As someone mentioned, it's always a good idea to make sure all the tubes are properly seated. Especially after shopping. That could be the problem, and it just "blew by" your tech.
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Fender Bassman 100T Chapter 3
- Thread starter Chef
- Start date
Hi, I've read these threads pretty thoroughly and though a bit weary about purchase re bias issues etc pulled the plug, have just done my 4th gig so far and all has been trouble free. I know it's been mentioned by others but I ran the 100t through the Neo 410 in 25 watt mode last night and thought I'd share my experience. With a 6 piece funk band. The stage is a freak usually as it has a lot of boom and sound is unevenly distributed so it's really tricky getting acceptable workable sound quality. As for front of house the mixer is priceless, room holds up to 500.
I was sceptical to say the least runnin at 25 watts so experimented at home, concluded the 100T should be loud enough in that environment to match a decently loud rhythm section but also have had the tormentful experience before gigging with an underpowered rig i.e no head room nonetheless all fixable with a flick of a switch. The beast ( bass was MM stingray 5) running through the vintage channel with tone controls in the 666 position, and both gain and master set between 8-9 absolutely snarled grunted and grinded it's way through 2 sets though please don't misinterpret as it also remained bouncy, warm and sweet as desired. Amazingly enough when I played a couple of notes on it's own it sounded like downright filthy, but in the context of the band on this particular stage it performed flawlessly making it's presence felt with every note. Anyway, just a big thank you to all the guys on this thread for all the tips re100t and sharing your experiences.
I was sceptical to say the least runnin at 25 watts so experimented at home, concluded the 100T should be loud enough in that environment to match a decently loud rhythm section but also have had the tormentful experience before gigging with an underpowered rig i.e no head room nonetheless all fixable with a flick of a switch. The beast ( bass was MM stingray 5) running through the vintage channel with tone controls in the 666 position, and both gain and master set between 8-9 absolutely snarled grunted and grinded it's way through 2 sets though please don't misinterpret as it also remained bouncy, warm and sweet as desired. Amazingly enough when I played a couple of notes on it's own it sounded like downright filthy, but in the context of the band on this particular stage it performed flawlessly making it's presence felt with every note. Anyway, just a big thank you to all the guys on this thread for all the tips re100t and sharing your experiences.
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Yeah man! It's a remarkable sound. Amazing how distorted it actually is, and yet sounds full and warm in ensemble. As I've said before, all of the harmonics being generated by the stressed out power tubes create a halo of presence around the bass, highlighting it in the mix without it being overly loud. Same basic concept of how the original Aphex Aural Exciter worked. It's what fans of low powered tube amps have known all along, just took me almost 5 decades to figure it out. You still with the stock Groove Tubes?
It was perfect last gig in 25 watt mode. The bass sat perfectly in the mix yet still had excellent presence as well as thumped as required, 25 watts? amazing. I definitely won't be changing tubes out and will probably opt for the same when necessary. Also forgot to mention how happy a studio engineer was with it as well in silent mode. We opted to use the 100T instead of his processor which cost over double what the 100T cost. What a great product, obviously a lot of thought went into it's design. Also thanks for all your inspirational threads Freight Train
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It was perfect last gig in 25 watt mode. The bass sat perfectly in the mix yet still had excellent presence as well as thumped as required, 25 watts? amazing. I definitely won't be changing tubes out and will probably opt for the same when necessary. Also forgot to mention how happy a studio engineer was with it as well in silent mode. We opted to use the 100T instead of his processor which cost over double what the 100T cost. What a great product, obviously a lot of thought went into it's design. Also thanks for all your inspirational threads Freight Train
Forgot to mention during my solo I could hear the bass coming through front of house which was coming out of the 100t d.i, I was astounded by the sound. Highly recommended this amp!
Hi Marc, I've never tried the SB 300 and feel no need to though was gassing for it till now. I own the 300 bassman which is an incredible amp as well(previous model to SB) but overkill for my needs. I also feel not only does the 100T deliver great bass sound (in spades)but also has enriched and compliments the sound of the entire band.
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To circle back on this, I've loaded and unloaded the 100T about 8 times since I sent this message, and everything is working fine. No problems with the 12AT7 tube at all. I guess that plastic insert is there to protect a serious problem (like if the amp is dropped). I'm carrying an extra 12AT7 tube just in case of a disaster, but all is well so far.Thanks for the reply. However, I'm talking about the 12AT7 (that has a plastic insert around it), not the 12AX7's (that have the metal tin). The 12AT7 insert is incredibly tight around the tube from the factory, to the point where it's almost impossible to get the original tube out of there. Now that it's out, it won't fit back in.
I'm hoping it's OK to move around. One way or the other I'm going to find out - need to move the amp quite a bit in the next 2 weeks.
Never had a problem with my AT7 either, but I agree that getting that factory tube out of the amp is a real bitch! Insanely so. *** Fender?
I'm using 100% vintage NOS tubes in mine after some serious tube rolling a few years ago.
Here is my final and highly recommended vintage tube compliment:
Power Stage: Late 50s vintage NOS GE 6L6GC
Pre-amp stage: All NOS: early 60s vintage Amperex Bugle Boy 12X7s - mid-60s era RCA 12AT7 "slim" (slim bottle version AT7 = total ease getting one in and out of the 100t chassis)
The amp sounds incredible with this tube compliment. I found during all my comparisons that the 6L6 brand had the largest overall impact on the personality of the amp. Although a high end brand vintage 12AX7 does provide a much wider tone control sweep than Russian tubes.
The GE 6L6GC can still be found out there, but they ain't cheap! But, if you are using your 100t primarily for recording, it might be worth it to you to upgrade.
Nothing currently being produced by Russian companies comes remotely close to the GE 6L6GC sound. It was a surprise to me how much difference the power tube choice made in the sound of this amp.
My 100t is the best sounding tube amp I have ever used for Bass Guitar. Especially for Rickenbacker 4001/4003 and Fender Jazz Bass guitars.
I'm using 100% vintage NOS tubes in mine after some serious tube rolling a few years ago.
Here is my final and highly recommended vintage tube compliment:
Power Stage: Late 50s vintage NOS GE 6L6GC
Pre-amp stage: All NOS: early 60s vintage Amperex Bugle Boy 12X7s - mid-60s era RCA 12AT7 "slim" (slim bottle version AT7 = total ease getting one in and out of the 100t chassis)
The amp sounds incredible with this tube compliment. I found during all my comparisons that the 6L6 brand had the largest overall impact on the personality of the amp. Although a high end brand vintage 12AX7 does provide a much wider tone control sweep than Russian tubes.
The GE 6L6GC can still be found out there, but they ain't cheap! But, if you are using your 100t primarily for recording, it might be worth it to you to upgrade.
Nothing currently being produced by Russian companies comes remotely close to the GE 6L6GC sound. It was a surprise to me how much difference the power tube choice made in the sound of this amp.
My 100t is the best sounding tube amp I have ever used for Bass Guitar. Especially for Rickenbacker 4001/4003 and Fender Jazz Bass guitars.
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Yes... This was the difference I heard very distinctly. Based on all the testing I did, it apparently gives the pre-amp wider frequency response, thus the tone controls appear to have more range of bass, mids and treble.
Hey Hey Bassman bros. Haven't been posting here for quite a while so thought I would check in. Still running the 100T and 410 neo. really digging' it and no issues with amp or cab other than the top strap which broke early on. I don't miss it though. I would appreciate any feedback from anyone using this rig with the 610 neo or the Berg. NV610. I would like to pick up a bit more headroom on the vintage channel. I truly love the creamy warm feel of the vintage side as long as the gain doesn't get above 6. There are times when I switch channels simply cause it's lacking just a bit in volume. wondering if a bit more cab would help that out. I actually use both channels fairly equally during gigs. I also have a fantastic clean boost pedal (lizard leg) that helps a bit but works much better on the active channel (going in). Would using that after the preamp section get different results?
keep rocking' brothers.
keep rocking' brothers.
Glad to hear your 100t and 410 Neo are still kicking ass for ya! I have the exact same rig as you do. Putting the pedal after the pre-amp stage could possible change the sound a bit, especially if you have been pushing the output of the pedal into the 100t. Obviously if you are getting any amount of overdrive distortion from the pedal into the preamp, by putting the pedal on the other side instead, you won't have that effect any more.
As far as going with a bigger cabinet to get more volume? You will get more volume with more speakers, but hard to say exactly how much more volume that will produce. I personally find the 4x10 so exquisitely well balanced with the 100t that I would suggest just having the front of house mic you up and push some of your sound through the PA, and thus, you would have the option to get some of your bass put into your own floor monitor, or in-ear monitors. (Obviously, I don't know what kind of stage monitor setup you guys are using on stage, or if you are playing rooms large enough to have the whole front of house and individual stage monitors per band member etc.)
Are you already running the power stage at full tilt boogie? (The three operating level switch on the back of the head)
As far as going with a bigger cabinet to get more volume? You will get more volume with more speakers, but hard to say exactly how much more volume that will produce. I personally find the 4x10 so exquisitely well balanced with the 100t that I would suggest just having the front of house mic you up and push some of your sound through the PA, and thus, you would have the option to get some of your bass put into your own floor monitor, or in-ear monitors. (Obviously, I don't know what kind of stage monitor setup you guys are using on stage, or if you are playing rooms large enough to have the whole front of house and individual stage monitors per band member etc.)
Are you already running the power stage at full tilt boogie? (The three operating level switch on the back of the head)
Probably not the answer you are looking for, but I started out with a 100T into a neo 610 and like you needed just a little more headroom from the 100T. The answer for me was to get the Super Bassman 300. The neo 610 is a superb cab, but so is the neo 410 and I know there are TB'ers around who really enjoy the SB300 into the neo 410.
Just another option for you to consider
thanks for pointing that out. That's one feature I haven't messed with yet. Though I'm confused a bit. Wouldn't "Full tilt boogie" produce a dirtier/more aggressive sound? I can see that the cooler setting might be an option for channel 1, but I wouldn't want to "tame" channel 2 at all. Do these settings affect output level? I am inclined to think not but there have been a few times in my life that I was actually "not right". Anyone? next time out at the shed I will experiment a bit though it would be nice if I was little more informed before tweeting knobs.
Tim, I already knew that was coming. lol. You have been a gem in both the 100T and SB threads. We all appreciate your input to the fullest (you too Train).
I have been on the search trail for a super deal on a super bassman but i'm not rushing into it. I am dying to demo one but they are just not available around my area and that includes Seattle too. No one stocks them and shipping is $$. As others here I do dig the "bloom" of the 100T . This might not be the correct way to describe but I feel it's very articulate in the mix without being "hifi" sounding. Maybe "usable" is a better term? So, would the extreme amount of added headroom the SB offers change that at 100T /410 volumes? Or is it simply more of a good thing?
It's gonna be apples and oranges. The 100T running out of headroom is exactly that "magic" tube sound that its fans love, but to get to that point on a SB300 you had better be outdoors. Or maybe have a small very inefficient cab. What the SB300 fans love is the punch that comes from all of that headroom.
Train, that's why I really want to demo first. I'm not disappointed with the 100T at all and I don't feel it lacks punch. Simply, there are occaisional times when I just need a little more "oomph" on the clean side without slamming the front end. With my set up/signal chain getting above 6 on the gain starts to get away from the creamy bliss of this channel. There's still nice breakup at 6, not wanting to eliminate it. Thats why I'm wondering if just a tad bit more air from cab would deliver results. I'm also going to play around with getting my signal chain below unity and see if that makes a difference.
"AND NOW FOR SOMETHING COMPLETELY DIFFERENT"
My band just had a wonderful opportunity fall into laps. Next month we are going to be tracking 3 days in the renowned Robert Lang studio in Seattle. Some legendary magic has sure come from that room. I plan to take the 100T/410 neo and my Reddi. I am going to track using mic'd cab, 25W record mode post power section DI, and Reddi. Hard to beat the Reddi but I'm wanting to capture some top notch comparisons which I will surely post her for you all. At any rate my band mates and myself are sure looking forward to the experience/opportunity.
My band just had a wonderful opportunity fall into laps. Next month we are going to be tracking 3 days in the renowned Robert Lang studio in Seattle. Some legendary magic has sure come from that room. I plan to take the 100T/410 neo and my Reddi. I am going to track using mic'd cab, 25W record mode post power section DI, and Reddi. Hard to beat the Reddi but I'm wanting to capture some top notch comparisons which I will surely post her for you all. At any rate my band mates and myself are sure looking forward to the experience/opportunity.
