warwickhunt

This is my actual Tele, reviewed by the guitarist in my band. What he fails to mention is that I paid £99 for it.

I've worn ear plugs (inc custom moulds) for 20+ years so I've saved 'some' of my hearing but I know damage was done before that (slight tinnitus and less top end hearing in my left ear). IEM should further reduce on stage volumes/DB/pressure (where it is practicable to use them) but I still have to contend with loud acoustic drummers and situations where IEMing is not available!

Not on the same level of quality but I've gone from the KZ10 to Sennheiser IE100 which I concede are budget models but I much prefer the tone of the IE100 with the single DD as opposed to the 5 in the KZs. However, the main reasons for the change was that I could never get a comfortable fit and isolation with the KZs whereas the smaller, lighter, low profile IE100s just fit and seal much better for my ear shape.

Recurring shoulder injury means that anything over 9lb is, in my books, heavy! I have basses ranging from 5lb (Aria Sinsonidia/Hofner) to 8.5lb (Sandberg/Warwick) and I can do 2-3 sets no problem, as soon as a bass exceeds 9lb(ish), even with a neoprene/padded/wide stripe, my shoulder will ache over the next days.

I'm a simple lad, when it says 'no mid frequency' I take that to mean...

3 band EQ... no midrange?

Are you using independent power supplies or are they all running off one? My TC Plethora does strange things if I power if from a brick that is supplying power to other pedals, regardless of the fact that the supply is strong enough. I resorted to ensuring the Plethora (digital) had its own supply and no problems since. Not saying it is that but worth looking at.

Point taken. Possibly I'm just jaded with many of the pre/DI pedals available.

£500 for an overdrive pedal? I didn't even think the 'clean' setting was that clean, added to which the recording/setting/bass sounded compressed! A bi-amp switch; it has 2 channels, 1 with a HPF, the other with a LPF... blended back into 1 output. It'll be perfect for someone's needs but I can't help think they are just knocking out new 'designs' for the sake of it.

£438 (and counting) seems steep for this model... or have I missed something?

Comments re. distortion/buzz/crackle are of interest to me. I 'think' my amp has an issue but oddly it went away when I took it along to a recent bass bash. I noticed the slight break up on the decay of a note but wondered if it would be audible when recorded... apparently so. Turning down the input gain as opposed to output was a considered choice. I was aware that it could change the tone but I made my choice after trialling turning down each before starting. I've no idea why turning down the input a bit would have less impact than the output but it did. When I turned down the output to match the record levels the overall tone seemed to lack depth and punch (vague terms I know), which turning down the input seemed to have less affect. All just my feeling as I did it at the time but I certainly felt that that cab (4 ohm) was more representative of it's overall tone when adjusted that way. In hindsight I could have possibly tried turning down both a little bit. All things you have to test on the day/in the moment.

I've messaged you the actual recording 'answers'

Of course but all samples will be affected equally. The other thing is that folks can get their knickers in a twist about their tone (often created by amp/speaker combinations )but then a sound guy takes a DI and puts your carefully sculpted tone through whatever speakers he has chosen.

Speaking of speaker size... I did a thing the other day which might be of interest if you are talking about the tone/sound of a speaker based on its diameter. Have a listen to the examples and see if you can tell the difference between a 10/12/15 speaker. It bears relevance if you are comparing 8" and 10" solely based on diameter.

...or did he and he's trying to make others shuffle his answers!

Thanks for the confirmation, I did name them but they weren't visible to me on the post

@stevie are you viewing it thus? I'll message you the actual cabs, it does make for interesting reading.

If memory serves me (often doesn't) Trace Elliot used XLR on their cabs for quite a few years.

Cheers Bill. Actually your observation made me think about that and I realised my 'marker' was 1m from the wall to the 'front; of the cab; not sure if that alters that 80hz notch? Even if not guessing which is which, it would be interesting if folk had a preference for 1 particular sample (or one they disliked) or even if folk thought there was very little difference.

I knew it was too easy! LOL On my laptop/screen the 5 actual sound samples appear at the foot of the first post (first one is 1:00, the others are 0:58) well just to confuse matters the first one (1:00) is actually C5 going down numerically to C1 being last... as clear as mud I'm sure!

Lets see if it worked.

Just for a bit of fun I decided to do a little experiment and record a set of cabs to see if simply listening to them without seeing them, there was any discernible characteristics/differences. I reiterate it was not scientific but I tried to keep some constants; I played into a looper, the mic and cab was placed in exactly the same place, amp settings were not changed (*) etc. However there was one fly in the ointment in that one of the cabs was 4 ohm while the others 8 ohm. It was immediately obvious when I hooked up the 4 ohm 2x12 cab it was significantly louder and put the recording in the red; (*) as a result I lowered the input gain on the amp to best match an average of the other cabs. There is one rogue recording. I took the same signal from my amp via the pre out and fed that to my QSC K10 monitor (1x10 active cab), again I matched as best I could the approximate gain output (50% of travel on the output... not that it matters). Sandberg with Aguilar JJ pups (passive) Thunderfunk 550B Aguilar DB112 Genz Benz NeoX 212 TC RS 210 TKS 115 QSC K10 The cab was located 1m from the nearest rear wall. Mic was 2m from the front of the cab. All cabs had a tweeter which was set at 50% (the QSC can't be adjusted). I learned a lot doing this and I might do it again with a bit more detail. C5 C5.mp3 C4 C4.mp3 C3 C3.mp3 C2 C2.mp3 C1 C1.mp3 Have a listen, make observations and ask questions. I'll reveal which is which in a couple of days (the audio is labelled C1 - C5 but not in the same order as listed ). C5.mp3 C4.mp3 C3.mp3 C2.mp3 C1.mp3

Room emptied of all cabs. Tape marks on the floor for cab and mic position (cab 1m from rear wall / mic 2m from cab + 2m from rear wall)... nearly ready! Originally I was setting this up for fun to see if, in a real life setting (amp/cab in front of you), what differences might you expect and then actually hear if you were faced with a range of cabs of varying driver diameter. This is skewed/compounded by the fact that every cab has a different sensitivity and in some cases an ohmage difference BUT I suppose that is part of the real world nature of my idea. In truth it means that multiple drivers, sensitivity of drivers and the ohmage of the cab will most certainly skew any 'direct' comparison. In real life if your 112 8 ohm cab was quieter than your 210 4 ohm cab, you'd just turn up a bit wouldn't you? As per the poll result at the top I'll use single 8 ohm cabs (other than the GB212 which is 4 ohms). What I think I'll do is 1st pass I'll leave all volumes/settings the same and record as is (recording levels set to an approximation of the cab that I think is the average of all the cabs). Then I can do a 2nd pass and use the recording indicators/meters to try and get cab(s) to a matched level of input. I do need to consider if I turn up the amp to get the meters to match or leave the amp setting and increase the gain on the recording. I'll wait till I actually attempt this to see if I need to significantly alter the output gain on the amp, if I do I'll be sure to take notes and mention this. It'll be a case of suck it and see but I don't want to be skewing things to advantage one cab over another... we'll see. Just as an aside I'm going to take a line out from the amp (Thunderfunk 550) and put it through my QSC K10 monitor cab. I'll not be able to maintain equality of volume due to the monitor having the power amp. However, using the meters in the recording software, I'll try and get it close. I'm doing this just out of interest/curiosity (the reason for the whole thing I suppose) to see if my own perception is skewed by knowing it is a monitor and not a bass specific cab. I don't think I'm going to immediately label each sample, I'll make it a blind test and then do a reveal. PLEASE this is just me with a bit of time (and cabs) on my hands, having a bit of fun and maybe it'll be of interest to a few, don't crucify me because it isn't remotely scientific; at least I'm trying to make it reasonably practicable and relevant. I reserve the right to scrap this if it turns out to be a right chew on! LOL

The P2's touchscreen is very handy but how often would you not have your phone with you regardless of if you had the P1 or 2? P1 has the tuner so that isn't a deal breaker. I think for a little bluetooth music practice tool and emergency interface for live, the Mooer is all I need and replaces my old Korg Pandora.