warwickhunt

Indeed, I think a few companies dabbled with a set of controls inc Q for the mids and fixed broader centres for the lows and highs but they weren't well received. A few companies then moved to Notch Filters for taming troublesome frequencies, most useful if using acoustic instruments.

Pedant Alert... These amps are all 'semi' parametric, none have a Q control but I concede we refer to them as parametric EQ.

I absolutely despise the whole advertising 'warning'... when it stops being fun, just stop. W T F! Yeah because someone addicted will just be able make that rational decision. Boils my urine!

The ABM range were/are good... but will it negate the need for a 2x12 cab?

@ped nailed it. No matter if vintage or just used... (cost of bass + shipping cost) + 25% when it hits the UK. edit for mathematical clarification.

I'm off to Google that as I'm not familiar!

Your bass amp has a balanced DI out (3pin XLR type), which is what drives your PA desk but forget that for now. You need to sort out why your onstage sound is quiet, fixing that will likely sort any issues with your desk distorting or whatever else seems to be the issue. I have no idea of your level of equipment experience re knowing how to set input/EQ/output but your amp (or any 500w amp) through a 410 or 610 (with your 2 cabs) should be smashing down walls, especially if you are getting anywhere near the max you can get out of your amps output. If you know another (experienced) bassist, see if you can swap items in and out of your 2 set ups (assuming he has an amp and cab); alternatively ask the guy who runs the studio you rehearse in if he can have a quick look at the way your amp is plugged in/set up.

That's the one I was trying to think of.

Which of their singles/tracks was quite a commercial success and yet had 2 or 3 minutes of Hammond/keys soloing? Yep that sounds prog to me.

EVERY bass amp has a pre amp 'section' (and a power) but they are just built into the box as a unit; hence you can buy separate pre amps and/or power amps if you want to. The preamp also does all of the tone shaping (EQ) before it passes your signal to the power section. The TH500 will send nothing 'to' your pedals nor does anything go 'into' your bass. Most of the time it doesn't matter which of the 2 routes you go: bass>pedals>amp>cabinet bass>amp>pedals[via send/return]>cabinet You can try putting the pedals in the effects loop if you like but personally if you go: bass>amp>cabinet and it isn't loud enough then you've got something wrong somewhere! Post / Pre switch is associated with your DI out. It basically dictates if the DI signal goes from the amp before (pre) or after (post) the EQ. There is either something wrong with your gear or your band if you are using a TH500 + 4x10 + 2x10 and you still have issues with 'volume'. That rig should easily compete on stage with any drummer. There are loads of variables in what you are describing but you need to ensure the basics are right; cables are all OK (you are using proper speaker cables not guitar/instrument leads?), speakers haven't been messed with and are out of phase with each other, your bass 'works' (have you tried a different bass into your amp and cabs?), get your pedals out of the way for now, EQ is centred and not set fully anti-clockwise, button above input is out (not pressed in), you are using the input gain knob at 12:00 or possibly higher... have you read the manual? http://www.aguilaramp.com/wp-content/uploads/TH500-Manual-6.0.pdf

In simple terms bass amps have 2 sections pre / power. The preamp section takes the signal from your bass (passive or active) and boosts it, generally by some form of pot / gain control to a level the power amp needs and then the power amp gives you the level for your speakers. Some amps have a button before the preamp which can be labelled Hi/Lo Active/Passive which helps match input levels. A preamp 'before' your amp simply means that you won't turn the input gain up as far or need to use the active/passive button. The DI level should be matched at the desk so that is not your amps problem. If you need more volume from your gear on stage I'd say the issue lies with your speakers... not enough of them or not sensitive enough.

Yeah it isn't even like the decimal point could be in the wrong place.

That build is awesome!

Unless those variables are what makes the sound you like. I don't like 'neutral', I actually like speakers/drivers that have colour (haven't established the exact shade but it may be purple).

Indeed but those are the amps which the likes of yourself may plug into (HAVE plugged into) and walked away from but it would be a worry if every manufacturer were building the curve/dip that couldn't be defeated and thus NO amp would fit your needs but then you will always have a Leszek come along and capture a share of the market that doesn't want 'that' tone.

Blimey, oh for the old days when you just bought an amp to make yourself louder than the drummer! Surely 'flat' on any given bass amp is of absolutely no use or reference? All you need to have is an amp that when the controls are set in the centre position you have a basic sound that works for you when used in conjunction with your other equipment; that way you have + or - any given amount to tweak for room vagaries etc. Taking an amp and running it through spectrum analysis or whatever to find the reference to start from is meaningless if at this flat point you have one or more of your controls at a near max/min of its available travel. Plug in, put everything in the middle, if it doesn't sound OK/good walk away to the next amplifier.

Sadly not so I'd need to plug them.

It is WIDE... 59mm nut / 68mm 12th fret to be exact. I need to play with a plectrum so the inverted strings are not ideal but workable.

I've owned an 8 (Warwick formerly owned by Hellmut Hattler custom paint job) and found it fine to play even at a gig, the 12 in the house is OK. It's when you need to get it 100% correct and fret all of the notes/strings AND deal with the sound of the rest of the band! However, yes it will be a slow build rather than 2 x 45 straight off. Luckily I took other basses (short and long scale).

So I rehearsed with the Musicvox tonight... I have an ABSOLUTE new respect for Tom Petersson! I've owned 12s in the past but never used them in anger, boy o boy o boy is that different to noodling in the house. How the hell does Tom get through a 30 minute support slot never mind 90 mins+ and he doesn't ever switch back to 4 strings live.

Yes the 12 is 'inverted'... not sure if that is easier or harder to play. Turns out this Musicvox was a prototype where they were going to offer an inverted string option... like anyone cared. LOL @BigRedX yes the guitarist has a range of guitars (Les Paul, Hamer etc) but the multineck thing is even more obscure than my 12er but you are correct it puts it in perspective for the band/me. I suppose I just want to do the role to the best of my ability; the fact that I have a similar appearance and look to TP is (genuine) coincidence... I think.

Yes I think that is the only viable option to get as close to the Hamer B12A as is possible; making the B12S would involve a massive double cut body. Sounds ridiculous as I am the initiator of this thread but I've discovered a variation on this Musicvox to all other Musicvox or any other 12 string that I've subsequently researched and I didn't even notice it when I was trying/collecting it! Can you see what it is?