That is a crazy cool P, Brent. Some Fender exec will take one look at the headstock and wonder if they actually made one like that!
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Ampeg Rocket Bass Combos
- Thread starter kranahan
- Start date
That is a crazy cool P, Brent. Some Fender exec will take one look at the headstock and wonder if they actually made one like that!
Great link!! Any two, indeed
Mentioned is that a high-pass filter can improve your amp, and speakers efficiency. By dumping all sub sonic frequencies below a threshold, you have gobs of power going to where it’s going to be heard!(Yes! Do NOT show this article to guitar player
! )
There has been robust trialing and reviewing such things at The Combo Club and a high pass filter seems to be worth looking into for recording as well.
I endorse your thoughts here, C-note! My Broughton is, like with many others, always on when playing live. For recording, I tend to use the DAW’s FX, but you can hear the difference by a twist of the pedal’s knob.
I have the RB115 and have ran a Warwick Corvette Standard, Fender Jazz Elite, and a Fender American P Bass thru it. All three are fivers and all three sounded fantastic. No issue handling the B at all. My expectations weren't real high as it is just a combo and I bought it for a grab and go type deal. I wasn't too thrilled in the beginning with the sound and chalked it up to it is what it is. Still pleased but wasn't "wowed" by it. After having this now for about a month and a half this thing has exceeded my expectations. Pretty versatile, in my opinion, but I tend to like my sound a bit on the warm side and it accomplishes that with no problem. I have other gear for a bigger sound and flavor but for the purpose I bought this for? Couldn't be happier. As a matter of fact I have a low profile gig coming up playing contemporary country in a pretty decent sized pavilion. Have some stout PA support so just for fun I'm thinking of leaving the Aguilar stuff at the house and bringing the RB115 to see what it can do with a line out. The other pickers are easy going and they would be interested to see as well.
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Great experiment! Please let us know the results as many seem to be wondering what the 115 can do.
Also, take a pic of your combo and post it at the Combo Club. Let me know you’re interested and I’ll pass a membership number to you, free of charge. Anyone else interested in hanging with your combo posse, you’re welcome to join too!
Great experiment! Please let us know the results as many seem to be wondering what the 115 can do.
Also, take a pic of your combo and post it at the Combo Club. Let me know you’re interested and I’ll pass a membership number to you, free of charge. Anyone else interested in hanging with your combo posse, you’re welcome to join too!
iagtrplyr thanks for the invite and I will post a couple of pics to that site momentarily. But here's a couple of pics what I have at the house. The basses on the wall are what I have ran thru the Ampeg along with that Warwick so far. I have a Ken Smith CR5 and a Warwick Corvette $$, both fivers, in climate controlled storage that I haven't tried yet. The KS is 95 model and in a bad need of new frets. The $$ well, let's just say I'm pretty easy going as far as basses and I have liked quite a few for what they are but we have had a tussle with bonding and it doesn't get played that much. A very fine German made NT bass but we have had our moments, lol...
Interesting Tuning. Are you going E BELOW B ? There's a common bit of Americana which applies in MANY situations. "Size Matters". I'll toss this out onto the floor as food for thought.MANY players these days are "Victims of Marketing". How many Foot Pedals do you own? WHY do you own ANY? Because Manufacturers have had to scramble as the Covid Money dried up and Wood Supplies Dwindled....but they had to sell something....so they've successfully convinced Players that Foot Pedals are Necessary. The pedal cost the manufacturer $7 to make and they sell it for a Couple hundred bucks. Now THAT's a Sizable Profit.
Now...the answer to your 15" question.
No- the Bass VI is tuned E-E 1 octave down from guitar.
No- the Bass VI is tuned E-E 1 octave down from guitar.
Now I'm confused. LOL Are you referring to a FENDER Bass VI here? I must have missed something
I was under the impression that you had a 6-string bass that you were gonna' tune E-to-E .... which, I must admit caused me to do a minor Eye Roll. I'm the FORMER Fender Exec mentioned above btw. Nice collection of Stuff. 
RB-112/B-100R content follows
I recently sold one of my B-100Rs so that I could replace it with an RB-112. New RB-112s were not available at Sweetwater, but they had a demo model at a significant saving. Score! After it left Sweetwater the tracking info indicated that the shipped weight was 40 lbs, and I figured that they must have double-boxed it. When I picked it up at the FedEx office I couldn’t believe the size of the box.
When I opened the box I saw that there was no official Ampeg box inside, but the amp had been wrapped in plastic and was supported by huge foam blocks, which isolated it from any exterior damage by at least 5 inches on all sides. When I pulled the amp out of the box, I was surprised by its lightness; it feels like a toy compared to my B-100R, and at less than half the weight it’s a pinky lift. Dimensionally the B-100R and RB-112 are similar; the cover I ordered for my B-100R is a good fit to the RB-112.
Refer to the following circuit flowchart for my subsequent comments. This diagram does not appear in the Quick Start Guide that accompanied the amp, but it does appear in the Owner’s Manual, which is available online.
I plugged my passive bass, a Fender JP-90, into the 0dB input of the amp and played around with various sounds. With the Pure Vintage ‘63 Precision pickup soloed and the amp’s controls set flat, I liked the sound with the Ultra Hi and Ultra Low engaged, though I wouldn’t use that for everything.
I played around with the SGT, and I don’t know how much I’ll use it. The Grit control appears to increase the preamp gain, as the amp’s volume increases as the knob is turned clockwise. The Level control comes before the Volume control, but it is not a blend. Maxing the Level control would be my starting point; after setting the amount of Grit, adjust the Level control to set volume levels between SGT on and off (useful if you have an SGT footswitch). With SGT engaged, if you turn the Level all the way down, there is no sound at all, regardless of the position of the Volume control.
There is no clipping indicator, and if you feed a signal that is too hot you get a buzzy distortion that indicates preamp overload, and it’s worse with SGT engaged. Adjusting the SGT controls does not prevent that distortion. With SGT disengaged, I could create the overload, but it was more difficult to do. I don’t think my P pickup is overly hot, but when I played really hard, I could get some buzz without SGT. Plugging into the -15dB input fixed the problem, as did turning down the volume knob on my bass. If you play with a reasonably light touch, you are unlikely to experience the overload. If you don’t overload the input, you can better discern the SGT effect.
As noted earlier in this thread, level of the the Aux In signal must be adjusted at the device feeding that input; for example, an iPhone. Additionally, if you are running an external preamp into the Effects Return, the amp’s internal preamp circuit is bypassed, and the outboard preamp must provide volume control. I did not try putting the preamp in the effects loop; I wanted to see what the power amp could do on its own. Yeah, it got loud.
Compared with my B-100R, the advantages are less weight, DI Out (B-100R has a ¼” line out), effects loop, and Auxiliary In. One disadvantage is that there is no input gain control; another (for some users) is that the RB-112 has a single Midrange control, whereas the B-100R has Low Mid and High Mid controls. The RB-112’s three EQ controls are at the same frequency points as on an SVT (from what I’ve read; I’ve never had one): 40Hz, 500Hz, and 4kHz. The B-100R was not intended to sound like an SVT; it was designed as a solid-state version of a B-15. My guess is that the 12” speaker is better matched to the RB-112’s cabinet dimensions and is likely more efficient than the B-100R (the internal volume of the B-100R cab is regarded by some as smaller than optimal for its 15” speaker). I wonder whether the 12” Eminence speaker is a neo driver, but I’m not going to remove it to find out. Each amp’s carry handle is suitable to its purpose.
I plan to keep the B-100R; the two amps have their own qualities. But if I have to schlep an amp, it’ll likely be the RB-112. At some point I’ll see how it works with my DB.
I recently sold one of my B-100Rs so that I could replace it with an RB-112. New RB-112s were not available at Sweetwater, but they had a demo model at a significant saving. Score! After it left Sweetwater the tracking info indicated that the shipped weight was 40 lbs, and I figured that they must have double-boxed it. When I picked it up at the FedEx office I couldn’t believe the size of the box.
When I opened the box I saw that there was no official Ampeg box inside, but the amp had been wrapped in plastic and was supported by huge foam blocks, which isolated it from any exterior damage by at least 5 inches on all sides. When I pulled the amp out of the box, I was surprised by its lightness; it feels like a toy compared to my B-100R, and at less than half the weight it’s a pinky lift. Dimensionally the B-100R and RB-112 are similar; the cover I ordered for my B-100R is a good fit to the RB-112.
Refer to the following circuit flowchart for my subsequent comments. This diagram does not appear in the Quick Start Guide that accompanied the amp, but it does appear in the Owner’s Manual, which is available online.
I plugged my passive bass, a Fender JP-90, into the 0dB input of the amp and played around with various sounds. With the Pure Vintage ‘63 Precision pickup soloed and the amp’s controls set flat, I liked the sound with the Ultra Hi and Ultra Low engaged, though I wouldn’t use that for everything.
I played around with the SGT, and I don’t know how much I’ll use it. The Grit control appears to increase the preamp gain, as the amp’s volume increases as the knob is turned clockwise. The Level control comes before the Volume control, but it is not a blend. Maxing the Level control would be my starting point; after setting the amount of Grit, adjust the Level control to set volume levels between SGT on and off (useful if you have an SGT footswitch). With SGT engaged, if you turn the Level all the way down, there is no sound at all, regardless of the position of the Volume control.
There is no clipping indicator, and if you feed a signal that is too hot you get a buzzy distortion that indicates preamp overload, and it’s worse with SGT engaged. Adjusting the SGT controls does not prevent that distortion. With SGT disengaged, I could create the overload, but it was more difficult to do. I don’t think my P pickup is overly hot, but when I played really hard, I could get some buzz without SGT. Plugging into the -15dB input fixed the problem, as did turning down the volume knob on my bass. If you play with a reasonably light touch, you are unlikely to experience the overload. If you don’t overload the input, you can better discern the SGT effect.
As noted earlier in this thread, level of the the Aux In signal must be adjusted at the device feeding that input; for example, an iPhone. Additionally, if you are running an external preamp into the Effects Return, the amp’s internal preamp circuit is bypassed, and the outboard preamp must provide volume control. I did not try putting the preamp in the effects loop; I wanted to see what the power amp could do on its own. Yeah, it got loud.
Compared with my B-100R, the advantages are less weight, DI Out (B-100R has a ¼” line out), effects loop, and Auxiliary In. One disadvantage is that there is no input gain control; another (for some users) is that the RB-112 has a single Midrange control, whereas the B-100R has Low Mid and High Mid controls. The RB-112’s three EQ controls are at the same frequency points as on an SVT (from what I’ve read; I’ve never had one): 40Hz, 500Hz, and 4kHz. The B-100R was not intended to sound like an SVT; it was designed as a solid-state version of a B-15. My guess is that the 12” speaker is better matched to the RB-112’s cabinet dimensions and is likely more efficient than the B-100R (the internal volume of the B-100R cab is regarded by some as smaller than optimal for its 15” speaker). I wonder whether the 12” Eminence speaker is a neo driver, but I’m not going to remove it to find out. Each amp’s carry handle is suitable to its purpose.
I plan to keep the B-100R; the two amps have their own qualities. But if I have to schlep an amp, it’ll likely be the RB-112. At some point I’ll see how it works with my DB.
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Yes, Fender Bass VI. Made by Squier in Indonesia/China. It’s Called the “Classic Vibe Squier VI”. This one is FSR (Fender Special Release) in Shell pink with headstock painted the same thusly:
Preorders taken exclusive to Chicago Music Exchange in USA and Anderton’s in Britain/EU. $529 USD at CME- Regular options at $499 are black, snd sunburst. $30 extra for Shell Pink….WITH headstock?? YES, please!!
Needs mods right off bat- LaBella flatwound 0.095” strings. Locking trem for starters- possible bridge (IF needed- I hear just the strings can positively affect balanced string tension, and the current bridge allows intonation of low E- both problems with stock Squier VI).
It should sound KILLER through the Ampeg RB-15 with spring reverb. Like this if I’m lucky
Cheers!
Preorders taken exclusive to Chicago Music Exchange in USA and Anderton’s in Britain/EU. $529 USD at CME- Regular options at $499 are black, snd sunburst. $30 extra for Shell Pink….WITH headstock?? YES, please!!
Needs mods right off bat- LaBella flatwound 0.095” strings. Locking trem for starters- possible bridge (IF needed- I hear just the strings can positively affect balanced string tension, and the current bridge allows intonation of low E- both problems with stock Squier VI).
It should sound KILLER through the Ampeg RB-15 with spring reverb. Like this if I’m lucky
Cheers!
Now I'm confused. LOL Are you referring to a FENDER Bass VI here? I must have missed something
Thanks very much for this detailed and useful A/B of these two amps.
Thx for the in depth comparo, Michael. I don't have either, but I love the B100R. Too bad they disco'd it the year before I became an endorser
How loud you were when you were clipping? Could you get to the same levels or more than the B100R before it clipped? They will clip at some point, but they should get to a fairly loud volume by that point.
Also, 40 hz and 4khz are, indeed, the frequency centers on SVT's, but the frequency center on the RB's is 500 hz, which isn't an option on any SVT's, though the CL's do offer 450hz. And they don't quite behave exactly the same. I have to use different settings on my SVT's to get the same sounds out of both. Surprisingly, even though I'm strictly an 800hz user on my amps with the selectable mids, 500 is a good choice for those particular preamps without selectable mid.
The final volume/loudness of the amp is irrelevant. With the B-100R I can pluck as hard as I want and dial down the Gain control until the red clipping light goes out. Then I can make up with the Master control. I can even turn up the Gain all the way, and it doesn’t get as buzzy as the RB. Even the buzz that results is less harsh.
With the RB you have no control over clipping except to use the -15dB input, lower your bass’s volume, or play with a lighter touch. I naturally play with a light touch—on EB and on DB. I got the buzz by pulling the string very hard; I could never play an entire gig that way, lest my right hand be a shredded mess at the end. I’d also likely be choking the string’s vibration.
My immediate solution is to do what I suggested; the problem is preventable. Ampeg’s ideal response would be to add an input gain control.
It was just an experiment, and I don’t expect people to experience this issue under normal conditions.
That means you were way loud
Single volume amps just don't behave the same way as master volume amps. At some point on the volume knob, they're going to go past their RMS wattage and clip.
Just got to try these out all together, the 110, 112, and 115. They didn’t have the 210. I set each one up the same with the same settings and played the same Jazz bass through each one, one after the other. Conclusion? I came in expecting to really like the 112, and it’s good, but the 115 sounds better in every way I was interested in, punchier, thicker and noticeably louder. Definitely worth the extra money. I’m curious now about trying the 210 but I’m really impressed by the 115.That means you were way loud
Single volume amps just don't behave the same way as master volume amps. At some point on the volume knob, they're going to go past their RMS wattage and clip.
I’ll get back to you on this. I got the buzz with the Volume turned way down.That means you were way loud
Single volume amps just don't behave the same way as master volume amps. At some point on the volume knob, they're going to go past their RMS wattage and clip.
Have you run both together yet ? I was thinking of getting rid of my B 100R . Hell I even tried giving it to JimmyM . But ended up holding on to it . I run it with a PF 50 T and PF 112 on top sometimes . This might be more convenient . It's great running one clean and other with a little dirt .
Nah, I don’t think I’ll do that. If anything, I could take the DI Out of the RB into the mic input of my very uncolored Acoustic Image head (up to 1000 watts @ 2Ω) and drive some extra cabs. I have a Euphonic Audio NL-210 and an EA Wizzy 12M that I can use for extra oomph. But most likely I’ll just use the RB as a stand-alone combo.
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Welp, I'm gonna break one of my most long held amp/cab rules.
I'm going to buy a amp solely on it's cosmetics!
(HOPE I don't regret this, I've had "major" problems with Ampeg in the past when they were under Loud's management.)
I've narrowed it down to either a RB115 or a RB210.
Most likely will be a 210 for live stage/gig use.
Haven't found a RB210 in stock locally to hear it for myself.
Would like to hear from RB210 owners that have gigged their combo in a live band as a stand-alone, no extension cab.
I'm going to buy a amp solely on it's cosmetics!
(HOPE I don't regret this, I've had "major" problems with Ampeg in the past when they were under Loud's management.)
I've narrowed it down to either a RB115 or a RB210.
Most likely will be a 210 for live stage/gig use.
Haven't found a RB210 in stock locally to hear it for myself.
Would like to hear from RB210 owners that have gigged their combo in a live band as a stand-alone, no extension cab.
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I have the RB210 (see post 899 on page 45, where I show the amp next to a Rumble 500).
I haven't yet used it on a gig, but it gets as loud as my Rumble 500, which I have used on countless gigs.
I haven't ever needed an extension cab, because the pub gigs we do, are DI'd to the PA.
On its own, these amps are loud enough to keep up with a hard hitting drummer and 2 guitarists in our rock band.
Being that you are wanting the amp for stage/gig use, I would definitely go for the 210 over the 115.
....and yes, the cosmetics are great. Looks awesome!
