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Post by guitfiddler on Sept 2, 2018 21:36:13 GMT -6
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Post by jcoutu1 on Sept 3, 2018 6:28:06 GMT -6
What kind of music do you do?
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Post by guitfiddler on Sept 3, 2018 6:29:16 GMT -6
I do Rock, Pop rock, Christian Contemporary, Country, Folk(Acoustic stuff) I want versatility.
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Post by jcoutu1 on Sept 3, 2018 7:53:33 GMT -6
I do Rock, Pop rock, Christian Contemporary, Country, Folk(Acoustic stuff) I want versatility. I've worked 500+ live blues, jazz, and blues rock gigs over the past 6/7 years. Not a single player had an Ashdown. FWIW. |
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Post by guitfiddler on Sept 3, 2018 17:27:51 GMT -6
The players I know own rigs that are very costly. I don't need a $2500-$3500 touring rig for the studio. I just want versatility. I have the Sans Amp RBI and a Kemper, but I need an amp mic'd up in the room.
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Post by guitfiddler on Sept 3, 2018 17:29:20 GMT -6
I believe this is the amp that Warren Huart uses. I guess if its good enough for him, it's good enough for me.
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Post by jcoutu1 on Sept 3, 2018 19:21:55 GMT -6
Sounds like you've already made up your mind.
Most people I've worked with aren't hauling $3000 rigs. The solid state Ampeg are popular. B2R. SVT3 Pro. That type of stuff. Lot of micro MarkBass heads. Aguilar Tone Hammer stuff. Those amps probably cover 90% of the acts. Few guys with GK, and a few upright guys like Walter Woods.
For $350, you could get a TH350 head and another hundred with get you a used cab on Craigslist. Or for the $350, you could pull off an Ampeg rig.
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Post by guitfiddler on Sept 3, 2018 20:32:36 GMT -6
Have you experienced a Genz Benz shuttle 9.0 into a bagend 12? It’s beautifully potent! Just killer sounding, but still don’t want to pay that.
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Post by winetree on Sept 3, 2018 23:26:47 GMT -6
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Post by ragan on Sept 3, 2018 23:46:06 GMT -6
I've never heard anything as good as an old Ampeg Fliptop. I used to rent one and re-amp all my bass tracks through it.
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Post by johneppstein on Sept 4, 2018 0:26:39 GMT -6
Ampeg B-15N, B-18N or B-12. Also the B-25B and V4B. SVT is really too big for studio unless you have a very large room. That's the REAL SVT, not one of the newfangled fake ones with transistors. Mackie never did seem to understand that "SVT" stands for "Super Vacuum Tube". Don't know if Yamaha understands that or not yet.
My own bass amp is a B-18N with a JBL K151 18" speaker.
EDIT: SVTs also record better through 15s or 18s than the standard 10s.
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Post by ragan on Sept 4, 2018 0:34:03 GMT -6
The only place I want the 8x10 SVT cab is in the studio.
Has nothing to do with sonics, I just don't want the damn thing in the van. Spent a lot of years loading an unloading a couple of those monsters. And somehow the head feels like it weighs just as much.
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Post by notneeson on Sept 4, 2018 8:13:27 GMT -6
A nice Plexi is always a good compliment to DI bass.  |
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Post by ragan on Sept 4, 2018 9:05:04 GMT -6
A nice Plexi is always a good compliment to DI bass. Got some great tones out of a Marshall Major one record. Also destroyed a speaker or two.  |
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Post by guitfiddler on Sept 4, 2018 9:37:25 GMT -6
I just can't see running my bass through my Plexi, just not going to happen! LOL
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Post by notneeson on Sept 4, 2018 9:59:27 GMT -6
I just can't see running my bass through my Plexi, just not going to happen! LOL Your loss!! In all seriousness, with an appropriate cab it's pretty amazing and you're not going to hurt anything if you know what you're doing. And I always pair w/ a cleaner option on bass. Not for everything, but I find the more swiss army knife-like amps are pretty mediocre on the whole. Did it with JCM 800 recently and that was really cool too. |
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Post by Tbone81 on Sept 4, 2018 10:56:25 GMT -6
Didn’t Lemmy run his richenbacher through a Plexi into a mix of 4x12’s and 15’s?
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Post by johneppstein on Sept 4, 2018 13:53:58 GMT -6
The only place I want the 8x10 SVT cab is in the studio. Has nothing to do with sonics, I just don't want the damn thing in the van. Spent a lot of years loading an unloading a couple of those monsters. And somehow the head feels like it weighs just as much. The head weighs 85 pounds without road case. |
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Post by johneppstein on Sept 4, 2018 13:58:09 GMT -6
Didn’t Lemmy run his richenbacher through a Plexi into a mix of 4x12’s and 15’s? 2 Plexis, Murder1 and Murder 2. I did a bit of work on them for him back in the day - unfortunately his schedule made it impossible for me to finish as they needed transformers ordered and there were none available in SF at the time and they were only on a 3 day break. That was back when Motorhead was still based in England. |
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Post by johneppstein on Sept 4, 2018 14:03:32 GMT -6
A nice Plexi is always a good compliment to DI bass. Got some great tones out of a Marshall Major one record. Also destroyed a speaker or two. Majors were not the most stable of amplifiers. At one point I was the only guy in the SF area who was still willing to work on them and I made the customer understand up front that I couldn't guarantee the work because if you moved the head while the tubes were still hot it would be liable to blow next time you used it. I had a couple of mods that increased the reliability, but even so...
They just ran those KT88s too hot.
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Post by svart on Sept 6, 2018 8:55:13 GMT -6
Ampeg is pretty much the standard "rock and roll" bass sound. I have an SVT classic in the studio. Most people choose it over whatever they bring, if they bring anything at all after hearing I have an SVT.
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Post by jazznoise on Sept 9, 2018 14:29:06 GMT -6
Any decent cabinet, 4x10 or 8x10 and then just some heads. Guitar heads like a Bassman can work great. The Orange OR bass head is a total beast. Ampegs are obvious classics too. My experience with touring bands is often a decent Pre or head but the cab is whatever is portable.
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Post by pouletdegrains on Sept 24, 2018 14:26:10 GMT -6
Interesting thread. TBH I am quite surprised no one mentioned SS Acoustic amps. In Europe they are rather rare but can be found for little money (200 euros for an Acoustic 140 for example). I like the Acoustic 360 a lot, a real beast.
My favorite guitar amp has a bass channel, and it is the only one I play now: a Vox AC-50 from the sixties. IMHO it sounds beautifully. Mine comes with two silver alnico 12" speakers, but cabinets designed for bass were also produced. Rare but (strangely) cheaper than AC30s and AC15s, at least here in Europe.
I owned for a while a Marshall 2061x guitar/bass amp, great for guitar but not as good for bass.
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Post by johneppstein on Sept 25, 2018 12:40:38 GMT -6
Any decent cabinet, 4x10 or 8x10 and then just some heads. Guitar heads like a Bassman can work great. The Orange OR bass head is a total beast. Ampegs are obvious classics too. My experience with touring bands is often a decent Pre or head but the cab is whatever is portable. 10s don't record as well as 15s or even light coned 18s.
An Ampeg 15" cab with JBLs can't be beat.
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Post by johneppstein on Sept 25, 2018 13:24:22 GMT -6
Interesting thread. TBH I am quite surprised no one mentioned SS Acoustic amps. In Europe they are rather rare but can be found for little money (200 euros for an Acoustic 140 for example). I like the Acoustic 360 a lot, a real beast. My favorite guitar amp has a bass channel, and it is the only one I play now: a Vox AC-50 from the sixties. IMHO it sounds beautifully. Mine comes with two silver alnico 12" speakers, but cabinets designed for bass were also produced. Rare but (strangely) cheaper than AC30s and AC15s, at least here in Europe. I owned for a while a Marshall 2061x guitar/bass amp, great for guitar but not as good for bass. As (older) SS bass amps go the Acoustics were not bad at all, although not so much for the studio as their flagship bass cabinets were folded horns which are very difficult to mic properly. They also used Cerwin-Vega 18s, which are NOT my favorite 18" speakers - they're slow and relatively inefficient*. Acoustics also have reliability problems, although much of that can be dealt with via simple mechanical mods - remove the damn (obsolete) computer style edge connectors and hardwire the harness to the boards. The problem with stock Acoustics is that the bass vibration loosens up the contacts in the edge connectors.
* - replace the C-V 18 with a JBL K151 and you've really got something, although it's still hard to mic properly**.
** - To get a full range sound micing a folded horn W-bin you've somehow got to get the mic back into the throat of the horn, which often requires a boom with a gooseneck or right angle extension on the end of the boom. The problem is that the restriction in the throat of the horn forms an acoustic low-pass filter, so if you want any presence you need to get the mic back inside where it can see the cone directly. On some cabs like the Sunn 15" W-bin you can sometimes get a mic on a short desk stand in there on the bottom, but the Acoustic 360 is a powered cabinet and the power amp chassis is in the way.
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