alexa3020

So why not high pass at 50hz as a default? Is there no benefit to reproducing those frequencies even if they aren’t accurate or at high volume relative to the overall volume? I certainly hear something if I boost my eq at 40hz

Ah right. That’s interesting and sort of making sense - perhaps we feel the fundamental of an e or b but hear the harmonic overtones. also I’ve played through a couple of cabs where the e feels weak - I guess some cabs are struggling to produce the fundamental. I guess as you go higher you hear the fundamental + harmonic overtones

So if a low E is 40hz and low B is 30hz and you are high passed at 50hz surely you are omitting the frequency of the note. I think I must be misunderstanding the fundamentals here

Thanks for the reply. what’s the purpose of allowing those ‘past rumble’ frequencies through? A bass cab on stage is never gonna reproduce those frequencies is it? would it be if you di out to a larger PA system that is capable of producing those lows?

I just wanted to check I’m understanding this correctly: essentially your amp & speakers are trying to reproduce frequencies that cannot be heard and cannot be reproduced accurately. The result of this is inefficiencies in the amp and for the listener ear fatigue. therefore products such as the thumpinator (specifically) & broughton hpf are available to get around this problem. Surely hpf should be included into the amp already if the frequencies can’t be reproduced accurately? Obviously some have adjustable hpf dials, but for those that don’t, they should ‘hard wired’ in at fixed parameters. That said I haven’t been able to find this data for individual amp models I’ve looked at (or is this frequency response ) plus, surely the thumpinator wouldn’t exist if hpf were baked in to the amp. Any help will be appreciated.

Correct, however if you wanna use the valve drive, you’ve got to crank the input gain

Notches are no problem when gigging, but notch 1 is pretty much too loud for home with a 115 or 210

I do like the sound of the big muff without the dry signal in isolation. I have found with that pedal though that it just gets lost in the live mix of a rock band. it’s sort of similar to scooping your mids - sounds great in isolation, but doesn’t work in a live mix

I’ve heard good things about the billy Sheehan pedal. Even more attractive with the option to blend signals

That’s interesting - These are not overly expensive new, and I’ve seen a few priced well secondhand. Perhaps worth a look I’d prefer a single pedal that does the job as I’m limited for space on my board - and I would prefer to keep using the nano+ if possible Ps the compressor will be updated at some stage - so that may free up some room

I’m currently using big muff pi on bass. I would say I’m fairly happy with the pedal but there is one major issue - the ability to blend in your clean tone. Without clean tone the bass tends to get lost in the mix. there is an option to add your dry signal. It comes in at the same volume as your original signal and you can match fuzz volume to it. This means the signal is too loud. So I’m thinking of a new fuzz pedal. A lot of which don’t have blend controls & im wondering, if I had a better fuzz pedal would it matter so much if there wasn’t a clean blend? Or is a clean blend essential? I’ll be interested to know what you guys think

I use a jptr fx jive really like it with a P Bass I’ll use the valve drive instead with a flat eq with my stingray

Here’s mine for Pbass shape off with a slightly scooped eq and some of the top end cut no valve drive (use an always on pedal for a bit of saturation - works really nicely with a pbass) Compressor and sub harmonic off also. this is just my starting point - it’ll really depend on the room how it ends up

Bought a boss TU3 tuner from Dave. Paid via bank transfer. No problems at all & great guy to deal with

I agree. Plus if you ain’t lugging your stuff on stage, your invariably lugging someone else’s (I.e drummers)

On the plus side, my oc5 came this week after 5 months of waiting

That’s a fine looking rig!

Years ago I had a mag 300 210 combo (and occasionally a 115 mag extension cab), and it was a real struggle to hear myself in a not particularly loud rock band. I have no problems with the Abm 600. My volume is normally around the 9/10 pm mark. I expect the volume problem could be as much to do with the mag speakers as it is the fewer watts the mag head offers

Funnily enough, I didn’t get on with Barefaced 10’s either.

I had the tc bq500 which I assumed was the same as the bh range without the tone print. Although the tone of the amp was ok (although I did end up with a pre amp pedal in front of it), I just couldn’t get on with it at volume and especially in the mix of the band. It just felt wrong. It didn’t sound squashed, but it was like the signal was compressed and the notes didn’t have the same attack & they sustained for way too long. perhaps I was out of headroom - although I’d rarely be past half way on the input and output volume. I’d take an ABM over it any day. I am beginning to think perhaps it was just the tc amp I didn’t like, rather than it was because it was class D though

Class A/B amps for me due to a bad experience with a tc bq 500 class D. it just didn’t feel right at volume and that put me off class D. That said Joe Dart does alright with the little mark head & mb410

You prefer the sound of 2x210 Ashdowns over the ampeg then?

Everyone says you should double up with the same cab, so it’s probably the right move. I’m happy to mix and match though

is that your gigging rig, or are you sticking with the ampeg 212?