From: warsaw@nlm.nih.gov (Barry A. Warsaw)
Newsgroups: rec.music.makers.bass,alt.guitar.bass
Subject: Re: More SWR SM-400 Amp Questions
Date: 18 Dec 92 17:29:02 GMT
	<BARSZ.92Dec17161244@bmtlh168.bnr.ca>
Reply-To: warsaw@nlm.nih.gov (Barry A. Warsaw)
Distribution: rec
Organization: Century Computing, Inc.


>>>>> "Peter" == Peter Barszczewski <barsz@bnr.ca> writes:

    me>    First, why use the line out instead of the direct out?

    Peter> Well, I run my effects through the effect loop .. I thought
    Peter> that was what it was for.

Its been a long time since I scanned my manual, and since I don't use
effects I haven't futz with this stuff really, so you could be right.
Just to be sure, we're talking about the XLR on the back which can be
set to line or direct via that tiny switch right?

    Peter> But you also imply another good point that I probably
    Peter> shouldn't be changing my EQ between songs ... or I risk
    Peter> screwing up the mix.  But that brings up another
    Peter> interesting point -- how do you use different EQ settings
    Peter> for, errr, "artistic effect" ?  You risk killing the low
    Peter> end guitar and kick.

My general approach is to use the amp EQ only for dealing with the
peculiarities of the club's acoustics.  I'm basically happy with the
natural tone of my bass so about the only amp EQ tweeking I need to do
is to compensate for a boomy room (cut some lows) or an absorptive
room (boost some highs and/or mids).  I do routinely boost a bit of
the low-mid frequencies, but I don't really change EQ much between
songs.  There are a few cases where I need to do that, for effect, and
my on-bass controls give me all the expression I need.

BTW, the flexibility of the EQ section is one of the best things about
the SWR head, IMHO. The combined 4-band para-graphic EQ lets you set
both the gain *and* the peak frequency for each band. It's a bit
complicated and takes some getting used to, but its incredibly
versatile. 

If you have a lot of EQ changes to make during a show, you might
consider some automated assistance (midi pre-amps, etc).

    Peter> as the sound creature is at the board, not on stage, s/he
    Peter> can't always tell what the stage/monitor mix is.

This is true! Me: "Hey DUDE! I need more vocals and guitar in my
monitor!"

    Peter> Narrow stage, luxury!  I've played on stages so small
    Peter> people confuse it with a dime and try to pick it up ;-)

:-) Yes I know! If all the horns, backup singers and synth player show
up, we can have as many as 10 or 11 people on stage. There's this one
club in Baltimore (I actually really like the place) where the stage
is divided into an upper and lower part. This stage is cramped for a
4-piece!  The drummer, synth player and my amp go on the upper part,
and the guitarist, me, our piano player/lead singer (huge! piano), the
horns and singers go on the lower stage.  I actually really like this
setup since I've got the kick in one ear and my amp in the other.  I
just have to watch out about smacking the lead singer in the back of
the head with my bass when I spin around since I'm standing behind
her.  Its even more fun (not) when the horns line up with us 'cause
then the trumpet guy and I share a mic.  Of course, *I'm* trying to
use the mic to sing when *he's* trying to blast some trumpet thingy
through it (and my ear!).  Only major drawback is that I can't see the
drummer's face, but, as Geddy Lee might have said, "we
semi-professionals, eh?" :-)