Music videos that feature Thunderbirds

[lowend1]

Oops, my bad, I didn't realize he was (only) playing an Epi (of the regular kind), I thought it was a Gibson with TB Plus soapies for the sublow impact, didn't recognize the telltale Epi pups with the beveled edges. Goes to show that with the right amp, you can pretty much play anything and still have a workable sound.

No question. The amplifier (and speaker cab) is a huge component of one's sound - and often overlooked as such. Some people want the amp to be a mirror image of the instrument's core tone, but I always look for the unique coloration that most great amps have. Never cared much for "direct" bass sounds, either, live or in studio - I always requested a mic in both settings. I even got to the point of carrying an SM57 with me just in case.

[doombass]

Exactly. Unique coloration it is. I did'nt realize until I found my perfect amp how much the previous amps colorised my sound. I want an amp/cab which does not put like the same rug on my sound. It should be noticed that I've plugged in a different bass but not to the degree a bass DI'd directly would sound. I always carried a D112 until I discovered that the amp's slave output actually taps the signal right off the output transformer (Orange AD200B) which eleminates (to my ears at least) the need for any cab simulation because the impulse response is reflected in the output transformer. Gigged last weekend and had yet another sound tech complimenting me on my bass sound. He actually wanted to mic the cab initially which is rare.

[gearHed289]

No question. The amplifier (and speaker cab) is a huge component of one's sound - and often overlooked as such. Some people want the amp to be a mirror image of the instrument's core tone, but I always look for the unique coloration that most great amps have. Never cared much for "direct" bass sounds, either, live or in studio - I always requested a mic in both settings. I even got to the point of carrying an SM57 with me just in case.

1000%. I've probably said it here already, but I've recently come to the realization that my amp is at least as important as my bass when it comes to getting the tone I like.

[Ken]

1000%. I've probably said it here already, but I've recently come to the realization that my amp is at least as important as my bass when it comes to getting the tone I like.

This is why I had a preamp pedal for an amp I really like made for me, to keep on my board. Since I play out in NYC, usually have to use the house amp, and rarely use the same amp twice, I need to have all my tonal stuff on my board.  So more often than not, I'm using a GK 800RB.  But if the amp has no FX loop, then I have to settle for what I can quickly get out of the amp du jour.

[Basvarken]

The amp was always 50% of my sound.
Really a collaboration of the bass and the amp.
I used a full tube amp to get the desired amount of saturation of the power tubes (in combination with the lo-z Les Paul Bass).
For that reason I always brought my own Shure Beta 52A mic.
To make sure the amp signal went to the sound board.

Later I used the Ext Amp out on the Ampeg V4B as the slave-out to a Markbass SB450 that I used as a slave.
Each amp with its own speaker.
I used the Markbass to get some tight low end (from its assigned speaker) because the V4B would go into overdrive too much when cranked up loud.

And from that Markbass slave I took the Direct Out to send to the sound board. Which would still be the V4B character basically.



But for lots of bass players the amp is just a monitor. They want it to add zero color. In which case a DI is enough.

[morrow]

All of my amps sound completely different. Some are trickier to dial in than others . Many have a built in mid scoop. My Bergantino is by far the most transparent. And I've been running a tube preamp with that ...

[morrow]

The amp was always 50% of my sound.
Really a collaboration of the bass and the amp.
I used a full tube amp to get the desired amount of saturation of the power tubes (in combination with the lo-z Les Paul Bass).
For that reason I always brought my own Shure Beta 52A mic.
To make sure the amp signal went to the sound board.

Later I used the Ext Amp out on the Ampeg V4B as the slave-out to a Markbass SB450 that I used as a slave.
Each amp with its own speaker.
I used the Markbass to get some tight low end (from its assigned speaker) because the V4B would go into overdrive too much when cranked up loud.

And from that Markbass slave I took the Direct Out to send to the sound board. Which would still be the V4B character basically.



But for lots of bass players the amp is just a monitor. They want it to add zero color. In which case a DI is enough.

That's pretty much how I'm using the Berg these days , I plug the preamp into the effect return and totally bypass the Berg tone stack so it's strictly the back end. But it gives me a 700 watt at 4 ohm slam. I can dial the tube pre to any degree of warmth I'm looking for without distortion. The three phase EQ of the pre is a Baxandall, similar to that used in the Ampeg SVT.
And I have tons of headroom.

[lowend1]

The amp was always 50% of my sound.
Really a collaboration of the bass and the amp.
I used a full tube amp to get the desired amount of saturation of the power tubes (in combination with the lo-z Les Paul Bass).
For that reason I always brought my own Shure Beta 52A mic.
To make sure the amp signal went to the sound board.

Later I used the Ext Amp out on the Ampeg V4B as the slave-out to a Markbass SB450 that I used as a slave.
Each amp with its own speaker.
I used the Markbass to get some tight low end (from its assigned speaker) because the V4B would go into overdrive too much when cranked up loud.

And from that Markbass slave I took the Direct Out to send to the sound board. Which would still be the V4B character basically.



But for lots of bass players the amp is just a monitor. They want it to add zero color. In which case a DI is enough.

The V4/V4B is still my favorite amp - the preamp section is just magic. A Bicentennial Thunderbird and one of those heads through a flatback 810 was "my" sound for years. When I had shows that required using someone else's rig, I bought a used Peavey Alpha tube bass preamp that got me in the ballpark. Still looking for a lightweight head that will do the V4 grind, but there is something on the horizon that looks very promising...

[morrow]

That's pretty much exactly what Monique does.

[Ken]

The V4/V4B is still my favorite amp - the preamp section is just magic. A Bicentennial Thunderbird and one of those heads through a flatback 810 was "my" sound for years. When I had shows that required using someone else's rig, I bought a used Peavey Alpha tube bass preamp that got me in the ballpark. Still looking for a lightweight head that will do the V4 grind, but there is something on the horizon that looks very promising...

Did you run it into the FX Return or the front input? I've never gotten a good sound running my preamp into the input.  I guess because it's one preamp into another.

[lowend1]

Did you run it into the FX Return or the front input? I've never gotten a good sound running my preamp into the input.  I guess because it's one preamp into another.

Yeah, I almost always plug the preamp into the FX return or the "power amp in" jack (preferred). Alternatively, if there is a padded (-15db) input out front, I'll use that. That will not bypass the tone stack, though, so I try to set the power amp flat and go from there.

[Ken]

Yeah, I almost always plug the preamp into the FX return or the "power amp in" jack (preferred). Alternatively, if there is a padded (-15db) input out front, I'll use that. That will not bypass the tone stack, though, so I try to set the power amp flat and go from there.

Ah, the padded switch or input is a great idea I hadn't thought of.  One problem with an amp you've never used is not knowing where flat is.  It's not always 12:00.  And a lot of amps have tons of switches and sliders.

[uwe]

"But for lots of bass players the amp is just a monitor. They want it to add zero color. In which case a DI is enough."

Guilty as charged. Decently fresh strings, my pick, the way I play & and a rig that is not broken and has sufficient headroom (it doesn't even have to be my own one, I'll gladly play over someone else's). Bass setting between 3 and 6 o'clock, mids between 12 and 2 o'clock, treble/presence again between 3 and 6 o'clock on any amp. That's all I need. No preamp. I don't even really have a preferred bass. And I still sound so much "Uwe" over each and every amp I play it is sometimes pitiful/laughable. (That said, I don't like to hear my bass over the monitors, possibly just because I like to hear my bass sound coming from behind and not from upfront.)

When I read about your discerning and particular tastes in amps and preamps, I always feel terribly inadequate and wonder what is wrong with me. I have never been attached to amps. And in my 44 years of bass playing I've only owned about ten of them (Dynacord, H&H, Reußenzehn Mk I, Yamaha, Reußenzehn Mk II, Ashdown JAE Sig, Ampeg SVT, Roland, Markbass and Orange).

Come to think of it, speakers are more important to me than amps. I frown at rigs that don't have at least one 15" inch speaker, I even coupled my Ampeg "refrigerator" with a 1x18" subwoofer (from Ampeg as well) because the sub-lows of the 810 left me unconvinced. I've never seen anybody else do that, but the gain in oomph was marked.

Currently, I play 1x15", 2x12" (or 2x2x12" to be exact as two speakers are packed behind the other two) and 2x10" speakers. I've downsized. My peak was 2x18", 1x15" and 4x10" with occasional addition of a 1x or 2x12" mid bin(s). That offered reliable headroom and moved some air.  You didn't even need to turn it up loud. You simply were EVERYWHERE when you played over it. I know it's against the trend of the times, but I don't like to stand in the 'sound tunnel' of a comparatively small speaker cone area blaring at me (like many guitarists do), I like to be immersed in a (not too loud) indirect sound all around me.

[Ken]

"But for lots of bass players the amp is just a monitor. They want it to add zero color. In which case a DI is enough."

Guilty as charged. Decently fresh strings, my pick, the way I play & and a rig that is not broken and has sufficient headroom (it doesn't even have to be my own one, I'll gladly play over someone else's).

Funny.  When I played at the Bowery Electric, which is one of the better-known venues I've played at, the house 410 was actually a 310 because one speaker was busted.  I asked how long it was like that and was told about a year. :-/

[uwe]

That's why I say: It has to be fully functional! The best sounding venue- or promoter-owned rig I ever played was a Genz Benz combo, that just sounded amazing. But generally the "play someone else's rig"-scenario only materializes when I try to accommodate some guy from another band who is adamant that he can only play over his own rig (while  the venue has stipulated that bands don't waste time changing the back line if more than one plays). I then go: "Whatever, is it any good and in working order?" Of course, anyone is welcome to play over my rig too, I'm not particular about that either (and I of course keep it in working order).