0175westwood29

[quote name='JapanAxe' timestamp='1388160051' post='2319004'] One solution would be to run a mic and the balanced DI out from your amp into two channels of a small mixer, and take that signal to the PA. [/quote] thats my ideal plan, would something like this do the trick? http://www.behringer.com/EN/Products/MX882.aspx as the small mixers ive scene have no di out?

[quote name='JapanAxe' timestamp='1388152417' post='2318907'] Yes that is what I incorrectly described as a G100 in my earlier post. The two 20 dB pads mean it can cope with anything from line level to speaker level. [/quote] so up for trying this a temp fix (who knows it could work) but im guessing its safer to just buy a xlr to jack and use the di out on the amp rather than inline with the speaker cables as i dnt want my amp to go pop. andy

[quote name='Lozz196' timestamp='1388087789' post='2318460'] This is where we bassists get a rough deal, we spend a lot of time, research (and money) on getting the equipment we want - as do guitarists, drummers, keyboard-players etc - yet when it comes to going through FOH the majority of the others get their exact sound whereas us, well it seems we don`t. For this reason all of the eq, drive and compression I use is off of my Zoom B3, essentially using my Markbass combo as a power amp (luckily the B3 has Little Mark amp-modelling on it). So when I go FOH, it`s straight from the B3, so FOH gets my sound. I`ve encouraged our other bassist to do the same, so he gets all his eq/drive from his Behringer BDI21. So whether we go FOH, or use provided backline, we still have our own sounds. [/quote] totally agree have seen a few sound guys mic up a 5w fender practice amp for one guitarist i played with then they turned to there bassist who was using my amp and said wheres the di? can u imagine a guitarists face if a sound guy said where your line out? obviously if i was using say a dif cab i doubt i would do this but for the most part i would prob be using my own gear, or atleast head so i get mostly my sound and could deal with it for say an opening slot but if i can get the sound i hear in the foh when im using my rig. as i have said i really do think the obc410 does add something. andy

[quote name='JapanAxe' timestamp='1388097426' post='2318584'] No that would be fine [/quote] figured it would be. looking at getting all the bits for this secondhand from either here or evilbay.

[quote name='bassman7755' timestamp='1388072112' post='2318281'] Or £25 for the behringer I have to say I don't really get where this urge to mic bass cabs comes from. Probably well over 95% of bass sounds you hear on studio & live recordings, at concerts, on TV etc etc don't involve any physical cab sound. Generally a bass cab just isn't contributing much to the sound beyond an EQ curve which can be easily emulated by other means, unlike say a guitar speaker which often operates in its compression/distortion zone. Also you have to remember that even DI'ed your sound will be going through at least one set of speakers - the PA, I just don't think bass sound withstands the extra colour of a speaker->mic->speaker signal path as well as say a guitar sound. IMO its a load of hassle for yourself and the sound engineer and probably in most cases a degraded front of house sound compared to a good DI. [/quote] I could understand it for ppl with a clean sound but with dirt i think the bass cab has a lot of input.

[quote name='paul_5' timestamp='1388076683' post='2318335'] You may be giving the sound engineer a massive headache, as there can be phase problems between the DI and the microphone signal. [/quote] Id be looking to just give the sound guy one di feed so id pre mix the 2 together, so id sort the phase thing myself

[quote name='JapanAxe' timestamp='1388076953' post='2318336'] Be very careful if using any DI connected to the speaker output of a Class D amp such as the Bass Terror. Whereas conventional speaker outs usually have one terminal earthed (bridged mode excepted), this is often not the case with Class D. The result of connecting such a terminal to earth is usually a pop, a puff of smoke, and then silence. Although DI boxes usually have an earth lift switch, it is all too easy to set this wrong and fry your amp. To me, your best option is to connect a speaker-emulating DI box to a dedicated DI output. This should take the unnatural fizziness out of the sound without risking your amp. I have had good results with the Behringer G100, but there are plenty of other options. [/quote] Im basically looking at taking the di out of the head, and mixing it with the mic sound, So wouldnt be using the speaker output. So that shouldnt involve the head being at risk should it?

Looked at the palmers but there about 300 notes, And i really wouldnt mind micing my cab

I would just go into the tuner then into the pre amp, as from a quick google the pre amp doesnt seem to have a tuner out? Andy

[url="http://www.behringer.com/EN/Products/MX882.aspx"]http://www.behringer.com/EN/Products/MX882.aspx[/url] think something like this would work well? getting a rack mount eq to put into my orange effects loop so can grab a 2unit rack to lob this in aswell will this work to mix the signals? andy

ok so i ve had an idea that im hoping solve a problem ive had for a while. basically i use alot of distortion in my sound, my "clean" sound is a mesa flux drive with gain at 3/4 into my terror with the gain at about 11 so pretty dirty, im getting a pedal made at the min which will add both fuzz and octave to my sound. short version of the story i really like the sound that my 410 puts out but no sound guy will mic up a bass rig they just di, not a massive prob but the fuzz just doesnt sound as gd borrowed a swollen pickle, as on stage sounded fat on the pa wasnt the same. so basically thinking of getting an sm57 and micing up the cab myself taking the di from my head and the feed from the cab mic and sending them into a mixer getting a nice mix then sending that to the foh? anyway od doing this thinking of getting a mini desk but they dnt seem to have di outs? from what i can see? andy

[quote name='PauBass' timestamp='1387909217' post='2317162'] Yes Andy, true, I bought it from you. Look wise, the DB750 wins and it was still wired point to point whereas the 751 it's not. Tone wise the 750 has a different tone which I like better over the 751 I had. [/quote] nice to know the girls being looked after! andy

[quote name='PauBass' timestamp='1387898506' post='2317032'] Excelente Amp choice! I've had both, DB751 and 750. I now own the 750 and fan noise it's never been a problem, when playing or recording, it's about the same as any other big amp I've owned. For some reason I much preferred the DB750 over the 751. If it helps, I've played mine for a few weeks with one of the new Super Twin cabs, similar in a way to your Super Twelve, and it was loud, very,very loud...it was enough for me on my two loud guitars band. [/quote] i believe thats my old 750 isnt it? i think i rem when getting the 750 the guy in the shop did say that the 750 is better made than the new 751 i must admit i prefer the look of the 750. andy

[quote name='ewengcameron' timestamp='1387898643' post='2317035'] You can definitely pick up a Marshall VBA400 for your budget. Louder than you'll ever need. Lovely heads, great valve tones. I just switched to one and got rid of most of my pedal board in the process. Would go for an Orange if I had the money though. [/quote] i was so close to getting a vba! awesome amps couldnt believe how loud they are! but it was the weight that stopped me andy

[quote name='andydye' timestamp='1387698339' post='2314560'] Well, the cat is very much among the pigeons now that I've tried the orange... AD200B through the OBC115, utterly jaw dropping tone with a usa p bass, mind numbingly terrifying amount of power! I really really want this rig! Powerscaling is totally essential though!! As a tiny test I turned the volume and gain up to 50% and lightly touched the strings, my chest felt like I'd been kicked, adrenaline rush from a bass rig! I turned it down to 1 after that and it still sounded beautiful, every note had gravity, clarity and a sweet sweet valvey goodness! Yes it might be as heavy as a small moon and the cab is only slightly lighter but... I'm in love with its sound and that has never happened to me with bass gear before! [/quote] Orange amps are awesome, i love my terror i think the 1000 has a bit more thump than the 500 its not a ad200 tho, did used to have an ad140b. Ill hopefully try and make the swtich in the newyear, no power scaling for me but i might go down the thunderverb 200 route rather than the ad Andy

[quote name='Bolo' timestamp='1387826099' post='2316218'] Or use a di with speaker modelling... [/quote] But thats more money to shell out, much more than an sm57

Had the db750, awesome amp, only got rid of it as i needed the money. Tbh at 4ohms through my old 610hlf ampeg it was scary loud never needed to go above 11 on the volume, so u may be surprised and not need the midget. Also dnt worry about the cooling fan, yes its not quiet but it never bothers me as it def cant be heard when playing and i recorded with it and you couldnt hear it on the mic so i never saw it as a problem. I might of grabbed another next year but looks like im gonna go down the orange ad200 route but these are awesome amps. They also take overdrive / dist pedals really well and the effects loop on the 750 is really handy. Andy

[quote name='Mikey R' timestamp='1387731338' post='2314975'] Hey Andy, yeah the speaker is the important bit in the chain - maybe if you brought your own microphone and just handed the enigineer an XLR? [/quote] now there is an idea! andy

[quote name='Mikey R' timestamp='1387628118' post='2313931'] Ive youve got the preamp on your pedalboard, theres no way they engineer can bypass it. Its always a struggle convincing the engineer to mic or DI from the amp. [/quote] never have a problem getting the sound guy to di from my head, my problem comes when i ask if he'd mind micing my cab, for some reason having to plug in a mic and put it infront of my cab is a pain, seeing i use a dirt sound as my main tone it sounds better mic'd andy

that looks amazing! fingers crossed its not silly money! i want it! andy

[quote name='Sibob' timestamp='1386760908' post='2304077'] I remember getting the first photo of my etched enclosure, very exciting! Si [/quote] i know its like torture now want to play it! andy

i must admit this is where i love my mody, the aguilar pre amp can give me a very decent sound if the sound guy decides to us there own di box, however i normally make a point of at least using my head ( its only an orange terror tho not sure how id feel if i had my ideal thunderverb 200 head. although i do have a mid size pedal board so i can tweak things a bit to get close to my dirt tone. andy

[quote name='Mark Dyer' timestamp='1383479993' post='2264807'] Been through four overdrive/distortion pedals in the last year or so, finally settled on the Rodenberg 809B Drive (thanks Ryan, if you're reading this you were mad to sell it!) Three selections of distortion from the 808 and 809 switches and super fat distortion from the 909 switch, turn up the drive and beautiful sustained distortion leaps out of the cabs. Tone control lets you dial in any bottom end that's lacking, easy to set up. Gigged it for the first time last night, sounded awesome in the mix. Prior to this I was using the Source Audio Soundblox Distortion Pro, which has more settings than you could possibly need imo, and most sound a little on the artificial side if that makes any sense. But a great feature the pedal has is the ability to save sounds as presets! Two banks, A and B, with three preset buttons to each. If you're prepared to spend some time setting this pedal up it will do the job, I just didn't like the sounds. Before the Soundblox I was using a Microtubes B7K by Darkglass. Never really got on with this pedal, nothing wrong with it, well made, bags of tone control with the 4 band EQ and all the distortion you could wish for but, it was always on the edge of being out of control, a metal pedal basically. I always felt I was spending my time trying to reign the damn thing in rather than get a sound out it. And finally (sorry for the long post/review, it's Sunday, it's pissing down outside, and I have a hangover to work off,) I still use a Farndurk BGX2 for subtle, warm overdrive tones on bluesy type songs. Simple to set up, it has one volume and one tone control and a three way toggle switch to engage different levels of drive. It is also a thing of beauty, hence the pic. I think the overriding issue I have with distortion/overdrive pedals is there is no one-box solution. If, like me, you're in a covers band, the set up you have for bands like RATM or Muse are not going to work for adding a little warm tube sound to a ZZ Top track. Does this make any sense? Anyway, for now it's the Rodenberg… but that might change. [/quote] love how that pedal looks! = immediate gas not on the site or able to find it on the net! bank balance breaths a sigh of relief! andy

love the sound of the darkglass, the nolly bass cam vid the sound is killer! but i just cant warrant the money, although i have just grabbed a harmonic booster from darkglass. i use a mesa flux drive and love it! andy

yeh sorry didnt notice that budget is between 4-700 andy