| Author | Message | ||
| stout71
Intermediate Member Username: stout71 Post Number: 171 Registered: 7-2011 |
For all you guys that have played and/or owned basses with both versions of Series electronics, what are your thoughts on differences in overall sound? I know perception is everything and everyone has different ears, but I'm trying to get a very general idea. I realize that the continuous filter on the II is a big step up (in price also), but I'm interested in knowing the differences in sound quality in practice. All thoughts are greatly appreciated. Thanks. | ||
| jazzyvee
Senior Member Username: jazzyvee Post Number: 3653 Registered: 6-2002 |
I'm still very new to series I & II basses and so I can't claim any real long term experience but from what my ears tell me. There is no difference in sound quality between the basses but there is a difference in how each bass sounds. My basses sound different to each other but that could be more to do with the physics of how the instrument has been constructed rather than the electronics. Series I has a neck pickup closer to the base of neck than the series II which in it's defence has three thick ebony laminations in the neck. So the pickups are going to pick up a different set of vibrations from the strings because of that and hence have a different frequency spectrum providing the overall tone. Hence, the Series I has a more pronounced bottom end which is warmer, heavier in the reggae sense of the word and meatier than the series II, which again has a big bottom end but it is less emphasised and more balanced sonically across the whole of the instrument. Even though the CVQ gives more sound options I've never picked up my series I to play and felt damn.... there was a sound I'm looking for that I can't find here so I better get my series II. But I have put down my Series II because I'm fighting the controls on it. Both basses are fantastic Instruments to perform music with and I'm convinced Alembic have not designed the basses to compete with each other, rather to give musicians options that suit how they want to get their tone. Simply with the Q-switches and more precisely with the CVQ. I hope that helps. I know there is a mature group of series bass players here and they will definitely give you far better insights than I can. I will be watching this thread. Jazzyvee | ||
| stout71
Intermediate Member Username: stout71 Post Number: 172 Registered: 7-2011 |
Actually, that's pretty good stuff, Jazzy. I misspoke when I used the term sound QUALITY for sound. I guess tonal difference commentary is what I'm after. I'm so in love with my new 5'r with anniversary electronics that now I'm considering another custom build. Many thanks. | ||
| davehouck
Moderator Username: davehouck Post Number: 11192 Registered: 5-2002 |
My approach is to set up the bass and the rig together. When the S1 was my primary instrument, I was in a band. The bass and rig were setup such that changing positions on the Q switches would give me an expected change appropriate to the song or passage that we were playing. For instance I might flip a switch right before a bass solo or a quiet passage. I had setups for mellow, slap, etc. By the time I got my S2 the band gig had ended and my focus changed; I have essentially just been sitting at home practicing everyday. Here again, the bass and rig are adjusted together to arrive at whatever change in tone I am looking for. But the continuously variable Q gives me a much wider pallet to work with. I've noticed that sometimes I'll love the tone I'm getting, then the very next day, without changes to any settings, I'll find it lacking. I think that perhaps it's like matching the tone coming from the speakers with how I am feeling physically, emotionally, spiritually. Sometimes I'm looking for more warmth in the mid-low frequencies, sometimes more grit in the mid-highs, sometimes a more light and delicate sound, etc. Sometimes I might not make a change for days; sometimes I spend the entire practice session trying to find the right overall balance. And usually I'm just looking to change some very small portion of the overall curve. And then all that also changes with the aging of your strings; as the strings age, the tone changes, and you have to make adjustments. I love and appreciate what the S2 offers me; personally, I have no desire to play any other instrument. The tone that this instrument makes possible is, for me, a wonderful gift. But then that's me. I don't play in a band. The music I'm playing is pretty much a departure from what most bass players are working on. The minute changes I make trying to get the E at the 16th fret on the C string where I want it are not the type of tone issues that someone playing in a band with two loud rock guitar players face. It's kinda like the difference between Europa and Signature electronics; Signature gives you a wider pallet than Europa, but Europa gives you more choices for quick and repeatable tone changes. So I suppose it depends on what you want to do, and perhaps on what you might see yourself doing in the future. I'll add that with practice you'll come to get a good feel for how much a small movement of the CVQ will change the tone; and at that point it becomes as repeatable as a switch. And again, what the filter, Q switch, and/or CVQ do is very dependent on how your rig is setup. If you flip the bridge Q switch from +6 to +9 with the bridge filter wide open but the treble on your amp is rolled back, then the switch isn't going to do much because that additional bump at 6K isn't getting past your amp's circuit. Well, those are my random thoughts at the moment. I hope you find something useful in there. | ||
| wayne
Advanced Member Username: wayne Post Number: 214 Registered: 5-2002 |
I have a few years under my belt with both flavors and I've "had the hood up" on both of them. I say with certainty that, for practical purposes, there is absolutely no difference in the sound of the electronics - other than the effects achieved by the CVQ. The difference in sound/tone/quality is going to come from the wood. I say "for practical purposes" because I know that there can be minor variations in all the components in the wiring and on the card due to manufacturing QC that can impact tone because everything impacts tone, but the circuit itself is the same. I will now gladly be corrected by those with much deeper understanding of these magical things..... C-Ya.................wayne | ||
| tubeperson
Senior Member Username: tubeperson Post Number: 447 Registered: 5-2005 |
Not only the electronics. but different woods all contribute to the sound. It is possible as jazzyvee stated you may prefer a given Series I bass over a Series II or another wood combination, and impact the effect of the electronics in some fashion. Even the same type of wood may differ if they come from different logs etc. The way I look at it is I get more dial in options with Series II, but never enough time to explore all those options. That being said, I love them all, even if I can't find all they can deliver. I have both types of basses. The key is to spend a lot of time dialing in and trying different settings. It is very time consuming but well worth it. It is after all going to be your sound. Keep in mind, I hear plenty of signature and anniversary equipped basses that sound awesome as well. | ||
| davehouck
Moderator Username: davehouck Post Number: 11193 Registered: 5-2002 |
Wayne; one of the biggest differences can come from the magical stardust that Ron sprinkles on the Series electronics right before he closes up the control cavity. | ||
| stout71
Intermediate Member Username: stout71 Post Number: 173 Registered: 7-2011 |
Thanks, lads. This is enough to give me direction. Although I play with amps and cabs, I also have a completely direct setup with an Avalon U5 preamp. But, I do a lot more live playing than studio (I would prefer to record more, but I have a 2 & 3 year-old = no time), so I think a Series I would suit me better. I didn't mean to discount the neck and body wood makeup. I've got maple galore on my MK5 and it sounds as bright as you might expect. But that's what low-pass filters and q-switches are for.  On to the next topic. Stay tuned. | ||
| tubeperson
Senior Member Username: tubeperson Post Number: 448 Registered: 5-2005 |
And hopefully Ron has sprinkle that stardust on all of our basses (and guitars). BTW Dave, your ears can perceive sound differently as well at different times. Too much caffeine, not enough sleep etc, room dynamics all play a part. Most people do not take enough care of their hearing or their ears. Cleaning the wax out is important. | ||
| davehouck
Moderator Username: davehouck Post Number: 11194 Registered: 5-2002 |
Absolutely Steve; thanks for adding that point. | ||
| pauldo
Senior Member Username: pauldo Post Number: 1056 Registered: 6-2006 |
I used to know an incredible saxaphone player who demanded large quantities of coffee prior to jamming with us because it enhanced his hearing. I regress; yet still want to throw a wrench into the soup. I played an SC at BagEnd way back at the Chicago gathering and absolutely loved (and was amazed) at how responsive the electronics package was to fingering dynamics. So what are the fundamental differences between SI; SII; Signature and Anniversary electronics? p.s. - there is stardust in my Distillate! :-D | ||
| jazzyvee
Senior Member Username: jazzyvee Post Number: 3654 Registered: 6-2002 |
"So what are the fundamental differences between SI; SII; Signature and Anniversary electronics? " Price... :-) Sorry I couldn't resist that one. :-) Jazzyvee | ||
| keith_h
Senior Member Username: keith_h Post Number: 1908 Registered: 2-2005 |
The Series 2 uses variable Q instead of switches. If I recall correctly it also comes standard with a master volume. The Series 1, Signature and Anniversary all use fixed positions on the Q-switch. Three position on the Series 1 (0, 6db, 9db standard) and the Signature/Anniversary have two position switches (0 and 8db standard). You can request different boost values and number of positions for any of them. As an example Adriaan has his set for a 3 db and 6db boost if I recall correctly. The Series 1 and 2 use single coil pickups and have the associated hum canceling circuitry. The Signature/Anniversary use hum cancelling pickups. This where I think the biggest difference in their sound comes into play. To me the single coil pickups in the Series has a more open sound to it. The Series 1/2 and Anniversary use a volume/volume/filter/filter arrangement and support mono/stereo output. The Signature uses a volume/pan/filter/filter arrangement and I believe is mono only. As the electronics go the Anniversary are about as close as you will get to Series 1/2 electronics. Keith | ||
| bonesrad
Member Username: bonesrad Post Number: 100 Registered: 5-2002 |
I've owned both over the years and I think (albeit I'm not the most sophisticated musician)they are pretty similar animals. No question the CVQ's and master volume control on the Series II give you more flexibility. However, personally I like the more simplistic controls on the Series I. Just my $0.02. Bones | ||
| adriaan
Moderator Username: adriaan Post Number: 3053 Registered: 6-2002 |
Someone mentioned my name? Indeed I have a three-position Q switch, just the one to go with the single filter on my Spoiler. To be brutally honest, I leave the filter wide open all the time as my ears don't care much for the removal of the upper part of the frequency spectrum. The standard 8 dB boost didn't do it for me either - too harsh, really. However the 3 dB boost adds a very subtle shimmer, and the 6 dB boost is a noticeable step up from there but still without the harshness of 8 dB. Keep on mind that it's a bass with a koa top, and as much as it is a lovely piece of wood with a warm tone, it's not the brightest of tones to be expected from an Alembic. I see a walnut topped bass with Signature or Anniversary in my future, as I'm pretty sure it will allow me to use the filters without losing the full spectrum - and perhaps rotary Q switches with 3 dB increments - in 6 clicks from 0 to 15 - pretty sure that is as fine-grained as one really needs. | ||
| edwin
Senior Member Username: edwin Post Number: 1634 Registered: 5-2002 |
I've found that I vastly prefer having the CVQ. My perception of the Q control is that it adjusts the nature of the attack of the string. Especially now that I'm playing primarily with a pick, I discover that the adjustment of Q is almost more important than the adjustment of the frequency. So, while I think both construction details are great, I would always opt for having a CVQ instead of a three way switch. But that's just me. It makes it a lot less easily repeatable when it comes to finding tones, but to a certain extent, I don't care about that. I want what's good at the moment. | ||
| rustyg61
Senior Member Username: rustyg61 Post Number: 956 Registered: 2-2011 |
Edwin, I think you hit the nail on the head with "I want what's good at the moment." I used to write down my amp & SF-2 settings for each venue I played thinking that the next time I played the same venue I could just duplicate the settings & get the sound I had previously liked there. I have since come to realize that doesn't always work. There are way too many variables to the sound you hear, the age of your strings, the density of the crowd, position of your amp, volume level of your bandmates, the list goes on & on! I think it's much more important to have a good understanding of what the controls on your bass & amp are doing & tweek them at each performance to get a sound that is appealing to you in that moment. Writing down my settings got me in the ball park, but I almost always fine tuned the settings to get a sound that I was happy with. So now I don't write down my settings but use my ears to find the sound that works for each gig. I think the CVQ offers much more fine tuning capabilities than the 3 way toggles. Adriaan, I like your idea of a rotary CVQ with 3dB increments. I have actually been talking with Susan about getting CVQ pots with a center indent like they have on the pan pot & set it at 8dB in the center like the Q switch on my SCSD. Then I would have a point of reference other than full on & full off with the center boost being what I'm used to hearing on my current bass. She is checking to see if their supplier can make that. | ||
| jazzyvee
Senior Member Username: jazzyvee Post Number: 3656 Registered: 6-2002 |
Good thing about adding some descrete click stops on the CVQ pot is that you would then have the option of running the bass in series I or II mode or using the click stops as coarse control then fine tuning it either side of the stop. Getting a repeatable sound at a gig is always going to be an ongoing learning experience and a challenge for all the reasons you state rusty and more. I'm sure pro's like Jimmy and Stanley have it off to a fine art now and pretty much get the sound they want. Even if you are a find one sound on your bass and stick to it type of player everything outside your bass can change. I'm a knob twiddler now because with the filters I can be. Sometimes less is more. Gigging with the standard single filter europa controls is so easy but because I'm aware of what the one filter per pickup arrangement gives me I found myself reaching for a sound that is not available from a single filter which is the main reason I changed the electronics inside that bass. Everything is there with a series II but you just have to dedicate a lot of gigging time to it as I've found the bass sounds radically different on stage to how it sounds in my home. Jazzyvee | ||
| sonicus
Senior Member Username: sonicus Post Number: 3055 Registered: 5-2009 |
In theory ; With current technology , replication of the response characteristics might not be so difficult through the utilization of RTA with memory presets . My new Goldline RTA DSP30RM is capable of such a task. Measurement of response characteristics in each situation could be made and then replicated to correlate a previous "Sonic Event". Sonic Regards ____ | ||
| edwin
Senior Member Username: edwin Post Number: 1635 Registered: 5-2002 |
Perhaps. It sounds a little complicated to analyze results and then try to recreate them with onboard and offboard components. Maybe it could an opportunity to repurpose the motorized pots found in amps like the Soldano. With an onboard microprocessor, you could save presets on the bass and the pots would physically remember the correct position. | ||
| sonicus
Senior Member Username: sonicus Post Number: 3056 Registered: 5-2009 |
Edwin ,precisely ! That is where I was going with this in my mind as well!, Cheers !!!!! A memory card could save your "Sonic Events" and recall your settings at your command, similar to " motorized flying faders" on a control surface interface . (Message edited by sonicus on October 09, 2013) | ||
| rustyg61
Senior Member Username: rustyg61 Post Number: 957 Registered: 2-2011 |
I'm still waiting for the "Find My Sound" app for my iPhone! LOL! You could have a 3D Spectrum Analyzer on your phone that you could store snapshots of the sound you like & it would tune your bass & amp VIA Bluetooth to match the snapshot. It would be a real time analyzer so it would take into account the acoustic changes of the room as the crowd varies so you have constant tweeking to maintain the sound you want. Kind of a sonic "Auto Pilot" if you will! Of course it would require a Bluetooth capable bass & amp or SF-2. Might as well dream big, right?! | ||
| sonicus
Senior Member Username: sonicus Post Number: 3057 Registered: 5-2009 |
Rusty, your dream is not so unrealistic . I do believe that there are a few good software RTA programs out there. I have a few hardware RTA's . Metric Halo makes a good software "Audio Measurement Program " called "SpectraFoo" http://mhsecure.com/metric_halo/products/software/spectrafoo.html | ||
| rustyg61
Senior Member Username: rustyg61 Post Number: 959 Registered: 2-2011 |
Thanks Wolf! Now they just need to modify it to communicate with your rig to automatically adjust the EQ to get the sound you want. TC Electronics has their "Tone Print" patches to make their amps sound like famous bass players, but this would take it a step further, analyzing the room acoustics in real time & adjusting your rig to get the sound you like. In my fantasy, I would tell Siri to "Make me sound like Jimmy Johnson" & the app would set my amp & bass to get that sound taking the room acoustics into account. | ||
| sonicus
Senior Member Username: sonicus Post Number: 3058 Registered: 5-2009 |
Rusty , Automated RTA/EQ gear is gaining popularity these days .I have not used this one for Bass rigs but it is quite popular in the Hotel/Convention AV audio vendor scene these days; http://www.dbxpro.com/en-US/products/driverack-pa | ||
| bigredbass
Senior Member Username: bigredbass Post Number: 2046 Registered: 9-2002 |
I can 'sound like Jimmy Johnson': It's that 'Make me play like Jimmy Johnson' that I don't believe Siri is ever going to offer. If she did, though, sign me up for the 'Hang with James Taylor' app post haste ! Or to quote, 'HA !' J o e y | ||
| rustyg61
Senior Member Username: rustyg61 Post Number: 961 Registered: 2-2011 |
Wolf, we have a Drive Rack on our PA now but it is the older version & I don't think it has the auto EQ function. Our soundman set it for our PA & he never adjusts it anymore. J o e y, the "Make me play like Jimmy Johnson" app will be standard on iOS 36, we are currently on iOS 7! LOL! | ||
| bigredbass
Senior Member Username: bigredbass Post Number: 2050 Registered: 9-2002 |
Incidentally . . . . I worked for a sound contractor back in the day who was a very early adopter of RTA to 'shoot the room' to speed up set-up in the 10 to 30,000 seaters we were doing. I got to play around RTA-ing my bass rig. Don't go there. Bass loose in any room, from your bedroom to large venues is like trying to catch a greased elephant who is deep in the throes of mating season. There are traps, there are hot spots, and 'standing waves' actually look like those Weather Channel shots of the beach right before the hurricane comes in. . . . and the next minute in a different frequency is resembles lava flowing uphill. It quickkly became a question of 'what do you want to sound like where', inevitably resulting in a correct tone setting to accomplish that, inevitably resulting in a setting that was just horrible standing in front of it. That was 25 years ago, I HOPE it's better now. It's no wonder that Jimmy talks about not having a rig on stage to aggravate the FOH guy's job is certainly the preferred way to go, it's just very hard to control. Next time you play a big room, if you're on a wireless, walk all around the empty room and you will be dumbstruck at just how much it varies from spot to spot, and remember it will be utterly different tonight when it's full of people. I even have to find the 'sweet spot' in my practice room. I never conquered this, and is a big part of why I refuse to play out any more, I could never hear myself properly. I would posit it is gonna take way more than the bass rigs that are around now, and enough computing power to rival the NSA to truly solve this for me. J o e y | ||
| rustyg61
Senior Member Username: rustyg61 Post Number: 962 Registered: 2-2011 |
J o e y, I'm with you on the ever evolving room acoustics. That's why I tend to stand in one spot when I play & I EQ my amp for that spot! I played an outdoor gig last weekend & used my full Eden rig with a 1X15 & 4X10 stack. I spent 30 minutes trying to get the sound I wanted only to realize the problem was that I was trying to adjust it to sound good 1 foot away from the amp where I was standing! Once I walked away & stood about 10 feet away it sounded great! Luckily that sweet spot for my sound was also the convergeance point of my fan on my left & my guitar player's fan on my right, so it was the coolest spot on stage too! I normally use my Fender Rumble 350 tilted back like a floor monitor about 5 feet from my left ear & it is pretty easy to get a good sound at that range, especially using my SF-2. I guess the ultimate bass rig would be to have speakers all around the room like the surrond sound in a movie theater. I used to have a pair of matching cabinets that had a 15" JBL front loaded in a bass reflex scoop box with a 10" above it in it's own isolated section of the box. I would put one on each side of the stage facing in like a side fill monitor & that worked pretty well getting consistant tone across the stage. Rusty | ||
| edwin
Senior Member Username: edwin Post Number: 1636 Registered: 5-2002 |
I think that the Wall of Sound was an attempt to deal with these issues by setting up a line array. When the bass cabinet is taller than the longest wave you're trying to throw, the physics change and it gets to be a bit more uniform around the space. I've only heard a bass line array once, and the low end was startlingly the same regardless of where I went. And extremely deep and quick. Sadly, it's not practical. | ||
| bigredbass
Senior Member Username: bigredbass Post Number: 2051 Registered: 9-2002 |
Well, Ed, it is, and it isn't: Our friend Will Gunn has a stack of four Acme's B1's (the single 10 3-way), stacks the four vertically, and reports he really likes it ! J o e y (Message edited by bigredbass on October 11, 2013) | ||
| rustyg61
Senior Member Username: rustyg61 Post Number: 964 Registered: 2-2011 |
As long as my bass sounds great to me in my little 5' X 5' world on stage I'm happy. It's the soundman's job to make it sound great to everyone else! :-) | ||
| sonicus
Senior Member Username: sonicus Post Number: 3060 Registered: 5-2009 |
Joey , I know what you are talking about the regarding the older RTA's .I still have one of those. My "WHITE INSTRUMENTS MODEL 140 " is from that era . Made in USA in Austin , Texas and built to last for ever ! My most recent RTA is a GOLDLINE DSP30RM it is more complex but has features so that your readings can appear a little less squirrelly . I have used both units with satisfaction in various applications including a bass rig with satisfaction. The calibrated microphone and it's placement are critical to what the RTA tells you . One of my worst experiences EVER___ that I have had with hearing my self was at a gig at a venue called The "Keystone Palo Alto". I was playing bass for country singer and song writer Howard Harrelson. I was told just to bring a minimal amount of gear so I took just one little Alembic A-15 bass cabinet instead of the four like I had intended to bring and my SUNN 2000S head and Fender Dual Showman. The Bass that I had was my old Guild Starfire with the EARLY ALEMBIC TRAPEZOIDAL PICKUPS , it was a good pure and clean sounding bass .I was told that the FOH guys would take care of me. What they ended up doing to my bass sound was awful . To make things even worse ,most of what I heard was my bass back slap off the back wall with delay. Pure slow delayed mud like molasses in January ! ___ I played in the" Cow Palace " a few years after that which is even a larger room and that was even better. Thinking in retrospect now regarding the low frequency back slap delay problem at the Keystone Palo Alto , I believe that they might have been able correct it with a piece of gear that I now own , A t.c. electronic model 1280 and or perhaps and/or a combination of side fill monitors . All old school stuff ! Because I am an "Old School " Dog . (Message edited by sonicus on October 11, 2013) | ||
| 5a_quilt_top
Intermediate Member Username: 5a_quilt_top Post Number: 185 Registered: 6-2012 |
Apologizing in advance that this has nothing directly to do with Series I and II electronics. I'm beginning to wonder if an onstage rig is necessary / appropriate for bass. The closest I've come to what I think is an ideal solution to the "I can't hear myself, but I still sound muddy and loud in the room" problem is to use a DI with a line out to both the PA and also to my own private monitor - which faces up at me. I control the level of my private monitor and ask the soundperson to mix as much (or little) of me in the PA monitors as the other band members require. The drummer usually wants to hear a little more bass and the guitarist and vocalists want less. I'm good with hearing mainly mids and highs through my monitor (because they cut through the stage mix) and feeling the "thump" from the mains. This way, the whole PA becomes my bass rig and I have more room to move around on stage and less to carry! Edwin - with the recent advances in sound reproduction technology, a portable version of your "line array" idea may be closer than you think. | ||
| edwin
Senior Member Username: edwin Post Number: 1637 Registered: 5-2002 |
"Our friend Will Gunn has a stack of four Acme's B1's (the single 10 3-way), stacks the four vertically, and reports he really likes it ! " It is a cool way to set things up, but it's not even close to a bass line array. For a 4 string, it needs to be more than 30 feet tall and for a 5 string it needs to be more than 40 feet tall. Otherwise it still propagates as a portion of a sphere and throws the sound into the ceiling and floor and excites the vertical modes a lot more. By using a line array, the horizontal room modes are the biggest problem and the vertical modes get a lot more manageable. Bass in a room is just a complicated hot mess! Some have experimented with cardioid speakers, where subs behind the main subs are set up and the phase and amplitude with respect to the main subs are adjusted to control dispersion, sort of like the opposite of a multipattern microphone. | ||
| lbpesq
Senior Member Username: lbpesq Post Number: 5562 Registered: 7-2004 |
As I recall, the tallest column in the infamous Wall of Sound (the Grateful Dead one, not the other infamous Phil Spector Wall of Sound) was about 32' tall and was specifically for Lesh's low E string. Bill, tgo | ||
| flpete1uw
Advanced Member Username: flpete1uw Post Number: 202 Registered: 11-2011 |
This is a great post on the real life scenarios, Jazzy, We have discussed this on other posts about our Series learning curve / Dialing in sounds. To date my main Bass is my Distillate for A- It sounds Great and B- the ease of the dial in. An interesting quote from the Rouge ad “The controls are easy to navigate on a busy stage, but versatile enough to cover a broad range of sounds.” My Distillate is close enough to fit this bill. Still on the Series learning curve. Dave 5A, Direct out from Mesa Walkabout to PA and Amp as my monitor works for me as well. You just have to trust the sound guy to do the right thing. ;-/? ~Pete | ||
| keith_h
Senior Member Username: keith_h Post Number: 1909 Registered: 2-2005 |
Using a cardioid arrangement for PA subs is not unusual. It can resolve several room caused issues with bass and help boost bass output outdoors when the number of subs is marginal. The biggest problem of using the pattern is it tends to throw more bass on stage which can be good or bad depending upon your perspective. Keith | ||
| cozmik_cowboy
Senior Member Username: cozmik_cowboy Post Number: 1600 Registered: 10-2006 |
Phil's Wall columns were each 18 1X15" cabs, so 32' is probably right, but they were assigned to the strings in groups of 9. IIUIC, when in quad, it was 1/2 column per string, but most of the time it was one column per p/pup, so the 32' would be for all 4 strings. Peter | ||
| tmimichael
Junior Username: tmimichael Post Number: 43 Registered: 3-2010 |
Hey David, I'm on the band wagon with you. I stopped bringing a stage rig a couple of years ago when our guitarist and I joined our drummer by going with in-ear monitors. Not only does it clean up a TON of stage volume, but I can hear what I'm playing and and eq eq changes that I make so perfectly now, that I just don't need an amp on stage. We have a pretty good PA as well, and since I'm running direct thru a Demeter preamp, it sounds beautiful out front. (JBL STX 825's with SRX 718's tri-amped with Crest CA series amps and a Crest console. DBX Driverack PA+ control). I love a crystal clear bass sound, so this works really well for me, plus my band mates can hear me just as clearly.  | ||
| edwin
Senior Member Username: edwin Post Number: 1639 Registered: 5-2002 |
That works out great when you can bring your own PA. I have a split with a Metric Halo based recording rig that I use for in ears and it's amazing how many times I get blamed for problems that exist in the house PA. Not to mention house sound guys that are unclear on the concept of a splitter. Oh well. | ||
| tmimichael
Junior Username: tmimichael Post Number: 46 Registered: 3-2010 |
Edwin...you got that right! We're pretty lucky that we have only had 1 place that insists that we use the house system, and we don't play there very often. I spent a lot of time (and we spent a lot of money) to get our system the way we wanted to be heard...like a massive stereo. So we're glad that most places expect us to use our system. |
