Prime_BASS

[quote name='rafael_bassplayer' post='1351795' date='Aug 25 2011, 09:42 PM']HAHAHAH JUST pact it a little and it working nicely now humm i guess its a new nut then -_- i seen the warwick nuts have that cool double scrow system do think i should but that or somthing[/quote] If it's compensated nut like the EBMM, they make very little difference. Supposed to help with intonation, but it's no different on my others. I would check the break angle between the nut and tuning post. Usually this helps with limited buzzing, if you can't increase it anymore then you may have to look at a new nut or just keep it padded. No need to spend money on a fancy nut, as long as it's solid fits the bass and is filed correctly it'll do the job 100% as well and any other.

[quote name='nottswarwick' post='1347027' date='Aug 21 2011, 11:31 AM']Hot Rox in Sneinton have Elixir strings in.[/quote] No way...... The only reason I didnt bother that way as I did t want to walk the extra 20 minutes to find out they do t have them... Bummer. Thanks man! I would t get worried about a few negative reviews in overthetop land. Had countless sets over a year and a half never had a duff one or any strings break, not even when my ham fisted pals decide to have a go. Fair to say I was aggressively slapping sometimes. Only had strings break when they werent mounted properly in the tuning post.

Not knowing anything about cab building. I think I remember the original trace thing being a horizontal aligned, with the idea of stacking it ontop of a cab, the fEARful website has a build on something similar, which is IIRC a mid driver and a horn, but the build box and guidelines could be useful. I would email Alex at Barefaced to first as I'm sure there is a very deep and technical reason why the compact doesn't have a tweeted option.

[quote name='Hobbayne' post='1348145' date='Aug 22 2011, 05:00 PM']I have played about 8 of those tunes at the local British Legion, although I dont know the original bass parts, I invent my own. Most of them are II - V- I progressions or a variation on it. [/quote] Maybe you can hook the guy up via PM? To the OP, to get you started ask the guitar/keyboards for the basic chords to help set you up, and go from there, a few I know are th obligatory walking line, I believe.

Try a wide rangeof stuff, not just jazzes. A jazz is a jazz is a jazz, they'll all sound relatively similar so you arnt going to experience anything they will either confirm or deny that jazzes are right for you. Since you have what I consider a huge budget make a special trip to bass direct, they have a bit of everything there. Never know what you might end up with.

Two ray 5s, one black one White, epic.

Used them religiously for a while until I tried DR, but have recently gone back due to DR's current stocking issue, wanted to go try Elixers but no where local stocks them. A smudge cheaper for a forever consistently good quality string, not to found of the slap sound but at the same time I don't do it enough to worry, excellent puck and fingerstyle sound. Reasonable amount of tension compared to others which I like, still flexible enough for easy vibrato and bends. Last a fair bit aswell, probably helped by the crisp packet packaging, they don't clean up as well as DR used to do. Still going to try Elixers when the opportunities arise.

Think I remember a topic a while ago! Any who I just saw these in some guitar world special buyers guide. Look very nice. Musicman style Pickups Classic styling And one has a reverse headstock which is something I've been gassing for for ages. Anyone have any experience, where to buy?

[quote name='Musicman20' post='1345568' date='Aug 19 2011, 03:40 PM']LOL. I think most 1x12s will struggle at some point. I think I could actually gig with one as its only acoustic guitar/drums/vocals then me....but which 1x12 is another mystery.[/quote] I think a very good 1x12 can do a lot of things for a lot of bassists, but once it starts getting loud and you have no PA support you'll start struggling. I played the Barefaced midget at a pretty large hall against a compact PA, a 30 watt 1x12 combo and a drummer and it was still plenty loud enough. Tighter is a nice way to put "flat" as the midrange notes sound like midrange notes and not either inaudible low or shrill highs, and for me where I use a fair bit of Root and octaves the notes sound more coherent with each other.

[quote name='Linus27' post='1344960' date='Aug 18 2011, 10:50 PM']Ok, so here are two live recordinsg of a couple of song from tonights rehearsals. Not going to say which is which but both MarkBass combo and both the same Stingray. To be honest, I don't think there is much in it and that much noticable in overall tone. Just sounds like bass to me but then again it is recorded on a little Tascam recorder so not the best setup. [attachment=87390:DR0000_0056_2.mp3] [attachment=87391:DR0000_0054_1_1.mp3][/quote] I guess second one is flat... But like you said apples and pairs. The difference comes in when the little melody line comes in. I prefer the second in that respect. My personal opinion is that that kinda of music is best suited to a phat warm P, but that's just me. Could you not have centered the bass track? I can't seem to hear it in my left, I would have also turned the guitar down a bit, but again like you said rough recording. With the guitar turned down a bit the lower end of bass maybe more audible, but this may not be a true representation of how the band sound loud at a gig.

[quote name='ThomBassmonkey' post='1344756' date='Aug 18 2011, 07:46 PM']I'm not a big fan of Ashdown anyway but I doubt a 2x10 of any brand would easily compete with 2 guitarists in a metal band with no PA support. You should check out 2x12s, they'll have a bit more oomph without a huge price tag.[/quote] This coupled with the fast the most 2x10 combos lay horizontal. Depends on what the other guitarists are using, I seriously doubt even a good 2x10 would be much use without a PA against 2 guitar half stacks. Better option is a 2x12 stacked vertically or a very good 1x15. I've used a Fender100 1x15 combo on huge stage in a Giant theatre hall, without a PA and it did fairly well. Cheaper than chips aswell.

[quote name='Grand Wazoo' post='1343591' date='Aug 17 2011, 07:46 PM']Port Captain, Master Mariner[/quote] Lots of time on your hands?

[quote name='Musicman20' post='1342854' date='Aug 17 2011, 10:44 AM']Interesting 2EQ/3EQ points here. One thing I never struggle with is a Ray sounding good, no matter what. It can be as prominent as you like, or sit back. Pete - I always leave bass flat, mids flat (sometimes slighty budge up), treble rolled off a little. The 2EQ does apparently boost lower frequencies that the 3EQ, and they basically changed that because those types of frequencies are hard for amps/cabs to reproduce without more power and stress on the drivers. I think arguably they are virtually the same. You have more variation with a 3 though, and I love the mid control. Both great though.[/quote] I think the 3EQ is slightly better (for me atleast) I think adding that mid control and having it flat flattens out the response than that of 2eq, which I find once you start boosting the treble can become quiet scooped, still an ace sound though. You are right Nottswarwick that the EQ bands interact, but this is true for pretty much every EQ section. Boosting lows to the top for example gives you maximum lows but it's 3 octave of 40hz is going to be 160hz(I think) and will be 12dB lower, 160hz will also be controlled by a low mid knob, so a low mid knob not boosted or cut won't leave the 160hz 12dB lower. I think that makes sense, but I'm no expert on this. It's not necerssarily clever, it's just what most EQa do, unless they have a very narrow band.

[quote name='Linus27' post='1342516' date='Aug 16 2011, 10:44 PM']Well rehearsal was very interesting. Played through the set with the settings posted above and it sounded alright. A little dark but generally good. We then played through the set again and this time I turned the VPF off and wow. The bass jumped out and had a lot more growl and attack. Still a little dark so I added about 10% more treble on the Ray and it just sounded so sweet. So this was my settings which I will try at the gig So after all that, apart from dialing the low mids off a bit, the MB combo works best flat and then set the treble and bass on the Ray to suit. Its been really helpful finding out how the 2EQ Preamp works. Thanks again for all the advice. Has been a real success for me to finally get the Stingray working and sounding great.[/quote] Yes another flat convert, screw you smiley face mission!! Surprising how good "flat" sounds in a mix. I've also said on other threads, going about it this way is easier to translate into of genres of music. I wouldn't worry what the MM.com site mumbles about. All it's doing is describing the frequency curve of the knobs, i.e the bass slopes from it's centre frequency. It would have been more useful putting up frequency curve graphs. MusicmanBass.org states that the pre-Eb 2EQ and current 2-EQ are the same. Bass is boost only with boost and cut treble. I'm not 100% sure, and not that bothered, but I'm pretty sure the 3EQ bass is boost only.

[quote name='51m0n' post='1341922' date='Aug 16 2011, 02:10 PM']I disagree, to my ear it S12T is significantly different from a Compact, it punches way harder, and gets way louder, it has significantly more zing (tweeter innit) and sounds like a far more complete package, to me. It will take plenty of eq perfectly happily and produce immense low end, in that regard it is similar to the Compact. But its the punch that it pushes out that is the real ace up its sleeve.[/quote] Inspite of you thinking they are largly different you agreed on all my points lol. I'm trying to not use useless words such as "punch". The essence of the 12 is a tighter and more mid driven sound but in the large box format and huge port it goes considerably low than a lot of 4x10 and louder. Because it has this great forward projection aswell with a lot of lows I never really struggled to get what I wanted, only having to cut the lows during recording. If I had to best describe the sound I am for I would say Tim C of Rage only not as mid scooped (fistful of steel-clear the lane sort of sound) No doubt that everyone is different and we can't all be wanting the same sort of sound, however I do find it odd that some play and tweak so much, and in reality in a loud mix situation doesn't make that much difference. I have two settings I like on my head. Both similar sounding only one is more vintage, but played loud with the band I don't think there would be much in it to warrant all that effort. Don't get me wrong I like smashed to biggest bass sound as much as anyone else, my favourite band is Mad Capsule Markets and that is one crunchy aggressive sound (check out O.U.T and CRACK on YouTube) but it has to be right for that band aswell. Just because you like mid scooping and vintage-ness doesn't mean itll suit the sound of band. Another reason I prefer the "flat" sound is that it translates easyier through genres of music.

[quote name='stingrayPete1977' post='1339761' date='Aug 14 2011, 04:52 PM']I don't think a shuttle sounds like what the op is after but how can the gain stage be confusing? Gain knob, pre amp volume knob and master volume knob like almost every other amp I have seen. Genz Streamliner sounds more like what the op needs to try, Have you seen the ed friedland clips? [/quote] I've really only ever used amp with a single input volume or gain knob. On valve amps or valve pre-amped it's usually a gain knob that hasa point of where it goes from clean to dirty to insane, like the OTB, makes much more sense, no? However the manual IIRC for the shuttle says if the gain knob is turned up you should turn the input/pre-amp volume down. It would have been more simple an cost effective to hbe one knob that goes from clean to dirty like a simple tube amp. I wouldn't get the LMTube. The tube sounds great if you want those glistening second and third harmonics, but it won't give you the sound that something like the OTB does.

What would help is: How are gigs setup? The amp doing all the work? PA support? If so is the bass going straight to desk? Or mic'ing the cab using the DI on the amp(pre or post EQ)? What sound are you after? What is the band as a whole aspiring to(sound wise)? With out getting involved in an arguement... I will simply say you should at least give "flat" a decent go, using the VPF is only losing all the nice stuff a good bass sound is made of. Its easy for me to say what I do, but all I want from my Rig is a clear clean loud full range Sound. It's (IMO) a very versatile sound, however solo it can be perceived as nasal, but in a mix against the snare vocals and a strong guitar this translates into a punch and prescence.

[quote name='Linus27' post='1341488' date='Aug 16 2011, 08:50 AM']I think this is the way I am going with it at the moment.[/quote] Don't get to disheartened with it's apparent "nasally" sound, in a live situation or in a mix alot of this goes away and somehow turns into "prescence" in the mix. I have my F1 everything at 12'oclock, VPF and VLE filters off (12o'clcok isnt "flat" it's half way on!) some treble boost on the ray(sterling same and the BigAl has everything slightly boost and bass slightly cut) and the mid and bass flat. I realise again this is a 3eq. However a similar result should be gained from having the treble and bass pots on a centre position (IIRC 3eqs bass is still boost only) I would strongly recommend not using the VPF at all, or very sparingly! Once it reaches the 11'oclock you start losing considerable amount of mid prescence, especially as the control boosts the lows and highs further creating a mid scoop! Mid scoop is bad for a cutting bass sound, especially if you want the "basses" character to come through aswell. Other things come in to play aswell, like pickup bight and strings etc.

[quote name='nottswarwick' post='1341351' date='Aug 15 2011, 11:45 PM']It's quite poss that the Abm is not that special or versatile but I have to work with it for now at least...[/quote] I've only heard the ABM heads through ashdowns own gear and while it's not amazing I only thought the bass would need tweaking and maybe add some decent compression for a better " full " sound. Obviously without having one to hand I can't see what you mean, but I do understand, at a time I had a SVT3-pro, glorious sound but I felt I was always engaging the Deep and Bright switch for a generally more satisfying sound. Also the filter knobs can touch frequencies that the normal EQ knobs can't. The S12T isn't a largly different to a compact. It does go a smidge lower, and considerably louder! An obviously the tweeter opens up a whole lot of treble compared to the Compact. Its hard to describe te exact differences without being subjective, however you could say that the Super12 has a "tighter" more "punchy" mid range, not that the compacts mids arnt nice an articulate, it's hard to put my finger on but if you've been witness to the amazing Midget it's easyier to understand.

1.The time delay can also be attributed to the tube warming up? 2. Through a solid 4ohm cab(very good 2x12 or a decent 4x10) it may very well crush you. 3. Bright switches, ones I've used before usually boost a certain high end frequency that the "treble" has little or no effect on, some may increase the treble output from maybe around 5khz to 20khz.