cutting mush. But that's just my opinion I also found the default eq points to be much more usable on the TC than the MB, certainly in a gig situation. The MB eq points were too wide (i.e. bass was too low and the treble too high) to be useful in a live situation. No doubt they'd be useful in a studio though. The high and low end roll off was never an issue for me as I tend to play with a flat-ish eq setting and if anything, I prefer to push the mids rather than the extreme high and low end. Both were very good amps and I'd happily own both of them again. One isn't necessarily 'better' than the other, they just offer different sounds.

I briefly owned a Sansamp VT bass pedal, the non DI version, but they appear to be the same drive circuit and controls. At both in house and gig volumes I was able to coax some stunning Ampeg-a-like tones from it and I thought I'd finally nailed the sound that I'd been after for God knows how long. But..... Once the rest of the band kicked in, the bass just wouldn't cut through. The Sansamp bass driver has a reputation for not cutting through due to its inherent scooped sound, but from what I'd read online about the VT, it wasn't supposed to suffer from this. But no matter what I did with it or however much I cranked the mids or the amp up, it just wouldn't work with the rest of the band - we play a mixture of pop, soft rock and indie numbers so it's not as though I was up against a wall of Marshall's. There was a lot of additional compression in there too which flattened a lot of my playing dynamics. Having said that, I've not really seen anyone mentioning these issues with the VT so maybe it just didn't play well with the rest of my gear? Sorry, I've got no experience of the SCR DI so can't comment.

I like them, I've got 3 and I don't think any of them will be going anywhere soon One of the things that I really like about them is the traditional styling but with a consistently excellent build quality and attention to detail compared to some of their competitors in the same price range. My VM4 is active, it has Sanberg's own pickups and a 2 band Glockenklang pre-amp with active/passive switching. With the pre-amp set flat, switching from active to passive, there is no change in volume as with some other active basses. There's a very subtle tonal change as you'd expect, but the signal doesn't drop. [quote name='Opticaleye' timestamp='1494251915' post='3294334'] The newer models seem lighter (my VS4 is 7.5lbs!) but none of my older ones are particularly heavy. [/quote] I went to the Sandberg demo night hosted by Bass Direct a couple of years ago and had a good chat with the main man from Sandberg (I forget his name, Holger, or something like that, I think?) and he said the newer basses have chambered bodies to help reduce weight and increase resonance. I've played Kev (Opticaleye)'s VS4 and it is very light indeed, as is my passive TT4.

I use a Line 6 G55, which also has the [font="helvetica, arial, sans-serif"][color="#282828"]metal transmitter pack and very good battery life. [/color][/font] [font="helvetica, arial, sans-serif"][color="#282828"]The reason I chose the G55 over the G50 is that the little half rack receiver sits nicely on top of my little class D amp and I don't use a pedal board - the G50 is designed for pedal board mounting, I think? [/color][/font]

If the finger tips are tingling and numb it could possibly be a nerve issue. I get a similar thing in the pinky and ring fingers on my left hand and it's down to a damaged ulnar nerve caused by years of cycling. As I understand it, you also get similar issues with the thumb and first (and possibly middle?) fingers with a damaged median nerve, aka Carpal tunnel syndrome. As for a cure, if it is nerve damage, there are things that can be done, up to and including surgery. I'm currently waiting to find out if I will need any surgery to rectify my issue. It might be worth checking out the symptoms for radial and median nerve damage online to see if that sounds like a it's the culprit, and then speaking to your GP if it sounds like this is what you have.

[size=4]Sorry, I've got no idea about any possible high or low pass filtering.[/size] I'd say the tone of the RH450 is more mid focused. It has bottom end, of course, but it doesn't really do subby lows if that's what you're looking for. If I remember correctly, the lowest frequency on the bass semi parametric equipment is about 70 Hz. Like the bottom end, the top end is there but it doesn't really do the ultra modern 'glassy' treble tone of something like a Trace Elliot or EBS. Each of the 4 eq bands are semi parametric so it might be that you can dial in the sound that you want. I never really explored the full extent of what the eq could do as I was happy with the flat tone and didn't really deviate from that other than to eq for bad sounding rooms. What the '450 excels at is an old school, slightly dirty, valve amp like sound. I imagine it'd sound great with an old Hammond going through it!