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Double Bass EA iAmp Micro300

I took a pair of Wizzy 10 cabs out under a Focus 1 a little over three weeks ago. However, it was not an URB gig, but an electric blues/rock (two guitars, electronic drums, me on five string fretted bass). I usually take my iAMP 800 over a pair of VL208 cabs, and frankly did not expect the two tiny tens to hold up to the volumes necessary to compete with the stage volumes, and did load my usual rig into my truck as well, as 2nd or 3rd set insurance. I never did need to go out for it.

Just for the sake of details and circumstances, I was gigging a Hoyt five string (low B) with Lane Poor Pickups and 3 band Bart preamp, whose controls were close to or at flat for most tunes. I was surprised that little EQ was necessary at the Focus. I recall moving the bass control to somewhere between 12:30 and 1 o'clock, I advanced the treble control to around 1 o'clock, I think the midrange was backed off to about 11:30 o'clock. Subtle EQ, eh?

Sonically, the Wizzy 10 cabs obviously don't have the highest frequencies of the VL208 cabs, since they lack horns, but they still have plenty of presence. I actually turn up the horn and midrange controls on the back of my VL208 cabs to about 2-2:30 o'clock because they do tend to be natively dark IMHO. Could be my 56 YO ears, too. :crying:

The Wizzy 10s had much better clarity than the VL208 cabs, with a more pronounced midrange-- which I actually prefer. I'm obviously no fan of the popular ebass smiley curve, being brought up as a string bass player I learned that midrange and edge helped me be heard; I played a lot of gigs without amplification in my youth.

Stepping off stage and backing off as far as my 20ft cable would take me, I liked the tone, it was tight and not boomy, very clear and pronounced in the mix. Yet it was full enough for loud and obnoxious ZZTop, Aerosmith, etc., tunes in the fourth set. This was a huge surprise to me.

Now, I realize that y'all are probably not including classic rock in your jazz trio repertoire, but still felt I should share the experience. I have, of course, auditioned the cab with my URB but only in the shop, URB gigs have been a little thin lately.
 
I had unit #10029 which I returned for shipping damage so I could use it temporarily awaiting a final repair if needed. EA went way beyond just a repair and sent me a new unit, #10074. Total time including shipping, 4 days. There's a tad of line hum in the new unit - but in the normal range for other bass amps I've owned. It's loudest in the first couple of minutes after turn on. I was told that the problem with the original units was a run of a defective part supplied to EA's builder. When you consider the complexity of the design, the extreme ambitiousness of the undertaking, and what must be thousands of parts, it's got to irk the designers for a supplier to drop the ball. With all that, it only affected a few units and didn't seem to hurt anyone's livelihood.
 
Adrian,
I'm just curious how was the Focus with the Wizzy 10.
I'd like to hear your thoughts.

It sounded great. Last night I played a concert gig with my jazz orchestra. We were playing a lot of classic 40s stuff using very accurate transcriptions and I'm very particular about trying to get the right bass sound. I almost wish I had a plywood for this because I really need to get that old thumpy sound and consciously have to shorten every note I play since even with the unwound guts I am using, the notes sustain too long on my Shen.

So I really wanted that punchy sound with a warm tone that I figured the Wizzy would have and I got something pretty close. Additionally, I was playing in a 17-piece group and the music can get pretty loud at times and we were playing outdoors so I was interested to see whether the single Wizzy could handle it.

My only question now is whether the Micro 300 would have been enough in that situation. Whether it would get me the same tone and whether the 325 watts would have been enough. I am hoping that the Micro 300 and Wizzy 10 combo will cater to most if not all of my gigging situations.
 
It sounded great. Last night I played a concert gig with my jazz orchestra. We were playing a lot of classic 40s stuff using very accurate transcriptions and I'm very particular about trying to get the right bass sound. I almost wish I had a plywood for this because I really need to get that old thumpy sound and consciously have to shorten every note I play since even with the unwound guts I am using, the notes sustain too long on my Shen.

So I really wanted that punchy sound with a warm tone that I figured the Wizzy would have and I got something pretty close. Additionally, I was playing in a 17-piece group and the music can get pretty loud at times and we were playing outdoors so I was interested to see whether the single Wizzy could handle it.

My only question now is whether the Micro 300 would have been enough in that situation. Whether it would get me the same tone and whether the 325 watts would have been enough. I am hoping that the Micro 300 and Wizzy 10 combo will cater to most if not all of my gigging situations.

Sounds like the jettisoning of the Focus was a bit premature. Personally I love the Focus and the Diff between 3 and 6 pounds ain't hoiting me back that much. But I am way GASsing for the Wizzy 10's. Preferably 2 of them but I'm gunna buy one first (especially when I hear you saying you backed up a 17 piece band with just one.)
 
As I was reading these posts I remembered that the first Walter Woods MI-100-8 I purchased in @1979 had a defective switching power supply.
Walter repaired it in two days. He had a whole run of amps that he had to fix, including units that he had sent to Europe. So, it's quite possible that this was the case with the EA micro.
If I remember correctly, a defective digital power supply can create all kinds of havoc including lots of hum and noise. It sounds like EA is working hard to resolve the issue. With an amplifier that small, I would think that the proximity of the internal components would be very tricky.

Ric

I must say that I share the disappointment that some of you have expressed regarding the problems reported on the relatively few Micro 300 units that are and/or were in use. At the same time, I applaud EA's efforts in finding the cause and correcting it. Both the Micro 300 (or is it 325?) and the Wizzy 10 represent a revolution in bass amplification, IMHO!
As previously noted, Walter Woods had some issues with his contribution to the revolution and he solved the problem. And we know what a stir he caused..... I am still blown away whenever I look my Micro 300/Wizzy 10 and wonder, "How on earth did they do it? Super small setup=Super BIG SOUND!!!!!!!!

As a side note, if any of you have not checked out Adrian Cho's website, you should! Adrian has has quite the background and obviously the chops to show for it! It is a testament to EA that he chose the Micro 300/Wizzy 10 for amplifying his bass. I do not play upright bass, but I do listen to a lot of upright players. In fact, some of my favorite electric bassists, Stanley Clarke, Brian Bromberg, John Patitucci, Bunny Brunel and Ralphe Armstrong, are MONSTERS ON THE UPRIGHT! Adrian, do you have a list of recordings that you have played on that you can share with us?

I stand behind EA 100% and am proud to have them standing behind me on stage!

Keep God First!:hyper:

A Groove is a Terrible Thing to Waste!:cool:
 
Really I'm not that great a player and have no great recordings to speak of. I will probably never be a great player by today's standards because with the setup on my bass and the way I play it, it's impossible for me to have the technical facility today's players do and so many people care only about chops today. On the other hand I can play without an amp in many situations that would make some others cry if they had to do that. I live in a totally different world to many folks in that I simply cannot separate myself from the acoustic and percussive part of the bass. Any setup or volume level that gets me away from that makes it very difficult for me to play because the sound I then hear is nothing like what I expect.

However what I do is very fulfilling for me. Last night I played a trio in a loud restaurant and brought the amp gear along and then found I could just get away from it. I was proud of myself for playing all over the instrument with some facility but mostly I was proud of myself for the sound I got and for keeping everything rooted. I'm currently doing a series of duos at a local pub. Last week it was with a trombonist, next week a vocalist, then after that trumpet, then clarinet. No amp of course even if it is an outside gig and of course no chording instrument (good chance for double and triple stops) and no drums. That's a challenge but very fulfilling and lots of room to play and be the entire band.

I'm very fortunate that through forming and leading my own jazz orchestra that I can live in the past so to speak and experience just a little bit of what bassists did from the 20s onward. And I'm even luckier than when it gets too loud and it's not my style (e.g. late Kenton), I'm usually conducting anyway and I get someone else to play bass!

I was very happy with the Wizzy the other night although I was using the Focus. I hope with the Micro 300 that it will work for all my situations. If you listen to some of the clips on impressionsinjazz.ca like the loud latin stuff, that's not me playing bass - I was conducting in those cases. It's Chris Breitner (who is on TB sometimes) who was probably using a Focus + VL208. I'm pretty sure the Wizzy 10 + Micro 300 couldn't handle those kind of situations.
 
I must say that I share the disappointment that some of you have expressed regarding the problems reported on the relatively few Micro 300 units that are and/or were in use. At the same time, I applaud EA's efforts in finding the cause and correcting it. Both the Micro 300 (or is it 325?) and the Wizzy 10 represent a revolution in bass amplification, IMHO!
As previously noted, Walter Woods had some issues with his contribution to the revolution and he solved the problem. And we know what a stir he caused..... I am still blown away whenever I look my Micro 300/Wizzy 10 and wonder, "How on earth did they do it? Super small setup=Super BIG SOUND!!!!!!!!

As a side note, if any of you have not checked out Adrian Cho's website, you should! Adrian has has quite the background and obviously the chops to show for it! It is a testament to EA that he chose the Micro 300/Wizzy 10 for amplifying his bass. I do not play upright bass, but I do listen to a lot of upright players. In fact, some of my favorite electric bassists, Stanley Clarke, Brian Bromberg, John Patitucci, Bunny Brunel and Ralphe Armstrong, are MONSTERS ON THE UPRIGHT! Adrian, do you have a list of recordings that you have played on that you can share with us?

I stand behind EA 100% and am proud to have them standing behind me on stage!

Keep God First!:hyper:

A Groove is a Terrible Thing to Waste!:cool:


I hate to be a party poop... but what is revolutionary about a 110 speaker and a small, relatively low powered class D/switching amp?. Have you ever played an 800 watt 4 pound Focus, a 6 pound 500 watt Little Mark II (which has a class A/B power amp... that actually seems revolutionary... a warm A/B power amp in a 6 pound unit!) or an 800 watt Markbass SD800 at 7 pounds, or an 1800 watt 14 pound Epifani 902c (not even counting the 1200 watt 7 pound Walter Woods)?

And, these products actually work:smug: , and most have been out for years. As Bob pointed out previously in this thread, their service and support are great. The problem, as Bob mentions, is the 'hundreds of posts' praising the virtues of EA's service and support. I've unfortunately had to use the service too many times over the past 10 years or so. I'm much more impressed with companies that have virtually no posts talking about their 'great service'... that's the sign of a company that's cookin' IMO.

To be fair, if EA ever gets them working (they are still working on getting the hiss out of the iAmp500), it seems like a nice, moderately powered, relatively low cost small amp, and for DB players, I bet it will be great. But, revolutionary:confused:
 
Ken - I'm a avid reader of your posts and respect your opinion greatly. I would side somewhat however with bottomzone in this respect - each time you 'half again' the size or weight of a product, and retain most of its other aspects, it iss quite an achievement. When WW first created a small, light, neutral sounding high power amp, it was amazing. AI's Focus got close to the WW in sound, at half the price - amazing. Markbass LMII took much of what AI did and then some, but at half their price - amazing. And EA's Micro cut the size and weight by more than half of these impressive predecessors - amazing...for us bassists.

Note, I'm leaving out power ratings (and Epi) in this, but having owned all these products, I found that I couldn't compare rated power among these units anyway (the LMII seeming to have the gain and headroom of my WW Ultra as an example).
 
What is "revolutionary" about the Wizzy and the Micro 300 IMO is that they have tipped what I consider to be an interesting threshold for performance and portability. The truth is that these products are actually very evolutionary. As EA themselves point out, the Micro 300 is built on the iAMP 200 and the Wizzy 10 of course is based on the Wizzy 12. And that doesn't even include all the other similar products like those KJung mentioned for the heads.

For me, the ultimate setup to date in terms of performance and portability has been the Epi UL110 + Focus. I was always very happy with the sound but the size and weight made them just a little too cumbersome to carry with comfort when also carrying the bass and other stuff. It's interesting how the Wizzy 10 is only one or two inches shorter than the Epi in each dimension yet it makes such a huge difference in the carryability. Same goes for the Wizzy compared to the Focus and other amps. I've always felt that form factor and external design are not looked at closely enough by most companies in this field.

One nice thing is how the weights of the Wizzy 10 and the Micro 300 actually come in under the published weights. Most of the time the opposite is true which cheeses me off no end.
 
Good posts above Adrian and Macmrkt. I"m not sure I totally agree, since you are giving up a lot of watts with the 300, but that is of course a point that can be debated, and as you point out... published watts don't always translate to additional volume or fullness!

That being said... something is surely amiss in EA land... lot's of gliches and issues with what seems like a variety of products. Not sure what is going on over there in either the design side or the production side.
 
I'd take issue with any assertion that the Micro is some amazing new development in the size/weight/power competition.

http://www.acousticimg.com/products/prod_clarus_sl.html

Actually, the Micro is about the same size and weight as the Clarus SL, which has been out for some time...3-4 years maybe (actually, it has been discontinued). The AI puts out 50 more watts. The Micro has 2 channels but they are both 1/4 inputs so it's a non-event to me as a mic/PU blender.

If you love the Micro, terrific...but it's a bit inaccurate to say EA is on the cutting edge of size/power with this unit.

Mac, I think you had a Clarus SL even.

W
 
You are right about the Clarus SL. In fact I will tell you that I was Googling around last night seeing if there were any used SLs for sale. The only thing is that the SL doesn't have two channels - I was actually trying to work out whether the low and high Z inputs were usable at the same time although I understand they would share EQ. The SL is a couple of inches longer in depth than the Micro 300.
 
Good posts above Adrian and Macmrkt. I"m not sure I totally agree, since you are giving up a lot of watts with the 300, but that is of course a point that can be debated, and as you point out... published watts don't always translate to additional volume or fullness!

I have indeed thinking about the power issue myself. Of course the Wizzy 10 is very sensitive speaker but as I said in one of my other posts, I'm not sure yet whether the Micro 300 and Wizzy 10 will really cut it for playing with a loud big band. The Focus and Wizzy combo certainly worked.
 
You are right about the Clarus SL. In fact I will tell you that I was Googling around last night seeing if there were any used SLs for sale. The only thing is that the SL doesn't have two channels - I was actually trying to work out whether the low and high Z inputs were usable at the same time although I understand they would share EQ. The SL is a couple of inches longer in depth than the Micro 300.

I think the SL an inch or 1.5 longer and the Micro is an inch or 1.5 wider.

The SL is a neat little amp and sounds as good as the Focus II I have, which is to say bigger and more muscular than the old Clarus I amps.

If the Micro had a mic input, it would be something unique IMO...but as it is, the second channel just missing the mark a bit.

W
 
Good posts above Adrian and Macmrkt. I"m not sure I totally agree, since you are giving up a lot of watts with the 300, but that is of course a point that can be debated, and as you point out... published watts don't always translate to additional volume or fullness!

That being said... something is surely amiss in EA land... lot's of gliches and issues with what seems like a variety of products. Not sure what is going on over there in either the design side or the production side.

My thoughts are that there are quite possibly problems when EA moves a product out of the design stage and "jobs it out" for mass production. Of course, this is just a guess on my part. I know that they had initial difficulty with the the Wizzy 10's because when they A/B'ed them with their prototype they just didn't sound the same. So they went back to the "drawing board" and apparently fixed those problems since most of evaluations by folks on TalkBass are favorable.
This may also be the case with the Micro's. If I remember correctly the iAMPs are assembled in England aren't they? I wonder if they had to use a different manufacturer for the Micro's. Since I'm fairly certain the EA doesn't have a amplifier assembly facility of it's own they are probably more susceptible to quality control issues because they have to outsource their manufacturing. If you get a bad run of parts it can really throw a monkey wrench in the product when its built somewhere else.



Ric
 
Darn. I got KJung on my side, but couldn't get W on the team. OK W, the gloves are off - here's where I think you are wrong, eventhough you are right on all counts:

1. The Micro has more LEDs.
2. The Micro comes in black, white and red. That so-called SL thing you refer to only comes in black and white. 3 colors beats 2 anyday.
3. Page 3 of the owners manual for the Micro says its revolutionary. So there!

I think there's only one way to settle this - I'll be out back at 9PM with my 300. Hmmm, 300. 300? Hey, maybe that's the problem. 300 never did save Greece...so maybe I'll just go over to the BG side and take a tonic.
 
My thoughts are that there are quite possibly problems when EA moves a product out of the design stage and "jobs it out" for mass production. Of course, this is just a guess on my part. I know that they had initial difficulty with the the Wizzy 10's because when they A/B'ed them with their prototype they just didn't sound the same. So they went back to the "drawing board" and apparently fixed those problems since most of evaluations by folks on TalkBass are favorable.
This may also be the case with the Micro's. If I remember correctly the iAMPs are assembled in England aren't they? I wonder if they had to use a different manufacturer for the Micro's. Since I'm fairly certain the EA doesn't have a amplifier assembly facility of it's own they are probably more susceptible to quality control issues because they have to outsource their manufacturing. If you get a bad run of parts it can really throw a monkey wrench in the product when its built somewhere else.

Ric

The original iAMP 600 amps were made in the UK. Everything since has been made in the US, including the Micro 300, although various companies have done the supply and assembly work for them over the past several years. Just like speaker cab drivers, cabinets, crossovers, etc., various parts and components can come from different sources, coming together at the assembly location.
 
The original iAMP 600 amps were made in the UK. Everything since has been made in the US, including the Micro 300, although various companies have done the supply and assembly work for them over the past several years. Just like speaker cab drivers, cabinets, crossovers, etc., various parts and components can come from different sources, coming together at the assembly location.

Thanks for the clarification Bob. That certianly would speed up the re-tooling process since the amps are made here. The initial runs of any product always run the risk of having some problems. Ultimately, I hope that EA can solve the problems, because Jazz Bassists really need a simple, reasonably priced, lightweight amplifier with a great tone. Now if they would only see fit to put a mic input on the second channel and a high pass/ notch filter. That's where their competition has them.

Ric

P.S. Were the iAMP 600's those warm sounding
Analog Amplifiers? I've heard they are much sought after on the used
market.
 
Thanks for the clarification Bob. That certianly would speed up the re-tooling process since the amps are made here. The initial runs of any product always run the risk of having some problems. Ultimately, I hope that EA can solve the problems, because Jazz Bassists really need a simple, reasonably priced, lightweight amplifier with a great tone. Now if they would only see fit to put a mic input on the second channel and a high pass/ notch filter. That's where their competition has them.

Ric

P.S. Were the iAMP 600's those warm sounding
Analog Amplifiers? I've heard they are much sought after on the used
market.

The 600s were solid state, same as the current iAMP 500/800. They are very similar to the 600 except for the colors and minor placement differences.

As far as the mic input option goes, try one of these:
Link Removed
the type that also has the internal transformer to covert low to high impedance. I've used one successfully for years.

There just isn't any more room inside that tiny Micro 300 chassis-- if you note, they had to use a TRS 1/4" jack for the DI out since there wasn't enough room for a XLR connector!