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Ampeg Rocket Bass Combos

Would the rb-112 be overkill for apartment practice? wondering if I should go for this or the rb-110. Thinking of going with the 12 as I could it for jams and small gigs, but not sure how it’d go at low levels in my apartment.

The rb112 is good for the apartment when turned down. You can turn it down very low and you can use the buttons and knobs to farther shape your sound, softening it as needed.

The good thing is that the rb112 has great tone.

The rb110 I also own and this rb110 is a super bedroom / apartment amp. It can't do really well keeping up with a rock band by itself alone, but what you can do is hook an xkr cable to the direct out on the back of the amp. You and then plug the XLR cable into a powered speaker or PA system. This method works quite well and even the rb110 has the XLR direct out jack on the back of the amp.

The rb110 sounds at least as good as my rb112. The rb110 sounds great, reminiscent of an old bass tube stack. It has 'great' ampeg tone. The rb110 is a great little amp.

I also use the biamping method by using a preamp / DI pedal, in my case I use the inexpensive Behringer BDI21 or a dem onfx b7k'ish type imitation pedal. The demon f x pedal works well and you run a guitar cable from the pedal to your bass amp. The preamp/di pedal has another jack for an XLR out cable. You attach the xlr cable to your powered speaker or PA system 'in addition' to connecting the pedal to your bass amp. Both amps have the ability to use the biamping method by plugging an XLR cable into the built in direct interface on the back of the amp. Or you can use a bass preamp/direct box. Many people skip the amp completely and just plug into a direct interface so that they can play straight thru a good quality house PA system. This method works well with an electric or acoustic guitar in addition to bass.

This biamping method produces even better results and you can easily achieve a very high quality almost 3 dimensional sound. The resulting biamped sound is very satisfying and full, sounding a lot like the tube stacks of old used by many bass players. This is the kind of sound that many bass players seek and you can easily check out the biamping method of amplification with any of the rocket bass amps.

The rb110 has a very effective speaker protection circuit that will instantly cut the sound to the speaker when activated by high volume or intense rapid playing where you push the amp with a lot of playing energy, too much playing energy. When you put too much energy into the sound it will clip and the speaker will momentarily cut out. The speaker protection instantly cuts the speaker if you push the little combo too hard. I like this feature because when you are practicing and you start to get a little too loud and aggressive the amp will rudely 'cut out' because you push it too hard, and it hits straight into the speaker protection and shuts you down, momentarily. This has the effect of training you and nudging you back into reasonableness when you start to get too loud. I like this and find it to be good in my practice situations. It's a silent reminder. A nudge back more toward reasonableness.

The rb110 is the perfect practice amp for some players. The rb112 stands up to a 'lot' more volume and it has not hit the speaker protection and has not cut out at all. The rb112 might be perfect for a lot of jamming and gigging uses. The rb112 is very light. The rb110 is delightfully light and it tries to float away when you set it down. Great amp!

The rocket bass amps have earned an already significant reputation in the world of bass amps. It is a great product with a great reputation.
 
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I've stated this before, but my RB110 is working just fine for rehearsals with a two guitar, drums, and bass band. I have the volume at One (position), no SGT, and feel I have plenty of headroom, if we wanted to play louder, which we don't. I would not limit the RB110 to a bedroom/practice amp; for me it's a solid rehearsal amp.

I have been using the RB110 for a few weeks. I keep pining for an RB210. The RB110 does not "rip your face off" with volume. Other than that, it is perfect. THAT tone! That size and portability! Matched with a Jazz bass and using a pick, what a wonderful snarl! Fingered, it is all I need. :) I don't gig, so I don't need to have volume that rips faces off. (I am a solo home studio composer/songwriter). Talk me off the cliff of buying the RB210, please.
 
I think its a combination of all three - particularly in a band performance situation.
I think many cabs start rolling off their response to lower frequencies below 100 HZ.

In my experience a 1 x 15inch cab reproduces more of that fundamental frequency, than say a 4x10 cab - which is why 1x15 sound so deep and rich, whereas a 4x10 is louder and punchier as it handles the rest of the harmonics better.

If we look at the spectrum plot of a bass guitar hitting the low E note it looks something like this : -
View attachment 4878767

If the Cab or the EQ setting reduces the 41Hz fundamental you have all those other harmonics coming through fine - in fact in this plot the fundamental is 15dB is quieter than the next harmonic - which is why in a sound reinforcement situation they low-cut everything except the kick below 80 Hz.

image source - The Harmonic Series and Timbre | StudyBass
opinion source: - Invalid Link Removed


Thank you for the detailed response. It caused me some serious thinking. So, I did some of my own testing and research. StudyBass should have described their testing procedure. Most other sources have differing frequency responses from StudyBass. Also, some of the tests, including StudyBass, appear to measure the initial impulse of the note being played not an analysis over time of a sustained note. I observed and heard some harmonics decaying faster than the fundamental with a sustained note. This is not represented in some of the graphs that were available on the internet.

Note: My testing is not to be interpreted as all inclusive or necessarily contradicting other tests' results. My findings are just one set of data points under specific conditions.

As per cutting off at below 80 Hz for mixing is probably, in most cases, excessive. Please see links below for the reasons why.

Testing Conditions

Fender Player Jazz bass with the pickguard changed to a fine tort unit from WD, no extra shielding
Neck pickup full on
Bridge pickup 25% on
Tone control at 50%

Ampeg RB 110
Volume at 12 o’clock
Bass, mids, and treble at 12 o’clock unless noted of change
SGT off unless noted of change
Jazz bass plugged into the 0 dB input

Room 10 x 12 feet with an 8 foot ceiling with lots of clutter (I am a messy person).
Carpeted floor
Amp flat on the floor near the center without items that would increase bass response

Iphone 13 Pro using decibelX app with phone placed 4 feet away from the amp at about the height of the center of the speaker

Testing repeated on three different days

Fingered open E at moderate intensity in line with neck pickup, unless noted of changes

Findings

My bass guitar frequency measurement results are similar to StudyBass but only when tested acoustically, i.e., no DI or amplification. When tested with the RB110, the fundamental at 41 Hz was initially at about 12 dB lower than 3rd harmonic but only upon initial pluck of the string. The 3rd harmonic’s volume fell away to be in line with the 2nd and within 6 dB of the fundamental after a brief moment (approximately 0.25 seconds). Increasing (clockwise) the bass tone control on the RB110 under the same testing conditions changed the fundamental (also increasing the 2nd and 3rd harmonic relative to the higher harmonics) so its level was within 2 db of the 2nd and 3rd harmonic after the initial impulse. Applying the SGT with the gain at 1 o’clock and the level control at 4 o’clock resulted in a relatively flat shelf of the fundamental (still trailing the 2nd and 3rd harmonic but within 6 dB even during the initial string impulse, after the initial impulse the first three harmonics levels were fairly even with the 2nd and 3rd harmonic fighting to get a nose ahead with a sustained note). Overall tone was, subjectively, “warmer” with SGT engaged compared to SGT being off. This was reflected in the graph as well, as the higher harmonics were less prominent, but still had the same extension, than without the SGT circuit engaged. Without the SGT engaged, results showed higher harmonics extending to about 15 kHz (gentle rolloff at 8 kHz and on) but generally at -24 DB lower than the first three harmonics (initially, than a gentle decline in overall volume over time with a sustained note-faster than the first three harmonics) unless I used a pick. The use of a pick generated the higher harmonics (1-3 kHz( to about 6 dB below the first three harmonics. Harmonic decay with the pick, more or less, followed the fingered technique. These results were consistent on each of the three days of the test.

Other tests with links below have different frequency responses than Study Bass and/or my results. One study uses a Precision bass with a stronger 2nd harmonic than 3rd harmonic, for example. My findings with a Jazz bass was the 3rd harmonic being stronger than the 2nd.

The RB110 produces a fundamental frequency at open E from a Jazz bass that is audible and measurable at levels higher than the StudyBass example. The bass tone control on the the amp will increase the relative volume of the fundamental's volume at an open E note. The SGT circuit alters the harmonic balance from the bypassed setting, “equalizing” the first third harmonics when an open E is played.



Invalid Link Removed



Mixing Bass

How to optimise your bass frequencies for the club

Mixing Tips From Clubs To Stadiums –

Frequency range of musical instruments including harmonics
 
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Got my new RB210 today, but it's going back. Faulty tweeter that was buzzing like crazy even with volume completely off.

Was offered an exchange, but wasn't a fan of the SGT drive, so I think I am going to get a refund and look into other options. The clean tone sounded good, and I think it would have sufficed volume wise.
 
I would call it more than noisy. It was clearly audible. I don't use tweeters, but am not paying $650 for an amp with that type of noise. I would consider that a defect.

It's definitely noisy. If I didn't like the amp so much with the tweeter off I would return it as well.

Like I said, planning on yanking the tweeter for the weight savings anyway.
 
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I would call it more than noisy. It was clearly audible. I don't use tweeters, but am not paying $650 for an amp with that type of noise. I would consider that a defect.

Totally agree.

I'm very happy with my RB115, and I was also considering buying the RB210 for a second option or the ability to stack and chain them together via the effects loop, but there's no way I'm paying full price for the RB210 with so many people mentioning noise issues with that tweeter.

If I see it for sale used, I'll consider it depending on the price as I'm not exactly jumping at the idea of ripping out or shutting off something I paid for.
 
Totally agree.

I'm very happy with my RB115, and I was also considering buying the RB210 for a second option or the ability to stack and chain them together via the effects loop, but there's no way I'm paying full price for the RB210 with so many people mentioning noise issues with that tweeter.

If I see it for sale used, I'll consider it depending on the price as I'm not exactly jumping at the idea of ripping out or shutting off something I paid for.
Seems like this listing would be perfect for you.
Ampeg Rocket Bass RB-210 2x10 500W Bass Combo Amp Black and Silver, NO POWER | eBay
 
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I emailed the seller and he sent me this offer

Combo Amp Black and Silver NO POWER eBay.png