rhysyjob

2 hours ago, EBS_freak said:

Meh. Be done with it.

 

IEM and go through the PA. You'll be able to hear everything super clearly, not rag your ears... and your band will sound better for it too.

I have considered it, but by the time you add vibrating boards, good headphones, transmitters etc, id rather just go DI rig, monitor and -15db plugs to cut out the cymbals.

It’s not just Class D, I had an Eden WT550 that plopped itself mid gig, nightmare! It then got worse as the uk tech couldn’t repair it had to send a new preamp board over from the US. Then a few months later the fan went and it overheated and cut out mid gig. I got it repaired and solid it, but I was an inch away from a Basil Fawlty Moment in the Car Park.

I loved the Eden sound, but the build quality of my particular unit was Friday pm at Longbridge in the 1970’s.

4 minutes ago, Chienmortbb said:

There are always exceptions to every rule. 

Personally, I’ve found Ashdown very helpful.
TC Electronic, Line 6 we’re appealing (went in the bin) and Eden (about 9years ago) cost me a fair bit in petrol, phone calls and parts. 

6 minutes ago, BigRedX said:

Everyone wants different things from their bass amp. For me the amp is simply a way of getting from instrument or line level to speaker level, and the less it affects the sound the better. I've gone the modeller/FRFR (class D) route, and for all but the smallest venues I don't even bother with the FRFR cab as I know the foldback will be more than up to the job.

 

To the OP. I assume that you rig is 100% responsible for what the audience hears.

Absolutely the case 95% of the time.

I’m not opposed to letting the PA do the heavy lifting but I prefer mic/di. Agree that in that instance the FRFR class D argument is a bit redundant. 

4 minutes ago, BigRedX said:

 

It's worse than that. They've been bought by Music Tribe (Behringer).

🤦‍♂️

44 minutes ago, Sparky Mark said:

I remember a bit of controversy around the TC RH series when a lab test indicated their advertised RMS outputs appeared to be overstated. Apparently this was down to TC using clever limiting/compression type magic to make the numbers.

Apparently TC Electronics test department has been bought by VAG Group…… 😁

6 minutes ago, BassmanPaul said:

 

Just as a point Class D amps use MOSFETs too.

Yes but in a different way! 😉

1 hour ago, BassmanPaul said:

A. lot of Class D amps use a drop in module so the differences could be the pre-amp circuitry mated to them. 

Absolutely. The power amps are Full Frequency Flat Response (FRFR) which means all the tone colouration comes from the preamp. Depending on whether this has been lifted from

a pedal or worked as bespoke for the amp may make all the difference……

7 hours ago, Ed_S said:

I reckon it's the overall design of an amp that matters - if the designer has a vision for the end result, understands the components they're working with for all they are (and aren't) and knows how to use them intelligently and to best advantage, then the fact that one of those components happens to be a commodity class d power module is neither here nor there. I just wonder how many amps exist for no greater reason than to present something with the company logo on it for sale in a particular area of the market, and how much they might unfairly sway opinion on the underlying technology if they fail to inspire.

 

 

At home I actively prefer Diet Coke, but down the pub I find all Coke tastes roughly the same. 🙂 

Clever. 👍

But it was down the pub that I finally fell out of love with digital switching Coke. 😊

2 hours ago, Newfoundfreedom said:

I have the Bugera Veyron, which is probably the cheapest 'powerful' class D on the market. 

 

Press the low boost, and high boost buttons, dial in a little bit of the built in compressor, get the mids where you want them, leave everything else around 12 o'clock, and the thing sounds absolutely sublime! 

Dammit is this the BV1001T?  I may have to try one.

25 minutes ago, funkydoug said:

If the cabs are right any amp class can work very well. 
Look at any PA rig for proof.

Many class D bass rigs include compact cabs too, which soak up the big power rating of the head.

 

 

I think it’s perfect for front of house where you want to have a completely uncoloured representation of the band (FRFR). However for an instrument amp, the preamp and power amp have historically added colour and character to the tone. FRFR lacks that colouration hence why Darkglass, Aguilar etc put pedal type preamps in front of them. 
 

I did have a Aguilar TH500 which wasn’t bad, but ultimately not for me. It’s all down to personal taste. 😊
 

1 hour ago, Downunderwonder said:

Diabolical is a pretty strong word.

 

Agedhorse was in the thick of it when class D was becoming a thing for bass amps. Genz Benz were getting pushback from ''the market'' along the lines of your critique. So they put the new preamp into a pair of boxes, one of each power stage, A/B and D. Nobody could tell a blind bit of difference.

As I said it’s personal choice, I can tell the difference for sure and for ages I tried to tell myself I couldn’t. Ultimately it’s personal choice, but if work done or power is a function of area under the the output graph it feels like class D are steeper spikes and A/B are more sine waves with greater work done. This may explain the need to lose heat. I’m no expert but I trust my ears. 
 

No right or wrong just personal preference! 😉

20 minutes ago, MacDaddy said:

Each to their own and all that, but my TecAmp Puma 500 sounds lovely and warm, and has suited any band situation I've been in.

Light and loud too 🙂

Not knocking anyone else. The fact there are so many flavours means people like them. It’s just not for me personally. 😊✌️

The emergence of class D heads had me very excited! 800 watts in small box light box. No more lugging around huge transformers, great!

Except apart from the easy carry the rest of the story has been pretty erm stinky poo!!

Despite 8 years, five heads and every Eq patten under the sun. I simply cannot get on with the sound at volume. 😬

I”ve tried TC Electronics (BH 550) Aguilar (TH500) Tech 21 (VT) Markbass (Tube 800) and finally Mesa Boogie (D800) and no matter if you put a valve in front of them, a compressor before them, a neo or a ceramic speaker from them, or summon a religious cult behind them. They sound too direct at volume to my ears.

I tried, but I’m going back to my Class A/B happy place! 😊

Nice. I’m quite partial to a nice Spector! 
😊

Pm replied.

For Sale, Mesa Boogie D800 in excellent condition complete with manual bag and all tags. Owned by me from new with little use as lightweight spare for my ABM.

Nick 

Please stop selling such tempting basses about 14 miles away from

me.

It’s weakening what little resolve I have left.

cheers, 

Rhys

See this has now got me singing come on “thunder child” from War of the Worlds. As did your last post about “Stormbringer” coming…..

I need to either stop reading your posts or countering with:

Vigier Passion - Purple Rain

Spector 40th - Blue on Black

Vigier Excess - Behind Blue Eyes

Ricky 4003 - Eat the Rich

🤣🤣🤣🤣

That’s silly money for a Eurobolt with a Tone Pump upgrade! 
 

This won’t be around long! 

10 minutes ago, CJPJ said:

I've had the HX Stomp, Effects, B6, MS-60B, MS70CDR, Boss ME-50b and some of the older Zoom pedals.

 

I've sold them all but the only one I bought again was the HX Effect which, on reflection, I think works for me best. It doesn't have amps and cabs which I don't need, has easy access to the core effects (as you list) and you can program parallel paths and tweak ad-infinitum if you want. The key for me was realising that it was not hard to set up if you give it 30-60 minutes and a YouTube tutorial. I love it now and have everythign I need as I think the quality of the sounds are fabulous.

Thanks that I did see that you’d cycled through these in quick succession so thanks for your advice (along with others on this forum).

so it’s between the HX Effects, Plethora and GX100.

I going to have a good think. And maybe find a shop that has them all (this may take a few weeks)!

5 minutes ago, la bam said:

Tech 21 bass fly rig.

 

Just switch each fx on or off. No flapping through patches etc.

Have you tried the MK2? Any good? 

1 minute ago, la bam said:

Tech 21 bass fly rig.

 

Just switch each fx on or off. No flapping through patches etc.

I had the Mk1 version, not for me tbh I thought the fx were poor.

7 hours ago, jimfist said:

 

It's a tough nut to crack without the cost jumping up into the top tier. That's why I mentioned the HX Effects, or even the PodGo, as well as the Zoom B6. 

They seem to be the only mid-range market contenders that have all of the basic tools (to include synths). Only the B6 has XLR output, if that matters.

The Line 6 products all share the same modeling and a fairly vast list of available effects, as well as robust editing capabilities within the effects.

I've settled on the B6 for the moment because I really don't need a ton of bells and whistles, and can reasonably work around the 4 button format (stomps or patch banks).

I do have my eye on the HX Effects, though, but wonder if Line 6 will be introducing an updated product Line as the Helix format has been around for quite some time.

I was kind of thinking the same about the Helix line, it’s 2 1/2 years since I sold mine and I thought it was mid life then. Despite all the distractions of previous study I wish I’d got another more into the setting up of effects chains editing etc.

On one hand the Plethora seems easy, but I wonder if it’s too limited.

The B6 seems tidy but I I’m not sure I warm to it and I’d like parallel processing. DI out is not an issue as i always use an amp (with a DI).

The attraction of the Boss is its new and at the start of its lifecycle, updates will follow, editing can be done via I pad/phone and Bluetooth. 
 

I’m starting to feel that at some point I’ll just say screw it and pick the one that is at the top of the list that moment! 

12 hours ago, jimfist said:

 

The GX-100 has some great features. No synth modules, though, so you'd have to concoct them using octaves, filters and fuzzes.

I've said before on the GX-100 thread: if it had an XLR output and some basic synth stuff, I'd have gotten in on the pre-order discount.

 

That’s got me thinking again..