Any sample the new BBE BMax pre-amp?

Discussion in 'Amps and Cabs [BG]' started by cgworkman, May 15, 2004.

  1. cgworkman


    May 14, 2004
    Any sample the new BBE BMax pre-amp? I seen an ad for it in Bassplayer mag and was curious if anyone's had any experience with it.

    Any comparison to the new Sansamp RBI rackmount?
  2. MascisMan


    Nov 21, 2003
    Dallas, Tx
    I use the BBE BMax into a QSC PLX1602 into an Ampeg SVT-410HLF and the sound is awesome. Huge low end and clarity. The onboard compressor is nice as well. Do a search on here and you will find a ton of people praising the BMax.
  3. ster


    Oct 18, 2003
    New Jersey
    Yes I have, check out
    They have some nice clips of the BMax and the Bmax-T among other great preamps. Alot of people want to comare the Bmax to the Sansamp RBI, I think its like comparing apples to oranges. The Sansamp excels at dirty and grinding sounds while the Bmax excels at warm cleaner sounds IMHO. They are both fantastic for what they do. Together would make a kick ass preamp!
  4. cgworkman


    May 14, 2004
  5. Arranger


    Mar 9, 2003
    Here was my review of the BMax (standard SS model) - compared to the original SansAmp Bass RBI:

    These are VERY different pre's. Each with its pros and cons. I started playing one, then was amazed by the other, then again vica versa, back and forth. I guess I'm stuck keeping both! I can now see myself collecting pre's for a variety of applications, but these two can certainly cover the breadth of most electric bass requirements and I don't expect to go shopping for a pre again at any foreseeable time.

    The RBI really impressed me from the start and I can see why it gets so much attention here at TalkBass. The first thing I noticed was how versatile it was. Nothing beats having so many output formats which can be utilized simultaneously. I can run the XLR to the board, the reg out to my rig and still get a pre-out for my tuner. The XLR and 1/4" out have seperate levels which offers a lot of contol and allows meshing of the board/house tone with your rig. The RBI also has a blend that allows unaffected signal to be blended with your unique EQ, for a wide variety of tones. This pre is useful for nearly any style. It has an intuitive layout and I could get to my tones nearly immediately, without the use of the manual.

    The BMax (SS version) also impressed me with its unique capabilities and tonal palate. It has a more pre-determined sound with highly sensitive controls that sweep across a narrower selection of tonal range, offering more deep control of its inherent overall tone. It took more time for me to discover the full variation of its sounds - but I wasn't left hunting for a lack of any. The BBE Sonic Maximizer is quite useful for pushing the presence without the requisite brightening inherent in other pre's. The manual was necessary to prime my understanding of it's controls.

    Other feature variations between the two are that the RBI has no compression, and less mid control, yet the RBI has overdrive. It's a nice overdrive if not pushed too far where it can be somewhat harsh. The RBI is less responsive to effects that are placed before it in the signal chain as pedals. The BMax has fewer outputs, yet the BMax has seperate active and passive inputs and a dedicated para-mid EQ section.

    Tone-wise the RBI is more open and "analog-ish." The tone seems more uncolored and pure. It seems better suited for jazz styles or acoustic accompaniment, but comparatively lacks the deep punch that modern heavy styles might require. It sounds fantastic in the studio. The full breadth of traditional 4-string tone is available for crafting. That tone comes through clearly and precisely and it is super clean. The mids and upper mids possess the majority of overtones. Intervals in the middle C range are exquisite and more sustained. The RBI does not react as quickly to rapid playing. It really does seem to lag just a hair, again in a more analog way, presenting a refined style that is softer and less bearing and easy on the listener. It also does not take effects placed before it and magnify them very much. I feel myself playing more heavily and trying to isolate my notes more when using the RBI on heavier material.

    The Bmax dresses the tone in an incredible way and could easily be labeled as a definative tone in more pop/modern music circles. It is a must-have in my mind for any industrial, grunge, or similarly heavy musical style. There is just gobs of bass control and tons of harmonics in the lower mid and deep bass registers. Intervals on the lowest strings, an octave or two lower than the RBI, are super rich with maximum sustain. I bet this thing really does WOW the crowds and fellow players if you want to stand out in a heavy band. The BMax responds to effects placed before it very strongly, enhancing those effects (pedals) to the max. It also seems to isolate notes faster in rapid playing, as if it processes more digitally. You'd have to lighten up in your playing style considerably to play old Beatles with the BMax.

    If I had to pick one, AHHHH! How do you choose? I wouldn't say the RBI is more musical, but if I was playing along with an orchestra, I'd carry the RBI into the performance. For a night in a bar playing rock, or jammin with a synth guru, or a heavy drummer who is miced up irreverently, the BMax would help the bass stay more up front in the mix. In the studio, these two would be a very complementary pair of pre's to cover the variety of sounds that players would like to have at their fingertips. It is possible with careful tweaking to get these two preamps to sound almost alike, and that seems to be in the flatter settings. I think that's a good thing, leading me to believe that they both have wide capabilities.

    These two pre's are superb values for what I paid. I'm keeping both. For the time being, I'll use the RBI in my studio to keep my recordings free of coloration, and as a stage backup. The BMax will go out the door with me to the local pub to play with my rock/blues troupe and offer a refreshing change of palate in specific recording circumstances.
  6. TxBass


    Jul 3, 2002
    Frisco, Texas
    great review. :cool: exactly why I love my BMax but still have my Sansamp BDDI as well.