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Demeter VTBP M 800D @ NAMM

#241
tombowlus said:
Not yet. I don't have mine from James yet (but hope to fairly soon).

Nice Horsey Hoppers, BTW! :D
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Make sure you update us when you do. I think the NV115 may be a good match with this amp.

Marial said:
'Do not expose to rain or moisture or spilled beer'. I assume the verbiage under the power cord is This apparatus must be earthed!
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If you look carefully you'll see there's a typo: it say "mosture" not "moisture" :)

And yes, that is the correct text under the power cord.
 
#245
BobaFret said:
I thought I saw somewhere that the 201 3U preamp could be fitted with a power module to make a full amp.


Did I make that idea up out of convenience?
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Sorta. Both the 201s and the HBP-1 (which are both 1U rack units) can be retrofitted with the 800-watt class-D output section, or ordered new with one.
 
#246
BobaFret said:
I thought I saw somewhere that the 201 3U preamp could be fitted with a power module to make a full amp.


Did I make that idea up out of convenience?
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Yes, I have one.
It is great.
 

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#249
Monsterthompson, on having two basses with diff levels, why not run a clean boost before the amp? That way you just hit the pedal when you switch basses and everything is set optimally. I'd imagine you would to do this before your other pedals to keep their sound consistent regardless off which you use. Esp useful if you use a comp in your signal chain as we'll. Also avoids having issues with the signal level being sent to FOH regardless of where you're taking the DI from.
 
#252
LeonD said:
I believe there's an internal trip pot in the amp.

And my guess would be the tube pre isn't really set up for distortion. I'd keep it to your PL and B7K.
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not planning to overdrive the pre, but i want to know how harsh the clipping sound is. the clipping on the Prodigy kept me away from it because it went from clean to ugly on a dime with a hard dynamic attack. i want to avoid the pre cip, or only tolerate it if there is some "musical" quality to it.



JEDBass said:
Monsterthompson, on having two basses with diff levels, why not run a clean boost before the amp? That way you just hit the pedal when you switch basses and everything is set optimally. I'd imagine you would to do this before your other pedals to keep their sound consistent regardless off which you use. Esp useful if you use a comp in your signal chain as we'll. Also avoids having issues with the signal level being sent to FOH regardless of where you're taking the DI from.
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thought of that. i have a Diamond BCP1 and I could always tweak the level knob there instead of on the amp. however, i don't always run pedals, and i'd like to not be in a tough spot when i don't have them.
 
#253
Monsterthompson,
I haven't experienced or at least noticed any front-end clipping but all of my instruments have pretty low output, so maybe that is it.

But I do go from light touch to ripping the #@$% out of my strings quite a bit, but still, no un-musical clipping that I am aware of.

Anyway, the VTBP-201 has been around for many years, so I think the front-end performance is pretty well hashed out.

Maybe someone else can chime in on how it breaks up?
 
#254
So I got about half an hour to play the Demeter against a Monique last night. Not enough time to use anything other than one bass (Lull MV4) and one cab (Bergantino CN212).

Initial comparison was that the Demeter was cleaner and brighter even with some treble backed off and in 'dark' mode. The Monique had a lovely low end though! full! deep and powerful.

Tweaking tone controls I found I could make Monique sing more by pulling out the sensitivity and winding it up to about 2 o'clock.

Conversely I managed to start building the low end of the Demeter by selecting the 120hz frequency and boosting bass to about 2-3 o'clock. I also had to cut the tweeter a little more on the CN to get a sound I preferred more.

At the end of this brief test I was veering more strongly to the Demeter (which is where I thought I'd be headed so no surprises here). However, that low end of the Monique was just lovely.

I think it might be possibly for the Demeter to get a lot of the sounds I like from the Monique with more tone tweaking but I'm not sure Monique could get the crisp high end of the Demeter.

Both were uniformly excellent though!
 
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#255
i've said the monique is a bright amp for being a dark amp. it is warm and clear, but never sparkly (though also not bloomy or boomy). it also doesn't poke in the mids as much as a Mesa. i'd like to get some more glassy sounds from it. perhaps the Demeter is the way to go. though, my Buster does go there (but it is a pain to haul).
 
#256
Molan, just curious....what setting did you find you liked best on the input toggle of the Demeter? Also, I'm guessing that even though there's not a ton of boost/cut on the tone controls that playing around with different combos of the input toggle and the treble/presence is actually pretty versatile. Have you found this to be true so far?
 
#259
Molan said:
Initial comparison was that the Demeter was cleaner and brighter even with some treble backed off and in 'dark' mode. The Monique had a lovely low end though! full! deep and powerful.

At the end of this brief test I was veering more strongly to the Demeter (which is where I thought I'd be headed so no surprises here). However, that low end of the Monique was just lovely.

I think it might be possibly for the Demeter to get a lot of the sounds I like from the Monique with more tone tweaking but I'm not sure Monique could get the crisp high end of the Demeter.

Both were uniformly excellent though!
Click to expand...

Hi Molan.
I know you find the CN cabs a little bright and I have a Baer ML112 which is supposed to be similar tone-wise. The Baer has a 6" mid no attenuator, so I can't adjust the cab except its position either vertical or horizontal.

So with the above in mind do find the Demeter Head to be clinical-bright or smooth-bright? Also do find that there is any low end bloom or boom (which I want to avoid). As long as I can tame any unwanted high-end 'zing' like major string and fret noise zing.

I realize technique has a lot to do with that. I am 99% finger style and a four string guy. Nothing fancy just Classic Rock, Blues, Motown, Ballads etc.

From what I've gathered the Demeter Head is very well balanced for note to note definition and balanced and solid punch in all ranges, thats what I'm looking for anyway.

Just as a reference point I've been using a GK MB Fusion 800 and I find it musical but hard to tame that 'zing' at louder volumes. At low volumes with my bass set to passive it sounds great with ML112.

Thanks if you care to comment.
 

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