Which is why I said "in my experience", and not definitively "yes" or "no".
Now I can't help but wonder if my PF500 will cut out with my PF115HE.
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Ampeg PF350/500 Part V
- Thread starter Chef
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Which is why I said "in my experience", and not definitively "yes" or "no".
Now I can't help but wonder if my PF500 will cut out with my PF115HE.
I've been pushing mine a little harder lately just to be sure. In a 4 ohm load with comp at 8, gain at 1, bass 3, mid 12, treble 230, and main at 2 with the low boost on mine has been sounding awesome. I pushed it alittle harder with the gain and master up just a touch and still sounded good which leads me to believe that mine works great with room to spare if I need the extra volume. I've been really pleased with mine and just wanted to put it of there again. I'm no saying I could at an arena with it, but on the flip side I don't think that's what it was made for. It's a great affordable amp into the Ampeg product. If and when I get another amp to handle anything bigger, Ampeg will definitely be where I start my search.
that is a good point but there do seem to be a lot of issues with the PF series right now.
I bought my B100R 10 years ago never having tried an Ampeg product and I was and still am quite pleased with it.
mine was still made in the USA so maybe that is also something to consider with the new line
Ive pushed my pf210he hard enough the make anything on the E string fuzz over, and it's never cut out. I feel bad about doing that to it now
well, I have a PF500 and a PF115HE on the way Monday. I should get a chance to mess with it one-on-one in the studio before I plan to use it on a gig Friday.
I have been a Fender or Mesa (definitely a Fender type tone stack) player for 40 years, so this will be interesting. I have used Ampeg stuff in studios in the past (B15N), and a few SVT in backlines over the years, but never gigged Ampeg gear regularly, so we'll see how it goes.
I am not too worried about the cutting out issue because I do not push my gear very much in most settings. Just looking for lots of clean headroom and a tube(like) tone.
looking forward to putting the PF stuff through its paces.
I have been a Fender or Mesa (definitely a Fender type tone stack) player for 40 years, so this will be interesting. I have used Ampeg stuff in studios in the past (B15N), and a few SVT in backlines over the years, but never gigged Ampeg gear regularly, so we'll see how it goes.
I am not too worried about the cutting out issue because I do not push my gear very much in most settings. Just looking for lots of clean headroom and a tube(like) tone.
looking forward to putting the PF stuff through its paces.
I am glad to see you decided to get one.
I have no doubt it will fit your needs power - wise (and the tone is good too).
I hope you like it
I have no doubt it will fit your needs power - wise (and the tone is good too).
I hope you like it
Still no cutting out with my PF500 through a 4 ohm cab (BF super twelve T), am I not running it hard enough 
, if I ran it harder people would sue me for their hearing damage !
I see the SVT Pro7 has been mentioned here, I do wish folks would not post like that as I feel some GAS developing whereas the PF500 and BF cab had remedied the previous build up
Seriously though, is the Pro7 that much better than the PF500, I would possibly not use the additional power as the PF/BF combination is loud enough for most gigs I play, so is the difference in sound quality enough to justify spending £600 ?
, if I ran it harder people would sue me for their hearing damage !I see the SVT Pro7 has been mentioned here, I do wish folks would not post like that as I feel some GAS developing whereas the PF500 and BF cab had remedied the previous build up
Seriously though, is the Pro7 that much better than the PF500, I would possibly not use the additional power as the PF/BF combination is loud enough for most gigs I play, so is the difference in sound quality enough to justify spending £600 ?
Maybe a separate thread to find out "roughly" how many PF 500 owners here on the forum...knowing we won't get everyone - how many current/past owners and how many units (including replacements. Then - how many flawless ones - Vs. flawed.
It wouldn't be very scientific - too many variables....
BUT - it would give an idea of how low that number could really be - at least with this audience?
My second unit is working right, and I intend to be mindful to not push it too hard - and maybe use my QSC rig for the heavy duty gigs without PA support. The first one was flawless for 10 months - so those that are bragging that theirs isn't "one of those".....be aware - they can go completely without warning.
Anyone have any issues with a PF-500 fan on here (other than loud complaints)?
Trying to figure out if the fan was having issues or it was just a stinkbug meeting it's demise at my gig.
Trying to figure out if the fan was having issues or it was just a stinkbug meeting it's demise at my gig.
Here's something I've been wondering about - maybe Jimmy or someone can expand on this or give me their take:
I play a MIM Fender P with Duncan Quarter Pounders and I have yet to make the peak light on my PF500 blink. Not even once. A friend let me play his '86 Westone Spectrum through it and I didn't even think about changing any of my settings before plugging in. Immediately the peak light was flashing like a cop car. I dialed back the gain and got it to quit, only lighting up occasionally when I would really play hard. I wonder if the 'cutting out issue' might be related to signal strength from your bass to the head and less likely related to cabinet/s used, resistance load or 'pushing the amp too hard' ? Is it possible that this amp just doesn't tolerate super-hot signals or active electronics well ? Like maybe, regardless of your settings, if you've got a hot bass it may not play well with this amp ? Thoughts ?
I play a MIM Fender P with Duncan Quarter Pounders and I have yet to make the peak light on my PF500 blink. Not even once. A friend let me play his '86 Westone Spectrum through it and I didn't even think about changing any of my settings before plugging in. Immediately the peak light was flashing like a cop car. I dialed back the gain and got it to quit, only lighting up occasionally when I would really play hard. I wonder if the 'cutting out issue' might be related to signal strength from your bass to the head and less likely related to cabinet/s used, resistance load or 'pushing the amp too hard' ? Is it possible that this amp just doesn't tolerate super-hot signals or active electronics well ? Like maybe, regardless of your settings, if you've got a hot bass it may not play well with this amp ? Thoughts ?
I use a Fender Deluxe P USA with active/passive and that does not have issues with tha PF500, maybe the active is not hot enough ??
shredhead68 said:
Are you saying that even with the gain turned up all the way and with the db pad switch out or off, your peak light doesn't come on at all? In my experience you should at least get something out of the peak light with the gain turned up all the way.
Possibly you might not see the light if you set your action high and the pickups are set low and farther away from the strings. When I was using quarter pounders, I found them to be a little bit hotter than the stock pickups. I was using 500K pots on mine versus the stock 250K but I really don't think that would make much of a difference.
My action is a little high, yes. I don't use the pad and typically don't run my gain past 2 o'clock but yes, that's what I'm saying. It just doesn't ever light up and I've never had a problem with my amp cutting out. I'll try cranking the gain up tonight and see what happens but the only time I've ever seen the peak light flash is when I was using his bass, not my own. Just wondered if that (hotter signal) might have anything to do with why some folks are having problems.
I see the SVT Pro7 has been mentioned here, I do wish folks would not post like that as I feel some GAS developing whereas the PF500 and BF cab had remedied the previous build up
Right?!? Me too! I looked up the 7 pro, as well as the 8 pro. This is money I don't have right now!!!
This is exactly one of the things I was saying a few pages back. My basses are all passive, and no problems even with 4 ohm cabs. But when I ran them thru the MB SuperSynth with a very hot, spiky synth setting, I had no trouble getting this amp to clip. But it took a hot signal and 4 ohm cabs to do it.
Just for the sake of counterpoint and adding positive reports in where possible, I run all kinds of crap through mine and still haven't gotten it to cutout. Granted this video the volume is lower since I was alone in the space, but running this at full volume also isn't an issue.
Guess I wrote that somewhat poorly. I'm only stating that I can make it clip, but I really had to work at it. And nothing I would do normally. I like this amp; not complaining at all. As I also said earlier, if I turn any of my amps to extreme, they all do something unfavorable.
Bassically, I was posting in support of my amp.
OK, so I tried to make my amp clip again last night and with the gain dimed I can make the peak light blink intermittently, but only when I slap and it never did cut out. I would never ever run my gain that high but I have been thinking about purchasing a G&L L2000 and wonder if I might encounter problems if I did - I know they have pretty hot pickups. Anyway, I still love this amp and can't wait to get the extension cab so I can hear it at 4ohms. If I do end up buying an L2000 and have problems, I guess I'll just have to spring for a 7Pro. And of course, then I'd probably just HAVE to get a 610 or an 810. 
And the GAS just keeps on coming.......
And the GAS just keeps on coming.......
I keep reading the suggestion here that those looking for more headroom, or those who may be peaking the PF500, should possibly be looking at a SVT 7 Pro as an alternative.
I am not an Ampeg guy at all, so other than some pretty dated experience with B15's in various studio situations, and a handful of SVT backline experiences, I am not tuned into the current Ampeg line up at all.
Any one of you more Ampeg familiar types want to give me an idea of the similarities or major differences between the PF500 and the SVT 7Pro.
FWIW, I expect to have a PF500 and PF115HE cab in my hands this week, to work with for a while in real world gigging situations.
Thanks
I am not an Ampeg guy at all, so other than some pretty dated experience with B15's in various studio situations, and a handful of SVT backline experiences, I am not tuned into the current Ampeg line up at all.
Any one of you more Ampeg familiar types want to give me an idea of the similarities or major differences between the PF500 and the SVT 7Pro.
FWIW, I expect to have a PF500 and PF115HE cab in my hands this week, to work with for a while in real world gigging situations.
Thanks
- Apr 3, 2003
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I think I've posted something along these lines in a variety of places in these various threads, but I don't mind repeating myself a bit.
From the mids on up, the PF-500 sounds a lot like the 7Pro. But the 7Pro is noticeably more full and meaty down low, and a bit more warm and smooth. The PF-500 is a tad brighter, and has a bit more hiss when you crank it up. It also seems to have a bit more grit/grind at the same Gain/Master settings (at least at the lower settings on both).
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