I should have made a thread for you guys to post your setups also, but I figured that a Bassist would have done that by now? Oh well.
I ask the Drummers this question also: You guys all know that us guitar players are always switching shit and trying different things with our sound and setup, do you guys also get in depth with your stuff, or is it just mostly a 'plug in and play' type of thing?
I enjoy reading about your rigs also, so lets hear what ya got!
Bass players feeling left out?
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metalchurch
- Diamond Member
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JackANSI
- Diamond Member
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- Location: Workin' in a Soylent factory, Waitin' for the Malthusian catastrophe.
Its a lot easier finding an acceptable tone at lower frequencies (at least thats what I've found). So most bass player are happy with a quality amp and cab and don't mess with it too much 
I rarely hear bassists talking about half the things you guitarists do
I normally use (in order):
Yamaha BBN5 loaded with EMG 40P5 (neck) and EMG 40DC (bridge). I built the on-board pre myself because I couldn't find anything that was good enough for my tastes or good enough for the EMG's tastes
The low frequency knob (I call it the "kick" knob) is +/-15dB centered around F2-F#2. The mids (the "voice" knob) are centered around A4 and are semi-parametric a fixed +3dB, a fixed Q of 1.8 octaves, but sweepable frequency from E3 to E5. The second trick of the voice knob is its also a passive "orange drop" capacitor tone knob when the pre is in passive mode. (there is still a variable gain buffer after it so that passive and active are as close as possible to the same level). Then the highs (the "shine" knob) are centered around D8 with +/-15dB and are meant solely to bring out harmonics and make the tone "shimmer" in the mix.
From there its into an X2 wireless; gods gift to electric stringed instruments. Sometimes I'll go to an ME-50B, sometimes not.
Then to the Tech21 RBI which is fairly flat, just a tad of presence, a splash of mids, and a splash of drive. This is the last unit that is getting anything other than an optimal signal.
Next is the behringer PEQ2200 5 band para. I take some of the mids back out here because I don't like the extent that the RBI's mid knob reaches. I also use this to correct for the room and cut everything sub-sonic and infra-sonic, as seen by the cabinet, not the ear. A cabinet, no matter how good, is always going to have its ups and downs in terms of response. Forcing it to do anything below or above what its capable of is going to take away power and dynamics from the rest of the frequencies it can do. This is the first step in efficiency. The signal in is close to 0 peak, the signal out is close to 0 peak.
next up is the 3630 or thirty-six-dirty as some call it. When purchased from ebay it was in fact a dirty, dirty girl. This also took the most work to get perfect. All the cheap opamps were removed and replaced with very, very high quality chips (think of the best Hi-Fi equipment... even they don't use stuff this good). Any component that was greater than 1% out of intended value was replaced. Its now quiet as a mouse and what the knob says its set at is usually spot on. The gate is also here. The signal in is close to 0 peak, the signal out is close to 0 peak. I pull 9dB in compression to compensate for any changes I had to make on the EQ for the room or effects I want to run.
The the BBE 362NR, usually if the room isn't cooperating I turn on the sonic maximizer. Mostly have the noise reduction on all the time to take any artifacts that do get created off the compressed signal as much as possible.
Then the power amp. can be anything at this point. my signal is exactly what I want so as long as the power amp isn't distorting, it sounds good. I use mostly behringer europower amps. They are just about as good as anything else, and if you factor in the price, they are way better. But I have been known to use a Crown in the past.. just killer amps.
The cabinet is still a work in progress in my mind. Its not entirely perfect as there is still a hole or two in the response above 1k, but thats beyond the reach of the 10's in my book. It started life as a great ebay find. An Ashdown MAG 4x10 deep. The cheaper 4x10 from ashdown. I peeled the carpet back and cut the back panel off. Boxed each speaker individually in a rear outer corner internally. Tuned each port for each speaker to kinda hammer the curve as close to flat as I could. Took many, many tries to get it right. Turns out a pencil and paper were way off because I was still running all the ports into the back and summing them all with the stock box shelf port. The interactions were too varied to try and predict. But I ended up with a cabinet that can really project fairly well, I can run it with a 65watt amp at very loud practice volumes (loud enough to be heard in the same attic with a 5150-4x12 and a Peavey XXX-4x12 going at a decent volume).
As an independent player (non-pro): in order I go for efficiency, projection, tone.
What good is the perfect tone that only sounds good out to the front of the stage (yes I know PA support is great and usually there, but you can't rely on that). It sucks to carry 4 power amps and 2 or more cabinets, just to get the sound out there, so make the best of what you have more efficient and carry less.
Integrated rigs have advantages like size and weight, but you are usually slightly more limited than in a discrete rig (and sadly pay a premium for something that is not quite perfect in some way that you always wish you could change, which results in continuing G.A.S.).
To make things efficient you need to first of all handle your signals with care. Since all my devices except the BBE sonic maximizer have input and output levels I can make sure that my signal is peaking as close to 0 as possible (without going over) between devices which makes them operate closer to their 'butter zone'. It also has the benefit of reducing noise to incredibly low levels and allows the proper operation of things like gates that don't cut your signal out in the middle of a long note.
A power amp takes a signal and puts more power behind it. So if you feed a power amp with a -16dB signal instead of a -3dB the amp has to work that much harder than it should have to. That extra work results in distortion, noise, and heat. All bad.
Its best to look at any rig from the point that its an entire system, not just a good amp, good cab, and good bass. In racing they always try to say its 60% driver and 40% car. Just like some people try to say its 60% bass guitar and 40% amp. Thats totally wrong approach. Its 100% car and 100% driver. If the guitar isn't 100% and the amp isn't 100% you'll never get what you want out of it.
I rarely hear bassists talking about half the things you guitarists do
I normally use (in order):
Yamaha BBN5 loaded with EMG 40P5 (neck) and EMG 40DC (bridge). I built the on-board pre myself because I couldn't find anything that was good enough for my tastes or good enough for the EMG's tastes
The low frequency knob (I call it the "kick" knob) is +/-15dB centered around F2-F#2. The mids (the "voice" knob) are centered around A4 and are semi-parametric a fixed +3dB, a fixed Q of 1.8 octaves, but sweepable frequency from E3 to E5. The second trick of the voice knob is its also a passive "orange drop" capacitor tone knob when the pre is in passive mode. (there is still a variable gain buffer after it so that passive and active are as close as possible to the same level). Then the highs (the "shine" knob) are centered around D8 with +/-15dB and are meant solely to bring out harmonics and make the tone "shimmer" in the mix.
From there its into an X2 wireless; gods gift to electric stringed instruments. Sometimes I'll go to an ME-50B, sometimes not.
Then to the Tech21 RBI which is fairly flat, just a tad of presence, a splash of mids, and a splash of drive. This is the last unit that is getting anything other than an optimal signal.
Next is the behringer PEQ2200 5 band para. I take some of the mids back out here because I don't like the extent that the RBI's mid knob reaches. I also use this to correct for the room and cut everything sub-sonic and infra-sonic, as seen by the cabinet, not the ear. A cabinet, no matter how good, is always going to have its ups and downs in terms of response. Forcing it to do anything below or above what its capable of is going to take away power and dynamics from the rest of the frequencies it can do. This is the first step in efficiency. The signal in is close to 0 peak, the signal out is close to 0 peak.
next up is the 3630 or thirty-six-dirty as some call it. When purchased from ebay it was in fact a dirty, dirty girl. This also took the most work to get perfect. All the cheap opamps were removed and replaced with very, very high quality chips (think of the best Hi-Fi equipment... even they don't use stuff this good). Any component that was greater than 1% out of intended value was replaced. Its now quiet as a mouse and what the knob says its set at is usually spot on. The gate is also here. The signal in is close to 0 peak, the signal out is close to 0 peak. I pull 9dB in compression to compensate for any changes I had to make on the EQ for the room or effects I want to run.
The the BBE 362NR, usually if the room isn't cooperating I turn on the sonic maximizer. Mostly have the noise reduction on all the time to take any artifacts that do get created off the compressed signal as much as possible.
Then the power amp. can be anything at this point. my signal is exactly what I want so as long as the power amp isn't distorting, it sounds good. I use mostly behringer europower amps. They are just about as good as anything else, and if you factor in the price, they are way better. But I have been known to use a Crown in the past.. just killer amps.
The cabinet is still a work in progress in my mind. Its not entirely perfect as there is still a hole or two in the response above 1k, but thats beyond the reach of the 10's in my book. It started life as a great ebay find. An Ashdown MAG 4x10 deep. The cheaper 4x10 from ashdown. I peeled the carpet back and cut the back panel off. Boxed each speaker individually in a rear outer corner internally. Tuned each port for each speaker to kinda hammer the curve as close to flat as I could. Took many, many tries to get it right. Turns out a pencil and paper were way off because I was still running all the ports into the back and summing them all with the stock box shelf port. The interactions were too varied to try and predict. But I ended up with a cabinet that can really project fairly well, I can run it with a 65watt amp at very loud practice volumes (loud enough to be heard in the same attic with a 5150-4x12 and a Peavey XXX-4x12 going at a decent volume).
As an independent player (non-pro): in order I go for efficiency, projection, tone.
What good is the perfect tone that only sounds good out to the front of the stage (yes I know PA support is great and usually there, but you can't rely on that). It sucks to carry 4 power amps and 2 or more cabinets, just to get the sound out there, so make the best of what you have more efficient and carry less.
Integrated rigs have advantages like size and weight, but you are usually slightly more limited than in a discrete rig (and sadly pay a premium for something that is not quite perfect in some way that you always wish you could change, which results in continuing G.A.S.).
To make things efficient you need to first of all handle your signals with care. Since all my devices except the BBE sonic maximizer have input and output levels I can make sure that my signal is peaking as close to 0 as possible (without going over) between devices which makes them operate closer to their 'butter zone'. It also has the benefit of reducing noise to incredibly low levels and allows the proper operation of things like gates that don't cut your signal out in the middle of a long note.
A power amp takes a signal and puts more power behind it. So if you feed a power amp with a -16dB signal instead of a -3dB the amp has to work that much harder than it should have to. That extra work results in distortion, noise, and heat. All bad.
Its best to look at any rig from the point that its an entire system, not just a good amp, good cab, and good bass. In racing they always try to say its 60% driver and 40% car. Just like some people try to say its 60% bass guitar and 40% amp. Thats totally wrong approach. Its 100% car and 100% driver. If the guitar isn't 100% and the amp isn't 100% you'll never get what you want out of it.
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bassist_25
- Senior Member
- Posts: 6815
- Joined: Monday Dec 09, 2002
- Location: Indiana
LOL I think I've made this post quite a bit of times, but what the hell - I'll write it again.
Basses
Carvin LB75 (J99 pickups)
Carvin Icon 5 (soapbar pickups)
Essex Jazz copy (after-market Bartolini pickups)
Squier Jazz V (will eventually upgrade the electronics)
Rack
BBE Bmax preamp (ss version)
QSC PLX1602 power amp
Korg DTR-1000 tuner
Furman PL-8 conditioner
Cabinets
(x2) Aguilar S4x10
Aguilar GS112
Eden D115
For most gigs, I usually use either a single Ag 4x10 or a 4x10 with the 1x12. I decided to bust out both 4x10s this past weekend, and I forget how awesome it is.
Basses
Carvin LB75 (J99 pickups)
Carvin Icon 5 (soapbar pickups)
Essex Jazz copy (after-market Bartolini pickups)
Squier Jazz V (will eventually upgrade the electronics)
Rack
BBE Bmax preamp (ss version)
QSC PLX1602 power amp
Korg DTR-1000 tuner
Furman PL-8 conditioner
Cabinets
(x2) Aguilar S4x10
Aguilar GS112
Eden D115
For most gigs, I usually use either a single Ag 4x10 or a 4x10 with the 1x12. I decided to bust out both 4x10s this past weekend, and I forget how awesome it is.
"He's the electric horseman, you better back off!" - old sKool making a reference to the culturally relevant 1979 film.
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EyesOfAnguishbassist
- Platinum Member
- Posts: 920
- Joined: Sunday Mar 12, 2006
- Location: Shade Gap
- Contact:
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orangekick
- Platinum Member
- Posts: 778
- Joined: Monday Dec 13, 2004
- Location: Johnstown
I am currently between bass amps at the moment. I have a love/hate relationship with bass. If I decide to get back into it, I will either get another Aguilar head, either the DB750 or the AG500 or perhaps a Mesa bass head. I'd end up buying either an Aguilar GS410 or a Mesa 6x10 cab. I will always have my Lakland 55-01.
Currently using:
Fender P Bass Lyte Deluxe(4 string)
Peavey Foundation 5
Samson wireless
Loooper effects loop pedal
Zoom multi-effects
Boss bass eq
EH Big Muff Pi
Mesa M-2000
Korg tuner
Acme Low B-4 cab
Believe it or not the Peavey sounds amazing through the Mesa, which I just sold my G-K for. The Loooper is an asset if you use multiple effects at once(sometimes I think I have problem for a bass player). It took me a while to find a Big Muff that sounds good with bass, now they have one meant for bass. Wonder how it sounds in comparison? The M-2000 is the king of heads for versatility, tone and power, if you ask me. Still dialing it though. The Acme has been known to suck a lot of power without giving a lot of volume before, but I truly don't think it can handle the Mesa. Maybe another cab is in my future if I get back into a band situation. Something with wheels.
Fender P Bass Lyte Deluxe(4 string)
Peavey Foundation 5
Samson wireless
Loooper effects loop pedal
Zoom multi-effects
Boss bass eq
EH Big Muff Pi
Mesa M-2000
Korg tuner
Acme Low B-4 cab
Believe it or not the Peavey sounds amazing through the Mesa, which I just sold my G-K for. The Loooper is an asset if you use multiple effects at once(sometimes I think I have problem for a bass player). It took me a while to find a Big Muff that sounds good with bass, now they have one meant for bass. Wonder how it sounds in comparison? The M-2000 is the king of heads for versatility, tone and power, if you ask me. Still dialing it though. The Acme has been known to suck a lot of power without giving a lot of volume before, but I truly don't think it can handle the Mesa. Maybe another cab is in my future if I get back into a band situation. Something with wheels.
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orangekick
- Platinum Member
- Posts: 778
- Joined: Monday Dec 13, 2004
- Location: Johnstown
Maybe they are, but handles that don't try to break your hands would be nice. I started going to a chiropractor and got to see some x-rays of my spine. He asked what I have done to cause so much damage. Between bike/car accidents and moving equipment, I shouldn't be able to walk. So I'm going to stick to the wheel idea.
re: bass gear
- 1974 P Bass / Lindy Fralin PU
- Series I Eden WT800 Head
- Genz Benz 410 cab
I don't know about the rest of you, but I have been involved in the perpetual quest for the holy grail of bass tone for many years. I am pretty pleased with my current rig, but...........
I think the current trend / dilema with bass rigs has to due with size versus performance. It is difficult for me to get the depth and presence I prefer at moderate to high volumes without a pretty massive rig. So you get into the compromise thing; I can live with the tone, and.... I can carry the rig by myself if necessary, and........ I don't have to take a second on the house to afford it.
Best rig I ever heard was a 70's Fender Telecaster basss, original SVT Head (300 watts all tube) and two, count em', two 8x10 SVT cabs with JBL drivers. Probably about a $3500 rig in the mid seventies. About 1.2 mil in todays economy?
I would be happy with the above mention rig, but all the other musicians I know have threatened to dissown me due to the size weight of the rig if I make a move in that direction.
- Series I Eden WT800 Head
- Genz Benz 410 cab
I don't know about the rest of you, but I have been involved in the perpetual quest for the holy grail of bass tone for many years. I am pretty pleased with my current rig, but...........
I think the current trend / dilema with bass rigs has to due with size versus performance. It is difficult for me to get the depth and presence I prefer at moderate to high volumes without a pretty massive rig. So you get into the compromise thing; I can live with the tone, and.... I can carry the rig by myself if necessary, and........ I don't have to take a second on the house to afford it.
Best rig I ever heard was a 70's Fender Telecaster basss, original SVT Head (300 watts all tube) and two, count em', two 8x10 SVT cabs with JBL drivers. Probably about a $3500 rig in the mid seventies. About 1.2 mil in todays economy?
I would be happy with the above mention rig, but all the other musicians I know have threatened to dissown me due to the size weight of the rig if I make a move in that direction.
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slackin@dabass
- Diamond Member
- Posts: 1341
- Joined: Sunday Mar 30, 2008
- Location: tyrone, pa
- Contact:
wow... i need to catch up and get a better rig!! i wish equipment wasn't so damned expensive. i run a spector euro with the 35" scale (thanx moondoggy!!!) thru a shitty fender rumble 100 with a single 15. i'll tell you, it might not sound as good as jack ansie's rig, but i can move it around easily. i was checking out all sorts of rigs. the guys have been making fun of my combo since i started out in slacker theory, and i told them, dude... i play drums... i have a 2500 dollar (total, not just the drums) kit sitting in my house that i have just bought last year... big purchases for me are out!!!
been looknig at swr working pro heads. i think the working pro400 would be a good investment. what are you guys' opinions of swr? thinking about that and a 4x10. what's the best sounding 4x10 for the green?
been looknig at swr working pro heads. i think the working pro400 would be a good investment. what are you guys' opinions of swr? thinking about that and a 4x10. what's the best sounding 4x10 for the green?
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bassist_25
- Senior Member
- Posts: 6815
- Joined: Monday Dec 09, 2002
- Location: Indiana
Personally, I feel that SWR's flagship stuff is head and shoulders above their Working Pro/Working Man's stuff. Granted, I know people who like the budget series SWR stuff, but all of the Working Man equipment that I've played through and heard has, to my ears, lacked the focus and depth of the SM series equipment. The Goliath series cabinets are still excellent enclosures, and if you look hard enough, you can find Goliath III 4x10s for around $400 on the used market. Granted, SWR stuff is the definition of hifi bass amplification. If you're looking for a more traditional sound (e.g., Ampeg, Sunn, Ashdown, tube-driven Mesa), then SWR probably won't fit the bill. However, if you want clean, distinct, and polite, the SWR will give that to you x10.
As far as the best 4x10 for the green - that's a pretty subjective call. If you're looking on the brand new market, then I'd always recommend Gallien-Krueger equipment. Some people don't like Hartke equipment, but I think that's it's become highly underrated. I'd just stay away from any Transporter series enclosures. If you're going to look on the used market, then that opens all kinds of possibilities. For me personally, when it comes to 4x10s, I look for enough power handling and speaker efficiency so it can easily function as a stand alone in a live environment. Anything from Eden's XLS/XTS 4x10s, Aguilar's GS410, or the aforementioned SWR would fit that bill. Ampeg has about a bazillion different 4x10s out there, some entry level, some pro enclosures. It's all in what you are looking for in sound and in other features (e.g., portability, throw, etc.).
As far as the best 4x10 for the green - that's a pretty subjective call. If you're looking on the brand new market, then I'd always recommend Gallien-Krueger equipment. Some people don't like Hartke equipment, but I think that's it's become highly underrated. I'd just stay away from any Transporter series enclosures. If you're going to look on the used market, then that opens all kinds of possibilities. For me personally, when it comes to 4x10s, I look for enough power handling and speaker efficiency so it can easily function as a stand alone in a live environment. Anything from Eden's XLS/XTS 4x10s, Aguilar's GS410, or the aforementioned SWR would fit that bill. Ampeg has about a bazillion different 4x10s out there, some entry level, some pro enclosures. It's all in what you are looking for in sound and in other features (e.g., portability, throw, etc.).
"He's the electric horseman, you better back off!" - old sKool making a reference to the culturally relevant 1979 film.
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slackin@dabass
- Diamond Member
- Posts: 1341
- Joined: Sunday Mar 30, 2008
- Location: tyrone, pa
- Contact:
thanks for the advice, man!! i don't really have the cash right now to do much of anything, but when i do, i'll see if i can go with the top end swr. from what i've heard, i like em. alot. but i also like the old school ampeg sound, too. the svt3pro's look like a good choice, and really, as an honest question, do you really need more than 400 watts???
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BassFinger
- Gold Member
- Posts: 346
- Joined: Friday Dec 22, 2006
- Location: Altoona
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orangekick
- Platinum Member
- Posts: 778
- Joined: Monday Dec 13, 2004
- Location: Johnstown