After purchasing my Bassman 100T/410Neo rig over 3 1/2 years ago I finally got a live recording that captured the sound of the rig's glory. It's my honor to be playing with Dallas blues shouter Miss Marcy and Her Texas SugarDaddy's. We played the legendary Lee Harvey's here in Dallas last Friday night, and the gods of Deep Ellum blues were smiling on us. These were recorded with a Sony PCM-D60 using its built in mics, centered about 25' from the band mounted on a cross beam above the crowd. I didn't do any eq or processing to this other than kissing off the top 2dB or so of peaks to get it up to some level, but no eq or compression as I wanted to present it 'as is'.
Being a blues band I don't use my Jack Casady Epi with the round wounds, so you'll be hearing my '68 Telecaster type I strung with GHS bright flats that are a little over a year old. I'm running the 100T in 25 watt mode, passive channel volume 6, eq 4-7-2, master on 7. DI in 'post' for just a touch of FOH support. I don't use any pedals, this is stock '68 Tele, original single coil pup, plugged straight into the 100T.
Don't want to beat everyone down, but I'm posting a number of clips as we play a pretty varied list and it's a chance to hear the rig with several sounds and styles.
Here's audio evidence of several things I've been saying about this rig over the years:
First and foremost the beautiful creamy tone when it's round, and the nasty bark and growl when it's angry. I play mostly at the base of neck with my fingers, smacking the strings down on the neck (I discovered this in 1969 when I was 16, what I call 'chunking', and it's been the basis of my sound ever since.) It adds a percussive 'chunk' and a springy kind of boing, like a big rubber band. Point is, even though the 100T is in 25 watt mode and the power tubes are just at the point of breaking up, the percussive chunk and the boing and still there, the amp is not choking up. That's the sign of a well-designed tube amp. Many tube amps, especially vintage ones, will go mushy as they approach max power tube output.
Second is the beautiful self-compression from the power tubes when being driven this hard. Listen to how it sits right where it belongs in the mix and stays there. There's certainly no pedal compressor that could approach this, and you'd have to go several $k in a tube studio compressor to get close. This and all of the harmonics coming from the distorting power tubes makes it tight and present.
Third is the ability of the rig to deliver nuance even when driven hard. That's as much to do with the 410 Neo as the 100T, but the ability to express subtle detail in the middle of chaos is again the sign of an excellent tube design.
ANYway, enough disclaimer. Here's what we do in Texas.
Big nasty primitive blues drone. (Pardon the derailed Freight Train at the first change, this was my first time to do this with these guys):
[Invalid or Expired Link Removed]
Texas roadhouse blues:
[Invalid or Expired Link Removed]
Here's that chunk & boing:
[Invalid or Expired Link Removed]
Texas shuffle:
[Invalid or Expired Link Removed]
Big creamy blues:
[Invalid or Expired Link Removed]
Texas swing:
[Invalid or Expired Link Removed]
This is what I love about this rig, and this bass, and flats. Nasty growling bombast. And here's the train from whence I got my nickname:
[Invalid or Expired Link Removed]
Aggressive riff:
[Invalid or Expired Link Removed]
Light touch and muted. Creamy sweet:
[Invalid or Expired Link Removed]
Impromptu shuffle jam, featuring the overplaying bassist (sorry about that):
[Invalid or Expired Link Removed]
Being a blues band I don't use my Jack Casady Epi with the round wounds, so you'll be hearing my '68 Telecaster type I strung with GHS bright flats that are a little over a year old. I'm running the 100T in 25 watt mode, passive channel volume 6, eq 4-7-2, master on 7. DI in 'post' for just a touch of FOH support. I don't use any pedals, this is stock '68 Tele, original single coil pup, plugged straight into the 100T.
Don't want to beat everyone down, but I'm posting a number of clips as we play a pretty varied list and it's a chance to hear the rig with several sounds and styles.
Here's audio evidence of several things I've been saying about this rig over the years:
First and foremost the beautiful creamy tone when it's round, and the nasty bark and growl when it's angry. I play mostly at the base of neck with my fingers, smacking the strings down on the neck (I discovered this in 1969 when I was 16, what I call 'chunking', and it's been the basis of my sound ever since.) It adds a percussive 'chunk' and a springy kind of boing, like a big rubber band. Point is, even though the 100T is in 25 watt mode and the power tubes are just at the point of breaking up, the percussive chunk and the boing and still there, the amp is not choking up. That's the sign of a well-designed tube amp. Many tube amps, especially vintage ones, will go mushy as they approach max power tube output.
Second is the beautiful self-compression from the power tubes when being driven this hard. Listen to how it sits right where it belongs in the mix and stays there. There's certainly no pedal compressor that could approach this, and you'd have to go several $k in a tube studio compressor to get close. This and all of the harmonics coming from the distorting power tubes makes it tight and present.
Third is the ability of the rig to deliver nuance even when driven hard. That's as much to do with the 410 Neo as the 100T, but the ability to express subtle detail in the middle of chaos is again the sign of an excellent tube design.
ANYway, enough disclaimer. Here's what we do in Texas.
Big nasty primitive blues drone. (Pardon the derailed Freight Train at the first change, this was my first time to do this with these guys):
[Invalid or Expired Link Removed]
Texas roadhouse blues:
[Invalid or Expired Link Removed]
Here's that chunk & boing:
[Invalid or Expired Link Removed]
Texas shuffle:
[Invalid or Expired Link Removed]
Big creamy blues:
[Invalid or Expired Link Removed]
Texas swing:
[Invalid or Expired Link Removed]
This is what I love about this rig, and this bass, and flats. Nasty growling bombast. And here's the train from whence I got my nickname:
[Invalid or Expired Link Removed]
Aggressive riff:
[Invalid or Expired Link Removed]
Light touch and muted. Creamy sweet:
[Invalid or Expired Link Removed]
Impromptu shuffle jam, featuring the overplaying bassist (sorry about that):
[Invalid or Expired Link Removed]
Last edited:
. Will try putting it through a better system at home. Thanks anyway 