Best Mesa-Boogie Bass heads

[Al Kraft]

Hi everyone, I was looking into mesa boogie bass heads and heard they were great! Any recommendations?

My recommendation would be to settle on your preferred voicing(s) and features and then shop the Mesa Subway line of heads. Most everything I have liked in Mesa voicings over the years can be found there, they will be under warranty if you buy new, and parts should be more available for a longer period of time out in the future.

 

[Wicked G]

I don't have as much experience with Mesa heads as some of the others on this thread. I've tried a Carbine before and owned a TT800 and WD800. So the only thing I can contribute is that of those three heads the WD800 is the one that I currently own for a reason. I am able to get my sound out of it due to the semi-parametric EQ and then the damping feature just adds the frosting to my cake. The HPF and and Passive mid is an added bonus.

Truth be told, when I originally purchased the WD800 in was in the hope of getting my Orange 4 Stroke sound while adding some texture due to the tube preamp. It only took me a matter of a few minutes to not only duplicate my sound, but to also hear the texture I was hoping to gain. I was extremely happy about that and then decided to see how the damping feature would affect my sound going from high to low. I was immediately . Just like that my expectations were exceeded immensely.

I now kind of feel sorry for the 4 Stroke. It really doesn't come out much anymore even though it is an incredibly versatile and powerful amp. I guess that's what happens when one amp gives you everything you want and another one comes around and says "I'll give you more" in a Marylin Monroe type voice. Homewrecker.

 

[John D Harris]

I don't have as much experience with Mesa heads as some of the others on this thread. I've tried a Carbine before and owned a TT800 and WD800. So the only thing I can contribute is that of those three heads the WD800 is the one that I currently own for a reason. I am able to get my sound out of it due to the semi-parametric EQ and then the damping feature just adds the frosting to my cake. The HPF and and Passive mid is an added bonus.

Truth be told, when I originally purchased the WD800 in was in the hope of getting my Orange 4 Stroke sound while adding some texture due to the tube preamp. It only took me a matter of a few minutes to not only duplicate my sound, but to also hear the texture I was hoping to gain. I was extremely happy about that and then decided to see how the damping feature would affect my sound going from high to low. I was immediately . Just like that my expectations were exceeded immensely.

I now kind of feel sorry for the 4 Stroke. It really doesn't come out much anymore even though it is an incredibly versatile and powerful amp. I guess that's what happens when one amp gives you everything you want and another one comes around and says "I'll give you more" in a Marylin Monroe type voice. Homewrecker.

That's interesting to hear!

I was strongly drawn to the 4 Stroke after they came out - seems like they were relatively short-lived, production wise.

Now I want to check out the WD800.

Are there specific settings that help it sound like the 4 Stroke?

Thanks in advance!

 

[Wicked G]

That's interesting to hear!

I was strongly drawn to the 4 Stroke after they came out - seems like they were relatively short-lived, production wise.

Now I want to check out the WD800.

Are there specific settings that help it sound like the 4 Stroke?

Thanks in advance!

Well I have the 4 Stroke dialed in to how I want it to sound and I was able to get the WD800 to sound the same in high damping, but with more texture. Low damping though is what I prefer. I can take a picture of both how I currently have them EQ'ed if you like?

 

[John D Harris]

Well I have the 4 Stroke dialed in to how I want it to sound and I was able to get the WD800 to sound the same in high damping, but with more texture. Low damping though is what I prefer. I can take a picture of both how I currently have them EQ'ed if you like?

That's OK!

I think I get the gist of it!

Thanks!

 

[Wicked G]

That's OK!

I think I get the gist of it!

Thanks!

I guess I was taking the picture while you were replying. In any case neither is set flat nor do I want them flat. So not sure if this helps, but both sound nearly identical with texture and damping being the primary difference.

The Orange is an awesome amp, but the texture and low damping is what puts the Mesa over the top for me. YMMV.

 

[agedhorse]

The eq controls on the WD work entirely different than the 4 Stroke, don't compare by matching knob positions.

 

[Wicked G]

The eq controls on the WD work entirely different than the 4 Stroke, don't compare by matching knob positions.

Agreed. If you notice on my pictures they are not the same, but the tone is there.

 

[Pontiac Thrasher]

I guess I was taking the picture while you were replying. In any case neither is set flat nor do I want them flat. So not sure if this helps, but both sound nearly identical with texture and damping being the primary difference.

The Orange is an awesome amp, but the texture and low damping is what puts the Mesa over the top for me. YMMV.
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Glad you posted this, I will try your WD settings, thanks!

: )

 

[brianrost]

This one from the 1980s was incredible but not the right amp for what I play. All tube, big and heavy (but much lighter than an SVT), great loud rock and roll sled. Like a Fender Bassman, it was also a killer guitar amp. Earplugs not included

Just heard one of these in use again last night. What I would buy today if in the market for a new head.

 

[Wicked G]

Glad you posted this, I will try your WD settings, thanks!

: )

You're welcome. I hope it works for you. Not everyones settings work for everyone and lots of thing differ such as bass, bass EQ, strings etc. Good luck and let me know what you think.

 

[Hoochie Coochie Man]

There is no "best" in my opinion. Collect them all.

I own two Mesa amps, and four Mesa cabinets, (I also have collected somewhere around twenty-three Ampeg rigs, going back to 1960).

I am considering adding to the "Mesa pile". Maybe a D800+ will be next.

It's a good thing to have a spare, (or twenty) amp(s) on hand.

 

[MHensleyJr]

Bass 400+

 

[John D Harris]

I guess I was taking the picture while you were replying. In any case neither is set flat nor do I want them flat. So not sure if this helps, but both sound nearly identical with texture and damping being the primary difference.

The Orange is an awesome amp, but the texture and low damping is what puts the Mesa over the top for me. YMMV.
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Thank you!

 

[woodiebass]

Hey folks, so I need help picking one of these heads. As soon I think I zero in on the "right" one, I start reading more, watching more youtube and second-guess myself.

I have "decided" on the WD-800, D-800+, and recently the TT-800 multiples times now. Haha

Yeah I know, "get all of them." Not in the cards really.

My main current band plays a mix of older classic rock and surf rock, plus newer stuff thrown in. Honestly our setlists are a bit all over the place, but we're classic and surf focused. We have everything from the Ventures to Badfinger in the mix. A few songs I even need a bit of grit on. I have been handling that with programming in my HX Stomp.

I had been gigging a Fender Elite P and Markbass Little Mark with Markbass cabs, depending on what was needed. Usually just a 115. Markbass stuff is pretty punchy but I could still get a nice, warm P tone out of that setup for the older songs. It sounds pretty great with the Fender honestly. I like the cabs but the head leaves a bit to be desired.

Then I got a Reverend Decision P, which is a GREAT playing gig bass with an awesome neck. BUT, the pickups are voiced a lot differently. I want to gig this bass primarily so I'm not wearing a 9+ pound Fender for hours.

The Reverend is definitely more punchy and brighter. I can almost get a similar tone that I had with the Fender out of the Markbass stuff, but it takes a ton of knob-twiddling. And it's not quite right.

Anyway, my backup rig is an old beatup SWR 150 that honestly I never want to take anywhere. It can keep up with a band in a small room but that's about it. So that's my excuse to try one of these Mesa heads. The Mesa will maybe become the primary amp, the the Little Mark relegated to backup.

I'm currently leaning towards the TT because it seems pretty versatile, and the ability to switch channels on the fly seems great for my current project.

Any advice? Thanks!

 

[agedhorse]

Probably the most versatile is the D-800+ or WD-800, in part because of the voicing control/eq and parametric eq controls (respectively).

The TT is not as versatile, but it does have 2 distinctly different tones. If those tones are what you are looking for, then it’s the better choice.

If you have the opportunity it’s to play them, I think that would really help you make the best choice.

 

[P. Aaron]

I've had a WD-800 since 2020. It's been a champ. Granted, I don't tune it very much or turn many knobs.

I am however, working with a new outta-da-box, RevSounds 2 x 10 lighter weight cabinet. 1st gig w/it Saturday.

 

[Al Kraft]

Hey folks, so I need help picking one of these heads. As soon I think I zero in on the "right" one, I start reading more, watching more youtube and second-guess myself.

I have "decided" on the WD-800, D-800+, and recently the TT-800 multiples times now. Haha

Yeah I know, "get all of them." Not in the cards really.

My main current band plays a mix of older classic rock and surf rock, plus newer stuff thrown in. Honestly our setlists are a bit all over the place, but we're classic and surf focused. We have everything from the Ventures to Badfinger in the mix. A few songs I even need a bit of grit on. I have been handling that with programming in my HX Stomp.

I had been gigging a Fender Elite P and Markbass Little Mark with Markbass cabs, depending on what was needed. Usually just a 115. Markbass stuff is pretty punchy but I could still get a nice, warm P tone out of that setup for the older songs. It sounds pretty great with the Fender honestly. I like the cabs but the head leaves a bit to be desired.

Then I got a Reverend Decision P, which is a GREAT playing gig bass with an awesome neck. BUT, the pickups are voiced a lot differently. I want to gig this bass primarily so I'm not wearing a 9+ pound Fender for hours.

The Reverend is definitely more punchy and brighter. I can almost get a similar tone that I had with the Fender out of the Markbass stuff, but it takes a ton of knob-twiddling. And it's not quite right.

Anyway, my backup rig is an old beatup SWR 150 that honestly I never want to take anywhere. It can keep up with a band in a small room but that's about it. So that's my excuse to try one of these Mesa heads. The Mesa will maybe become the primary amp, the the Little Mark relegated to backup.

I'm currently leaning towards the TT because it seems pretty versatile, and the ability to switch channels on the fly seems great for my current project.

Any advice? Thanks!

Andy's post above is great synopsis of the top options for the use case you describe. The SW 800+ seems like a good choice for the simplest path to a lot of versatility. It will have a bit more character/excitement in the sound compared to Markbass gear IME and also shouldn't disappoint any SWR fans. FWIW I like Markbass gear and I still own an SWR SM-400S.

The WD should do a great job for you and it has a lot more adjustability in the voicing, but you may have to turn a lot of controls to get where you want to go. If the original Mesa WA/M-Pulse line was appealing, the WD is an improvement in many respects while remaining true to the WA vibe and providing more versatility in voicing.

The TT is a dynamite value with two differently voiced preamps in one head. Despite not having a lot of controls on each channel it is remarkably versatile within the the tonal profile of each channel. If the channels sound pretty good to you without extreme knob turning to get to a "starting point sound", you're golden.

The Boogie channel is very voiced (in a good way IMO) and gives you a bit more flexibility than the original Bass 00/400+ heads had. The SW channel is more neutral sounding with a richer harmonic depth to notes than an 800/800+ and brings a very good range of voicing versatility (compared with typical bass heads).

If you want a fast, tight SS sound and feel, remember that both TT channels share the low to medium power amp damping (like you would find on a tube amp). That's not a bad thing, just a difference (most noticeable on lower notes and at lower load impedances) compared to what you get on the 800+ (typical SS high damping) or the WD set to high damping.

I hope that helps give you some ideas on what to listen/look for as you audition the heads. There is no bad choice here IMO.

 

[GrooveCaptain]

I guess I was taking the picture while you were replying. In any case neither is set flat nor do I want them flat. So not sure if this helps, but both sound nearly identical with texture and damping being the primary difference.

The Orange is an awesome amp, but the texture and low damping is what puts the Mesa over the top for me. YMMV.
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Looking at the control labels on that Orange amp would drive me insane. Looks like it was made for kids. These Mesas are polar opposites asctetics wise. I'm looking forward to eventually getting a D800+

 

[Ben Clarke]

M9 Carbine. Tube preamp, Fender stack eq + graphic eq, compressor, amazing tone and enough power to blow any SVT out of the water.

I've been enjoying an M9 for a little over a year now, and have recently been diving into understanding the rotary eq better, having just bought some very different speakers than I have been using for the past 15 years or so.

I'm curious (honestly, not trying to argue) about referring to it as a Fender style eq. I've seen some comments in past threads here and elsewhere that mention the mids as being cut only, like the classic Fender 3 band. The manual refers to it as boost-only. Yes, it's passive, but that is not an indicator of cut-only, as we're used to on instrument tone controls. I think it really just means that there are no op-amps or other energized components in that portion of the circuit (anyone correct me, please). I've quite happily been running it at noon, because there's a detent there and I didn't clock that portion of the manual until very recently. The way the transients jump out of the speakers, yet lack any harshness is really, really satisfying.

I am a bit unsure of the accuracy of any info on the mid circuit - I wonder if there was a mistake in the copy, because it mentions being a boost only, but also saying that it can remove this band from the signal - that could just be a somewhat vague reference to relative positions on the control.

The bass and high circuits (which are active, unlike the Fender) also seem much more sophisticated than the Fender and I assume (without checking) that the frequency centers are not the same. Boosting and cutting don't just provide a mirror image response curve - there are shelving and H/LPFs working together that are incredibly versatile and usable.

Here's the copy from the manual:


BASS: This control is responsible for the basic mix of low frequencies in the tube pre-amp. The BASS control is an active shelving type control as opposed to a passive style control. This means that a center Q point has been chosen and this control allows you to either boost or cut that frequency. This control differs from the low bands of the Graphic in that it has a broader Q point with a more gentle ramp as opposed to the Graphic’s narrow Q.

The BASS control is actually a gain and frequency control all rolled into one with the Q center at 55Hz and harmonics in both low and high directions are affected because of its broader band nature. As the control is increased past 12:00 there is a 6db per octave rise in gain with the frequency topping out at 321Hz. With 12:00 straight-up representing “flat” (a no boost/no cut setting). As the BASS control is dialed below 12:00, 55Hz and all associated harmonics are reduced and eventually notched completely out of the signal. Conversely, there is a 6db per octave cut beginning at 55Hz going down to 20Hz where the shelving ends with a cut gain of -20db as the control approaches 7:30 (off).

This type of broad band, active rotary control makes it possible to achieve bass characteristics far beyond that of a conventional passive type control. It can increase the low end to an almost absurd level and with a flick of the wrist, dip it to near transistor radio skinniness. Needless to say, with any control this powerful a certain amount of finesse must be applied to achieve musical results. Be especially mindful of this when using the 5 Band Parametric in conjunction with the BASS control.


PULL DEEP: The CARBINE features a pull shift for the BASS control that allows you to choose between two different regions of low end and affects how the control will react.

When the control is pushed in (normal) the bass frequencies are higher and a cut-off is employed so that below a certain point, sub-low frequencies are not part of the mix. This results in a tighter, faster feeling response that is more articulate and will stand out and be heard in a live stage environment. This also works well for recording scenarios where the Bass part needs to sync-up with a complex kick drum line or anytime you need a defined, punchy sound that won’t get lost as the layers of other parts get applied.

PULL DEEP (control pulled out) allows the entire range of low frequencies to pass and fill in the curves creating a warm, rich sound that is foundational for smaller groups. Along with these deeper lows, a subtle enhancement of the super-high frequencies is added to create a round, breathing cushion of air the whole band can ride. Be sure to check out this setting for three-piece Rock or Blues combos and playing R & B styles where you need to add juice to thumbing parts.

MID:

This is the only passive style control in the string of rotary tone controls. This scheme was chosen for its inherently musical blend and for the way the passive style midrange control, with its wide spread and smooth taper, fills in the holes. Unlike the BASS, this control is a boost only, and while it can competently remove this broad spectrum of midrange from the mix, it cannot provide the extreme attenuation of an active style control.

You will find, as we did, that this control works amazingly well for shaping the midrange frequencies with a natural earthiness and character that is a perfect counterpart to its neighbors. It is hard to dial wrong with this more forgiving control as it seems to give you just enough and no more.

For radical and specific scooping of the midrange frequencies for modern R&B and Funk styles, there is plenty of notching power that is infinitely more accurate to be found in the GRAPHIC EQ. Because of this, we opted for the tried and true passive style midrange control that has been working great in all of our amplifiers for decades. It’s hard to improve on a classic.

TREBLE: The TREBLE is also an active shelving style control like that found in the BASS and again, it was chosen for its ability to radically shape the upper harmonic region. Like the BASS, it also has a center Q point with harmonics above and below responding in harmony as it is dialed for either cut or boost.

As the control is increased past 12:00, it produces a 6db per octave rise in gain starting at 723Hz until +20db is reached. From this point, gain remains constant at +20db for all frequencies above 723Hz all the way out to 20Khz. This scheme lends a sweetness of sound while retaining all the necessary cut and focus associated with a traditional passive TREBLE control. As this control is dialed below 12:00, it begins a 6db per octave cut from 3.2Khz to the shelving point at 723Hz, where it continues to attenuate all frequencies above 723Hz until - 20db is reached where cut gain remains constant until the control reaches 7:30 (off). The ability to cut these frequencies more radically makes it possible to obtain incredibly rich and warm old-school R&B and Jazz sounds that rival any recordings of the day.

This active shelving TREBLE control completes the rotary tone control string to create a powerful and extremely accurate network to use as your fundamental platform. It’s no wonder many first time CARBINE players make the comment that just these controls combined with the GAIN create the best tone they have ever heard!

NOTE: As with the BASS control, may we remind you that a control of this type with its increased power should be used with finesse.

In the TREBLE’S case, almost more so, because higher frequencies seem louder to the ear and are generally more painful when set to extremes. Another reason to use care is that high frequencies tend to increase the ambient noise floor when set too high. This is then exacerbated if the ACTIVE MID is combined for added top end boost. Dial with care and music in mind.