VTypeV4

Back in the land of the 02R, this Waves Y56K / ADAT card arrived safely from Japan this morning..

Thankfully I encountered no issues during installation and chose to make various Renaissance EQ and Compressor strings as stereo sub-group inserts. Gig and recording ready.. 👍

I've had good service out of these cards as there's one in both DM2000s, too. As I've probably mentioned previously, the sounds of the plugins are a little different - arguably, they have a little more character than the stock Yamaha ones. Both the 02R96 and especially the DM2Ks have more than enough processing to do pretty much every job that comes my way but the extra bells and whistles afforded by the Waves card is very welcome. 🥰     

My lovely old '96 helping the TOH boys out at the studio - heavy and bulky but ever reliable and useful.. ❤️

Beautiful flagship Soundcraft Vi Sounding and feeling great at Tolhuistuin venue in Amsterdam..

Smoky soundcheck in Amsterdam - a truly fantastic venue..

The Slaughter House / Kulturfabrik in Berlin..

A slightly questionable setup and vast amounts of dust at the 'Forever Now' festival in Milton Keynes. It took a few songs but I got there in the end..

And the monsterous 'Summer Sessions' for The Skids in Bellahousten Park, Glasgow. Digico SD12 and a D&B rig with a truly outrageous amount of power..

On 10/05/2025 at 17:23, mike257 said:

He hasn't seen me yet, but I've just spotted @VTypeV4 in the wild, and doing a bloody marvellous job of making Spear Of Destiny sound great!

 

Ah brilliant! 🤣 Thanks Mike - so cool to speak in real world albeit a little brief. Hope your shows played out as well as ours? I'll be honest,we had a great day with all the fun of the seaside including ice cream, seafood and a run out on a speed boat not to mention a lovely gig. ❤️ 

@mike257 It really does look like we will actually work together! Excellent! 😃

I was at the Scarborough Punk gig a few weeks back with The Skids - there's some pics below. I had a great time plus I thoroughly enjoyed the band and of course, the lovely CL5. ❤️

Glad to see you're out and about, Mike - looks like you've more than enough on to keep you going? It's funny you mention the A&H thing, I've seen more SQ and dLive than literally anything else this tour. I think we're 12 shows in as I write this and other than a few Digico (including an awesome SD8), it's been entirely A&H - not an M or X32 in sight..  

It's been a decent run so far - fingers crossed it stays that way. 💯

These two (studio example pictured) are still going strong and continue to be the backbone of a lot of my studio based work. I know they're old but they still deliver just as they always have. 😃

A job for friend and his disco band pictured here at the Civic Hall in Nantwich. I have to conceed that these thigs are probably my favourite of the newer generation as I can't really find any reason to dislike them and love how they're both incredibly powerful but reasonably straight forward to use. I may even have to purchase one.. ❤️

Very interesting..

On 15/03/2025 at 09:31, Chienmortbb said:

What could you do if your mixer does not ( yet) have pre-delay. Is there anything else you can do? 

Maybe there's a delay on the return channels? The Yamaha's very usefully have delay on all I/O. Try starting with around 20ms if it's an option and see how you go from there - there's no true right or wrong here, just use your ears to judge..

On 13/03/2025 at 22:10, Phil Starr said:

Oh I asked for help on using reverb and delay when I was setting up my mixes and got this advice from @VTypeV4 It's now my standard set up for live vocals with the sends and returns adjusted to suit, basically quite a lot applied to my own bvs where I'm just filling out the sound and a bit less to the lead vocals. I find the delay particularly helpful for the bv's.

 

"My personal starting points are usually a short-ish plate or hall reverb of around 1.2s - give or take - and then in addition to this a short delay with 180ms (or thereabouts) time with around 30% feedback. These are approximate settings and won't work on everything all the time (plus different fx units have their own sound too) so you'll no doubt find some vocals will lean towards sounding better with less of one / more of the other and vice-versa - adjust to suit the sends / returns to suit.

 

Good luck. 😃"

 

Here's the original thread 

 

Happy to have helped, Phil - hope others find it of use. 👍

I own a few rigs that have multiple cabs from the same..

2x SWR Goliath Jr III (2x10 + HF). When a friend was moving to lighter cabs about ten years ago, he sold these to me at a great price and I figured two cabs made for a modular rig although being honest, I've nearly always used both together. 

Trace Elliot 2103H & 1153 (2x10 + HF and 1x15 respectively). These came with a Trace AH400SMX a few years back but currently they're used with my Trace V6. I use both as the V6 requires a maximum load of 4 ohms so both together achieve this. They do have a different sonic characters but seem to work well enough together.

Ampeg 410HE and 115E (4x10 + HF and 1x15). Again, the cabs came as part of a rig - an SVT CL sits on top of both as, much like the V6, the SVT doesn't want to see anything greater than four ohms total load.

Trace Elliot V-Type 4808 and 115 (super compact 4x8 and 1x15) This mini-rig is powered by a Trace Elliot AH300SMX and is a pokey little power house. The 1x15 is good enough but the 4x8 will knock a hole in a wall - it's true gem of a cab and would happily swap the 1x15 out for another 4x8.

I appreciate using two cabs with a different configuration operating over the same frequency range can cause phase correlation and potential dispertion issues but given most gigs are via a house system these days, I think it's probably less of a problem especially if the rig is used as the local monitor. It's fair to say that with any 'stack', most of what is heard close to the rig will be the top cab anyways - particularly if that cab is a little more sensitive, voiced with more midrange or fitted with an addional mid or HF unit.

23 hours ago, HeadlessBassist said:

One can never have enough Jazz Basses. They just sorta get under your skin.

 

I had one of these Japanese Millers - really loved the sound, but it weighed more than a cruise liner's anchor, so sadly it had to go.

@HeadlessBassist Agreed - I've almost forgotten how many I've owned! ❤️ And yes, it's a bit of a beast on the weight department but the sound makes up for it.

2 hours ago, Geek99 said:

What do the controls do?

@Geek99 The two silver knobs are pickup volumes and the bottom black ones are the active bass and treble controls..

I've put it through the V4 / SWR setup with the NE-1 and Ampeg Optocomp today and it was glorious - I even A/B'd it against some of the MM tracks and my version of that particular sound was reasonably convincing, My own tastes are tiny bit more low mid and and a bit more 'ping' really high up but that super-smooth attenuated upper mid plays right into my wheel house. 🥰

Because I clearly needed another Jazz Bass.. 😬

This lovely thing arrived from the folks over in Leamington Spa, BassBros this morning - it's an '04 and is is near perfect condition. They'd done a lovely job setting it up although I've done a few minor tweaks to get it just where I want it. It feels great, it sounds great and looks fantastic. ❤️

I thought I'd make a little addition here - after two-and-a-half years of ownership, I finally took it out of my live room and gigged it. 😆

One would think a tiny gig in a less than 80 cap venue that a 300w all valve, full stack monster might be something akin to using a sledge hammer to crack nut. Whilst I have to conceed that this is probably true, it was a glorious experience, none-the-less.. ❤️

I'm currently playing with an electronica duo 'Disastrous Robots' so given the genre and style, I've gone for my usual brand of zingy, bright and compressed with attenuated high mid with mild low low mid boost. Whilst the SVT and Jazz Bass are almost capable of this without help, I was happy to further enhance the experience by employing my ever useful Yamaha NE-1 accompanied by an Ampeg Opto Comp - both can be seen on top of the amplifier.

Suffice to say, nothing really had a 'thorough thrashing' given the gig / venue but despite this, with no PA support, I had to make sure the FOH sound was balanced which allowed me a liitle 'wiggle room' with the master volume - I was informed by a few fellow players in the audience that it was spot on. I'm not a hard-hitting over-driven plectrum type player - quite the opposite but even so, the big-rig responded wonderfully to dynamics in playing and subtle changes of hand position seeming to almost instinctively track what I wanted from it. 

I've been very impressed with the SVT and it's cabs since they arrived but actually taking them into a gig scenario has been an absolute joy as long as you don't count moving them! 👍 Would I be willing to trade by beloved green and black V-Type amplifiers for the SVT? I'm not sure but luckily I'm in a position whereby I don't have to choose anyways - they both have their own character and distinct identity which is something I love about the big-bottled beasts..     

1 hour ago, Bassybert said:

That whole setup (including the bass) looks like perfection to me 😍

Thanks, man. ❤️ Definitely a different flavour than the usual - pictured below..

2 hours ago, msb said:

The NE-1 is a great little box.

Agreed - it's not something I often leave home without. 👍

I decided to swap out my usual green and black Trace Elliot boxes for the SVT last night. Obviously in a tiny <80 cap venue, I needed a heavy-weight 300w all valve setup.. (!) 😅  I didn't go bananas with it but even so, the sound was lovely - somewhat different than my beloved V4 and V6 amplifiers but it worked beautifully. On the top of the amplifier, you can see the Ampeg Opto Comp and the Yamaha NE-1 with the Squier 40th Aniiversary positioned in front. ❤️

I'm very happy to report that the new 02R96 is working out very well indeed - I used it 5 nights consecutively last week with no hiccups, faults or drama which is nothing but positive and very much like it's predecessor. In terms of use, it's exactly what I expected, somewhere between the DM1000 and the DM2000 of which they all have a lot in common. It's much easier to navigate than the 1000 as it has more real time, dedicated controls plus the greater spacing between all buttons, knobs and switches gives a less cramped and cluttered feel - especially when you need to get something quickly. It's not quite as fancy as the 2000 with no illuminated scribble strip or real-time counter but I can lift it by myself and is (as Yamaha no doubt intended) a decent compromise between the two.

In the picture below, to the right, you can see the side of a Behringer Wing well piloted by friend and fellow studio-owner, Mark. The Yamaha was used to mix 21 channels of the band / orchestra whilst the Wing was under 'Theatre Control' cueing 28(ish?) channels of radio mics, hand-helds and sound fx. The latter not being a job for the faint hearted.

As for my old ex-ITV 02R, it went to former apprentice and friend Phil where it'll see use as part of his home setup. I trained him on these old Yamahas so he knows the machine almost as well as I do. Hopefully it'll keep him inspired and offer the same consistent and reliable service it did me. I'm really pleased it went to a good home.

02R96! Whoops! I picked two up cheap so had the wonderful repairman, Kev make one good one. V2 O/S too! 😃

1 minute ago, warwickhunt said:

 

That is SO true!  The amount of times I've read of folk waffling on about 'rare' or pre Custom Shop basses and one off Ltd Ed basses but back in the late 80's and 90's you told the dealer what you wanted and they made it.  If you wanted a SSI bass with SD JJ pups (as per SSII), you asked; if you wanted a Dolphin with yin/yan inlays, you asked.  They wouldn't retool a whole production line to do something but putting in different pups, preamps or inlays was just normal.  Saying that, most folk bought whatever off the shelf bass was in the shop/store (normally at a discount).    

Yup, it's 100% standard. At the time, there were a few Warwicks in the shop (Academy of Sound, Hanley, Stoke on Trent) but no 5-string Streamers. A phone call or two by the staff in the shop secured the required spec so £1065 and 4/5 weeks later.. And here we are 24 years later. ❤️

10 hours ago, bassbora said:

what year is the LX? Great looking bass 

Thanks, it's a 2001 - I bought it new when I was 18. I had to wait about 5 weeks for the Streamer to arrive as there wasn't one available to the spec required so whilst it's was a 'normal spec', (back in 2001 when you had a Warwick, it was just that with no 'custom shop' or 'team built' monikers) they literally had to make it new for me. The Warwick is also only one of a couple of basses I bought blind without trying it first. To this day, I've still never played a 'bad' Warwick. The only thing I've ever had to do with the it was to fit a replacement jack socket.  

I put a bit of time and effort into bringing my Streamer LX back to top-notch condition this week. It's had a thorough clean, a fret / hardware polish and several coat / buffs of wax plus there'll be a new set of strings on it too in the next few days. It doesn't see that much action these days as I'm nearly always on a Jazz or the Status but it's still a truly fantastic instrument in every way. 

That's a truly proper gig! 🤣🥰 Fantastic stuff there, Mike - very cool indeed! 😀

Various pics from up and down the country. Only two Yamaha consoles out of nearly 30 shows - Midas and A&H more than everything else put together..

Hey Mike, sorry I missed your reply here.. 😃 Looks like you've been doing some 'proper' gigs! ❤️

I'm just about to finish this tour with the usual Kirk Brandon / Spear of Destiny lot but I was also draughted in to mix Richard Jobson / The Skids too. It's been great with some fun and games along the way so will post pics when I get chance.

On the subject of the dLive, there's literally nothing not to like and the deeper I dig, the more I find. I've been using the 1176, LA2A, DBX and Bus Comp models as they're very good plus the ability to do the whole HPF sidechain routine on the main L/R completes the picture. 👍   

On 02/11/2024 at 12:09, BassTractor said:

Nice! Melurves synthporn, me, especially with wooden side panels.
 

I notice what I assume are four output pots on the virtual patch bay, but also two input pots on OSC 1. If correct, does that mean that the machine spawns more "hidden" flexibility necessitating this doubling up?
As you can see, I don't know this synth. Admittedly, I haven't studied the panel in great detail, and not Thought This Through Thoroughly either. 😄

I was thinking I might build some replacement, slightly thicker / darker stain panels to make it a little prettier in time..?

The four pots on the patch bay are for each set of routings. At centre position they do nothing but clockwise adds the strength / range and anti-clockwise does the same but inverted which is a nice touch. As for the two inputs, I think it's just to allow the routing of stereo sources via the jack sockets around the rest of the synth. With mine being the 'B' variant, it seems to default the XLR input to input 2. I've not yet found any 'hidden' features although time will tell.. 

The two Korg machines and the little Yamaha.. 🥰

13 hours ago, BassTractor said:

Woh??? Pure coincidence, I promise you.
Nice car!
 

Ha, no worries - all good. 👍

3 hours ago, BassTractor said:

Aw! An MS-24 !  🥰
No, I've changed my mind. It's a 420G ... *
😀

Lusted after it at the time (probably in its rack version), in part guided by my love for the MS-20 and the fun I'd had with the VC-10 vocoder.
Yes, please report back. Good to read hands-on experience.


*) for those not in the know, a 420G is really a Mark X, Jaguar's very, very expensive model in the sixties.

I never had the VC-10 although I did own an MS-10 for a short time - it was lovely.. On the new machine, I need to get to grips with the sequencer section a bit more as it's a little convoluted.

Nice Jag reference, I love my X350 V8.. ❤️

This wonderful thing arrived a few days back - initial impressions are very good! 🥰

Over the years, I've owned a number of classic synths including a Roland Juno 60, a JEN SX1000 and my all time favourite, a vintage Korg MS20. I still have the '20. Whilst a much newer machine, I always wanted an example of an MS2000 when they were current although as a 17 year old student, I never had the funds - any spare pennies went on bass strings!

In terms of sounds, it's got some pointless and silly noises patched in but it also has some distinctly 'classic' sounds including Roland Juno / Jupiter, Mini-Moog, Sequential Prophet and Korg MS series. Despite it's apparently complex panel with a sea of knobs, buttons, legends and diagrams, the Korg is reasonably straight forward to use but above all else, it sounds great. It has all the usual toys with a 16-step four-layer sequencer, arpeggiator, dual envelopes, dual LFOs plus Fat (Phat?) oscillators, variable spec filters and a simple but useful effects unit seem to make it a classic 'one box' hardware solution. 

I'll report back after I've used it a little more..