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and how much does the V4B weigh? 41 lbs ? This is typically why ppl look at alternatives ...
Crest Prolite 2.0 DSP is 10.9 lbs
Quilter Bass Block 800 is 3.7 lbs
Crest Prolite 2.0 DSP is 10.9 lbs
Quilter Bass Block 800 is 3.7 lbs
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The Crest Prolites are transparent.
Might also look at @radbass ICE based power amps
Maybe something similar to SOLD - Ice 1200 power amp
Looks like that was his beta version. I expect prod version will be nicer looking and for a new unit and not used, more money.
Oh, 4.5 lbs for 1200 watts of clean ICE power amp
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Here's the problem I'm (we're) trying to solve, BogeyBass.
In the 60s, amps were recorded at at least half their max volume because they were only 25-30W. Live gigs might have them cranked even higher. That was the sound pop and rock was built on. It's not the sound of overdriven pre-amp tubes. It's the sound of power-amp tubes working at their sweet spot, warming the sound a bit, and importantly the transformer and rectifier almost giving their all with little in reserve.
A V4B or SVT, when practicing, jamming, band practice, or small gigs, simply CAN NOT DO THE 60s SOUND with tubes working at above 50% capacity, limiting peaks to maybe only 6dB above average volume (because the transformer and rectifier simply can't deliver more power), warming the sound a bit, and so on.
A V4B or even an SVT, when playing on a seriously big stage, on the other hand, has to be cranked to the point that's your only option. It SIMPLY CAN NOT DO THE MODERN SOUND with endless headroom, whereby your sustained notes are always audible but your slaps and so on can be 24dB or higher peaks above that, where the sound doesn't have any sag or saturation or warming.
In summary:
Low volume = can only do super-clean sound
Hi volume = can only do highly-driven sound
In contrast, a PF-20T or PF-50T... into like an 800W power amp... should be able to give you:
Late night practice = any drive level you want
Low volume = any drive level you want
Hi volume = any drive level you want
Stadium = any drive level you want
You should be able to turn every knob on the PF-50T to 10... yet have a whisper volume, and goof around with that sound at 10PM while the baby's asleep. And write a bassline around that tone, and use the EXACT SAME TONE later at band practice, then again at some little bar that seats 30.
Now, I'd wager that an SVT, say... IF the tone you wanted happened to coincidentally match the volume you wanted... is probably going to sound better than a two-piece solution involving a class-D or even a MOSFET amp stage.
But then we run into the fact that the quality of the tone just isn't going to come across in a live venue that well, given the acoustics, position of listener, the amp going to FOH where it's further adjusted and re-re-amplified and so on. The place where the quality of the tone has to be nailed is in recording... and there you're just using the PF-20T or PF-50T INCLUDING ITS POWER STAGE as your pre-amp, and I don't think an SVT would sound any better.
In summary:
If gig volume coincidentally happens to dictate the exact tone you want anyway = V4 or SVT better
In every other case = PF-50T + class-D power amp better... at least that is my theory
Does this input bypass the preamp, for transparency ?
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Been doing exactly that for a while, but beware, the tone and the feel is different when running from transformer DI via power amp in speaker cab, than going direct into the same cab.
To my understanding, 2 factors contribute here. One being the higher dampening factor of the solid state power amp versus the power tube and transformer into a bass reflex cab, and the other, that there is solid state circuitry driving the DI's. How much each contributes, I cannot say, but I can say the tone via power amp is different, more controlled for a better word.
For some stuff I like it better through a power amp, for other stuff I relish that old school feel.
Or it plain depends on my mood for the day.
I am ficklesome...
I've gone down this path and found that I don't really like the PF-50-plus-power-amp at high volumes. It's just too dirty for me at that volume level. I absolutely love the PF-50 by itself through sealed cab(s) where the volume is more modest and the impact is more of grit than dirt. YMMV of course.
Why don't you use lower settings on PF and raise the volume on power amp then? In my understanding, being able doing that is one of the reasons for the "PF plus power amp" excercise...
I know ... that makes sense. I've tried, but I've never found the sweet spot where it worked for me at high volume levels. Maybe when I'm pushing the drivers harder, I want a cleaner input. If it works for you, great.
Feasible but kinda depends on the cab.
Ive always used a 810 so it is very consistent but it only needs about 100 watts to have the perfect warm breakup.
so ive used any number of solid state and tube heads from 100 to 200 watts and always get perfect clean or dirty.
As far a getting " clean tone" there is 2 ultra linear heads that will do it.
The Fender Bassman 135 and the Sunn Model T
basically having the extra 30 to 50 watts wont make you mind melting louder
its enough to stay clean and the UL sound is more unique and spanky.
For home recordings there is no need to fart around with old tape machines and mixers or mini studios.
you just use a interface and a recording DAW all of these of most will support VST plugins.
Basically Steinberg the ones who invented VST also have Cubase. but there is a zillion others that copied the concept
take your pick of any DAW
basically with any IK mutlimedia software and numerous other VST software that can now use Impulse Responses
the will actually recreate every speaker room amp and microphone ever invented. likewise every effect pedal and even better plugins.
all yah need is a pair of studio monitors or headphones. you could also record with drums and the whole band. there is programs like easy drummer etc etc which does away with cheesy drum machines.
early software already did good emulations, now with FFT impulse responses they are exact replicas. plus toss in some fender rhodes or some B3 as VST as well
I stopped using practice amps about 20 years ago.
i have the choice of hundreds of amps, likewise have built my own plugins with software as well
Live i just use the same 810 and 100 to 200 watts.
feasible alternative is a 4x12
i have never needed or desired to run a tube amp into a power amp, and for god sakes not a class D
Most would do fine with a clean and dirty channel or just 300 watts and a pedal.
if a pedal is not " purist" enough i dont see where class D even comes in.
I could just use the software and a 500 watt amp. It would sound the same.
But i just use real amps live and real cabinets live
I use a constant warm tone i guess, clean is possible. if i want dirt i just use a dirt pedal.
but i admire the concept, i always said why doesnt someone actually build a 6V6 or 6L6 30 watt tube amp and then run it to a 300/500 watt amp. all in one unit.
these weezy hybrid amps dont get the tone with the 12ax7.
I designed a amp that did this using a 300 watt class AB. i just never cared to complete the project. i felt the cost of the iron was 2 high and all my heads did what i wanted
then at home or in studio i already had hundreds of better amps, likewise could build more or elaborate effects in the software
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i noticed the transformer out does not have its own volume control like on the back of the fender superbassman 100t. i like to sometimes dime the gain and master on the fender and then turn down the di level so i dont overdrive my inputs on the daw interface. what is the level like on the tranformer out of the ampeg if gain and master are dimed? too hot to use for anything?
