Don't worry dude! I think it may actually now be 550...different power section in the newer models?
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Genz Benz Shuttle 9.0 Appreciation Thread
- Thread starter Red Planet
- Start date
AFAIK, when the output limit LED lights up on the Shuttle, it is only hitting something like 1/4 (-6 dB) of its output potential (and if it not hitting the output limit light at all, then the output power is even lower than that!). From what I understand, by design, pushing well into the limiter circuit is necessary if you want to get the full 900 W output. Further, although 900 W and 500 W seem like vastly different figures, they are not in terms of acoustic volume, ending up as just 2.5 dB louder, which is noticeable, but nothing near twice the apparent volume (10 dB). So, realistically, the Shuttle should sound "a bit louder" if both amps are pushed to their absolute limit.
I just didn't care for B Strings "REALLY?!?!?! REALLY?!?!?!?" comment - sounds a little fired up to me. Yes , I do play a 4 string Pedulla Thunderbass and a 6 string Skjold bass. I was doing the test with my Pedulla and I had no problem at all clipping the input. I also have no problem clipping the input on my F500 - both of my basses have really hot outputs actually. I agree with your wise words - "stick what works for you" - and be happy with it. Someone wanted my opinion when I played through both heads - so I gave it. Just because I've been playing bass over 25 years am I an expert at amps / sound - by no means!
I think when you see the limit led light up that some peeps moght think "that's it". But you do have more to go. We all those amps that once you do hit the red..oof, this is it.
Tonight I get to hear the Shuttle in a LOUD setting with the new DNA 410 and 210 Cabs. Going to be LOTS of fun.
Tonight I get to hear the Shuttle in a LOUD setting with the new DNA 410 and 210 Cabs. Going to be LOTS of fun.
A little more love for the Shuttle 9.0.
About 6 months ago I purchased a shiny new Shuttle 9.0 and was really, really happy with it. Then, in my usual fashion, I went through a "what else is out there" phase and I sold it to try out a few other "new and improved, latest and greatest" amps that were coming on the market.
I tried the new Markbass SD1200, the new Iamp Pro and a few others. After a lot of wasted time and effort, I eventually came right back to the Shuttle 9.0.
The Markbass was an excellent product but just didn't have, IMHO, the same build quality and "plug and play" tone of the Shuttle 9.0. It was ferociously loud but nearly all of the volume was between "8 o'clock and 10 o'clock" on the master volume knob. This made it very difficult to control as it seemed to go from 0 - insanity loud in no time. It also had noticeably more background "hiss" at idle than the Shuttle as well. The Shuttle gets scary/painfully loud, but the taper on the volume is much more linear and it is much easier for me to work with.
The Iamp Pro was VERY, VERY nice! It is very clean, clear and incredibly flexible. Great build quality, endless tone shaping, etc. With that said, I could easily dial in the same tone in the Shuttle with just a little bit of treble boost and a slight tweek in the mids. I am more of a "set it and forget it" type player and, having owned an Iamp 800 in the past, I knew that I wouldn't use all of the awesome EQ features. The Iamp was nice and quiet at idle too but not any more so than the Shuttle. The Shuttle is just an exceptionally quiet (non-"hissy") amp IMHO. For me it became a size and price issue. The Iamp Pro was nice but it wasn't $500 nicer than the Shuttle.
So, I have concluded my experimentation and I've found the Shuttle 9.0 to be the best amp for me in terms of quality, power, tone, value, size/portability, ease of use and legendary customer service.
Just my $.02.
About 6 months ago I purchased a shiny new Shuttle 9.0 and was really, really happy with it. Then, in my usual fashion, I went through a "what else is out there" phase and I sold it to try out a few other "new and improved, latest and greatest" amps that were coming on the market.
I tried the new Markbass SD1200, the new Iamp Pro and a few others. After a lot of wasted time and effort, I eventually came right back to the Shuttle 9.0.
The Markbass was an excellent product but just didn't have, IMHO, the same build quality and "plug and play" tone of the Shuttle 9.0. It was ferociously loud but nearly all of the volume was between "8 o'clock and 10 o'clock" on the master volume knob. This made it very difficult to control as it seemed to go from 0 - insanity loud in no time. It also had noticeably more background "hiss" at idle than the Shuttle as well. The Shuttle gets scary/painfully loud, but the taper on the volume is much more linear and it is much easier for me to work with.
The Iamp Pro was VERY, VERY nice! It is very clean, clear and incredibly flexible. Great build quality, endless tone shaping, etc. With that said, I could easily dial in the same tone in the Shuttle with just a little bit of treble boost and a slight tweek in the mids. I am more of a "set it and forget it" type player and, having owned an Iamp 800 in the past, I knew that I wouldn't use all of the awesome EQ features. The Iamp was nice and quiet at idle too but not any more so than the Shuttle. The Shuttle is just an exceptionally quiet (non-"hissy") amp IMHO. For me it became a size and price issue. The Iamp Pro was nice but it wasn't $500 nicer than the Shuttle.
So, I have concluded my experimentation and I've found the Shuttle 9.0 to be the best amp for me in terms of quality, power, tone, value, size/portability, ease of use and legendary customer service.
Just my $.02.
Please don't mistake my poor attempt at "Saturday Night Live" "Really?!?!" news segment take off humor as being angry. Couldn't be farther from the truth.
I realize not everyone on Talkbass is as knowledgeable about gear as Ken Jung, but there are certain basics to know that will greatly help when auditioning gear. It often seems to happen that people don't have a full grasp of how to use a piece of gear, then give it a bad review, which many other people read and take as fact. I've done this myself and hate how I feel afterwards. Again there was no malice meant in my comments. The best we can hope for is an educated exchange of useful information. (and to give Tom Bowlus a hard time).
Not trying to sound snarky or anything but I don’t think you properly understood the gain and volume on the 9.0. It took me a while to understand the gain stages and volumes of the 9.0 also. I even owned a 6.0 for a while and didn’t understand how to pump a GB to its potential until I had owned a 9.0 and read a bit on Talk Bass. From my experience and your assessment I’d have to say it’s a bit unfair. This isn’t an opinion as much as it is an educated observation through stand alone or combinations of 112 & 210 Avatars and a 410SVT-HE. I owned an F1 for 6mo and a 9.0 for about the same time and output wise the F1 is simply not as loud. My guess is you were choking the gain stage at the gain volume or to afraid to turn up master volume. Both of these areas should have been explored before you made your opinion.
I think it is seriously easy to think Markbass is just as loud when you’re running your Markbass full bore and the 9.0 at half.
As for my opinion having had more experience with the two, I’d say they are both great heads of different flavors. Markbass seems to be the flavor for (dare I say most) though the 9.0 is more the flavor for me, ummm like chocolate caramel (opposed to vanilla raspberry). As far as output the 9.0 takes the cake, not by godly amounts but enough to where the 9.0 could rock some gigs without a PA that the F1 cannot. But with PA support its chocolate to vanilla. As far as versatility, I think the 9.0’s gain stage and stomp-able filters set it apart, however with the F500’s para EQ many people will disagree with that assessment.
I think it is seriously easy to think Markbass is just as loud when you’re running your Markbass full bore and the 9.0 at half.
As for my opinion having had more experience with the two, I’d say they are both great heads of different flavors. Markbass seems to be the flavor for (dare I say most) though the 9.0 is more the flavor for me, ummm like chocolate caramel (opposed to vanilla raspberry). As far as output the 9.0 takes the cake, not by godly amounts but enough to where the 9.0 could rock some gigs without a PA that the F1 cannot. But with PA support its chocolate to vanilla. As far as versatility, I think the 9.0’s gain stage and stomp-able filters set it apart, however with the F500’s para EQ many people will disagree with that assessment.
hasbeen
Commercial User
- Sep 23, 2004
- 4,806
- 2,667
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- Executive Vice President, The Adam Hall Group
The EQ section is a VERY important part of the gain structure on our amps. If you run it "flat" or especially, if you use the mids to cut certain frequencies, it won't sound as loud as it could or, it will lack some oomph.
If somebody states that our amp doesn't "sound" like 900 watts, it is a very relevant question to ask how they have it eq'd.
I didn't even take that into consideration.
When I boost a little lows, mids, (about 200) and highs, it really boosts the output, even leaving the volumes the same.
Thanks for the comparison -- very good information!
I'm interested in all three of the amps that you mention here (especially the iAmp Pro -- the 2ohm capability is a big plus for some users).
How would you compare the low end between the 9.0 and the Pro?
- Feb 12, 2006
- 60,964
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- Development Engineer-Mesa Boogie, Development Engineer-Genzler (pedals), Product Support-Genz Benz
Since these questions seem to have come up a few times, please let me explain this a little better and dispell some myths and mis-information that is being bantered about.
1. Control tapers... over the years, a common theme that the pro players have asked for is that the gain, volume and eq controls behave in a predictable, smooth and even manner. This means that when the gain control is turned up, the volume difference is relatively independant of where in the rotation the control is. A common marketing ploy is to put most of the volume increase in the first say 40% of the rotation which gives the "MARKETING IMPRESSION" that the amp is more powerful. In practice, this makes the amp less useful because of the limitation of fine adjustements in that first 40% of the rotation. In essence, the remaining 60% of the rotation is being thrown away rather than being used for better user control. All of our controls are generally more linear feeling than many of the amps out there. This means that you will not experience lots of gain jumping up early in the rotation.
2. Output Limit LED... this indicates that the amp is beginning to enter the output tube emulation limiting circuitry and that the mild compression and harmonics addition normally associated with the overdriving of power tubes is beginning to occur. This gives the player a reference point as to where in the power curve they are operating so that they know the type of tone top expect. The same applies to the input clip or O/D LED on the tube channel of our amps. The point is to know where you are with a confirming indicator. There is still more power on tap when the output limit indicator flashes, the amount of flashing determines the degree of output tube emulated overdrive. This is just like how a tube amp's output stage operates.
3. Power rating... The Shuttle 6 and 9 are rated at 600 watts RMS and 900 watts RMS into 4 ohms. This is exactly what they do, real power. Doesn't matter if it's light weight, heavy weight, class AB/G/H or D, SMPS or traditional "linear" supply.
4. How EQ affects volume... Of course eq directly impacts the volume, either up or down. Especially midrange. By boosting the midrange band up by 3dB, you are effectively doubling the power delivered in that band for a fixed gain/volume setting. Cutting the mid by 3dB reduces by 1/2 the power delivered in that band. Same applies to the LF and HF bands. This applies to ALL amps by ALL manufacturers.
5. Low end response... The Shuttles have a switched function filter called "LF boost" which was previously called "LF Extend" on the GBE series amps. This filter alters the LF characteristics of the amp by shifting down the internal HPF and modifying the knee response (asymetrically). The amp by design will have less low end response with the switch in the out position when playing loud, which matches better the compact and sub-compact cabinet characteristics that many manufacturers (including us) have introduced. When playing with larger, more traditional cabinets (and even the smaller cabinest at realistic volumes) this switch should be pressed in to select the more extended low end response curve. The more accurate description of the function is LF Extend but LF Boost is easier for the sales folks to explain I suppose.
Hopes this helps clarify some of the misunderstandings.
1. Control tapers... over the years, a common theme that the pro players have asked for is that the gain, volume and eq controls behave in a predictable, smooth and even manner. This means that when the gain control is turned up, the volume difference is relatively independant of where in the rotation the control is. A common marketing ploy is to put most of the volume increase in the first say 40% of the rotation which gives the "MARKETING IMPRESSION" that the amp is more powerful. In practice, this makes the amp less useful because of the limitation of fine adjustements in that first 40% of the rotation. In essence, the remaining 60% of the rotation is being thrown away rather than being used for better user control. All of our controls are generally more linear feeling than many of the amps out there. This means that you will not experience lots of gain jumping up early in the rotation.
2. Output Limit LED... this indicates that the amp is beginning to enter the output tube emulation limiting circuitry and that the mild compression and harmonics addition normally associated with the overdriving of power tubes is beginning to occur. This gives the player a reference point as to where in the power curve they are operating so that they know the type of tone top expect. The same applies to the input clip or O/D LED on the tube channel of our amps. The point is to know where you are with a confirming indicator. There is still more power on tap when the output limit indicator flashes, the amount of flashing determines the degree of output tube emulated overdrive. This is just like how a tube amp's output stage operates.
3. Power rating... The Shuttle 6 and 9 are rated at 600 watts RMS and 900 watts RMS into 4 ohms. This is exactly what they do, real power. Doesn't matter if it's light weight, heavy weight, class AB/G/H or D, SMPS or traditional "linear" supply.
4. How EQ affects volume... Of course eq directly impacts the volume, either up or down. Especially midrange. By boosting the midrange band up by 3dB, you are effectively doubling the power delivered in that band for a fixed gain/volume setting. Cutting the mid by 3dB reduces by 1/2 the power delivered in that band. Same applies to the LF and HF bands. This applies to ALL amps by ALL manufacturers.
5. Low end response... The Shuttles have a switched function filter called "LF boost" which was previously called "LF Extend" on the GBE series amps. This filter alters the LF characteristics of the amp by shifting down the internal HPF and modifying the knee response (asymetrically). The amp by design will have less low end response with the switch in the out position when playing loud, which matches better the compact and sub-compact cabinet characteristics that many manufacturers (including us) have introduced. When playing with larger, more traditional cabinets (and even the smaller cabinest at realistic volumes) this switch should be pressed in to select the more extended low end response curve. The more accurate description of the function is LF Extend but LF Boost is easier for the sales folks to explain I suppose.
Hopes this helps clarify some of the misunderstandings.
The low end of the Shuttle 9.0 is excellent and was as good as the Iamp Pro even without the Shuttle's low end boost engaged, IMHO. It has a very smooth, full and well defined low end. It is powerful and rich without sounding muffled, boomy or slow. Plenty of punch and definition going on. It is also very easy to tailor with the controls available.
The low end of the Markbass SD1200 just had a different "feel" to it. Loud without a doubt and relatively good tone, but just not as smooth and natural as the Shuttle, if that makes any sense. To me it just wasn't as satisfying and "meaty".
I am NOT a tube kind of guy. I love clean, even, some would say "transparent" solid state tone. My favorite amps historically have been the GK 1001-RB II, the Markbass SD800, the Iamp 800, the Markbass LMII as well as my old Demeter VTBP-201S preamp into a Crest power amp.
The bottom line for me is that the Shuttle simply out performs amps costing and weighing twice as much and really meets/exceeds my tone expectations.
If you are a real knob tweeker, love adjusting specific frequencies, and are big into "tone sculpting" then the Iamp Pro is a great amp. You can push buttons, slide sliders, and twist knobs on that bad boy all day long. It has got plenty of power and sounds great. You also better bring your wallet.
If you're playing in a big, wicked loud, hard driving band with big cabs and little or no PA support, the Markbass SD1200 would be a killer amp. Turn that thing up between 10 and 12 o'clock on the volume knob and you could peel the paint off the walls and seriously hurt people. You also better bring your wallet and be prepared to deal with Guitar Center people and the Markbass customer service process.
For me, the Shuttle 9.0 is a 99.9% solution for all my gigging needs. Great tone, great power, easy to use, set and forget, great DI, and the fact that a couple guys from Genz Benz regularly cruise TB doesn't hurt either. That alone speaks volumes to me about the level of customer service that I would receive if I ever did have a problem with the Shuttle.
Again, just my $.02.
Hey - I don't want to offend anyone ~ and I never claimed to be an expert on bass heads ~ I just gave my opinion ~ and like I said "take it or leave it". I just turned both amps up as load as I felt comfortable without fear of blowing something up. I never said I had the volume knobs set the same on both amps - I just had them cranked up as far as I wanted to push them. To me both amps sounded good loud - not a squashed signal as you suggested. As far as linear taper pots go - maybe they should put something about that in the manual for us laymen who aren't "sound geeks". Maybe they did and I missed it. I'm just saying that the Shuttle 9.0 isn't nearly as load as other bass heads that I've owned in that that were rated in the same power (watt) range. Yes it probably is more powerful than the F500 , just not as much as I expected. I tried to be as nice as I could in my comparison so as not to offend anyone , but I figured that someone would get "fired up" over my OPINION. Someone wanted my opinion - so I gave it. You know what they say opinions are like?? I can't say on here because there is a naughty word in that saying.
Keep in mind that going from 500 watts to 900 watts will raise the volume less than 3 dB.
This should be included with every Shuttle sold and in an FAQ on GB's web site. It would clear up a LOT of confusion.
Believe me on this, as per volume "issues" or questions.
The last gig I did, was with a loud drummer, a loud guitarist and a keyboard player with his big leslie. Gain was less than half, volume was dimed, and master was about halfway. Only low boost was engaged, and I was VERY loud.
Note: My main bass, Lakland, has a HOT output, and when we had a jam the last set, a guy came up with a passive jazz, and with the settings I had, the amp sounded like it just lost 400 watts or more...so, crank the input gain and BAM! that amp came back to life. We ran the eq section flat most the time. I fiddled with the midrange here and there, for grins and giggles.
Its all in how you dial it in.
The last gig I did, was with a loud drummer, a loud guitarist and a keyboard player with his big leslie. Gain was less than half, volume was dimed, and master was about halfway. Only low boost was engaged, and I was VERY loud.
Note: My main bass, Lakland, has a HOT output, and when we had a jam the last set, a guy came up with a passive jazz, and with the settings I had, the amp sounded like it just lost 400 watts or more...so, crank the input gain and BAM! that amp came back to life. We ran the eq section flat most the time. I fiddled with the midrange here and there, for grins and giggles.
Its all in how you dial it in.
Been playing with my Shuttle 9.0 since it arrived on Friday. TBH I chose it because of comments read on this board, I wanted to replace heavy HA3500, stay with a tube preamp and case and get more power into single 8ohm HyDrive 410.
With my old Hartke Transient Attack I always was able to get a good tone but definitely was clipping with the volume up (240W for 8ohms). Also with my DC and/or TW EMG pickups I could never really drive the tube preamp hard enough to really change the tone. My Pedulla Hexabuzz could to some extent (yeah - super hot output!). The Shuttle is easy to dial in more gain and get the tone with either guitar. Nice!
On the Hartke I usually was very light on the EQ and now I have 3 band mid-sweep on my both my bass and the Shuttle I've got all I need without a bunch of twiddling too.
OK so volume-wise just testing in my 18x18 living room (bad test) I could get the clip light to show and first thought I was reaching the limit. I turned it past it (with ear-plugs) and definitely has a lot of room past there and I could not comment of the tube power-stage emulation as the room was doing a much worse of a job than it was. I then put my Compressore in front with a little ratio and it made the light stay off at the same perceived volume. I usually had a little comp dialed in on the Hartke most of the time.
Anyways, the last point is basically I too at first thought it was reaching the limit but eventually realized I had some reserve/headroom - plus if I ever got another 4x10 or 1x15 this amp would step up to powering both just fine.
I am happy with mine. I got the little case, it is tight and it's also tight to get even my short speakon cable and power lead in there - but man it is fun carrying this little guy on the shoulder, guitar on the other shoulder and lifting the cab in one trip.
One thing I am trying to figure out is the best way to make it stay put on top the cab. Any feet would make it tighter to fit in the bag so maybe a one of those little rubberly pads you stick on your dash to hold things might be best rolled up in the side pocket - or left attached to top of cabinet.
Trying to decide whether to keep the 3500 as backup or monitor amp (working on building a PA right now) or sell it. Seems like they don't fetch a huge amount so since it still sounds fantastic I probably will keep.
With my old Hartke Transient Attack I always was able to get a good tone but definitely was clipping with the volume up (240W for 8ohms). Also with my DC and/or TW EMG pickups I could never really drive the tube preamp hard enough to really change the tone. My Pedulla Hexabuzz could to some extent (yeah - super hot output!). The Shuttle is easy to dial in more gain and get the tone with either guitar. Nice!
On the Hartke I usually was very light on the EQ and now I have 3 band mid-sweep on my both my bass and the Shuttle I've got all I need without a bunch of twiddling too.
OK so volume-wise just testing in my 18x18 living room (bad test) I could get the clip light to show and first thought I was reaching the limit. I turned it past it (with ear-plugs) and definitely has a lot of room past there and I could not comment of the tube power-stage emulation as the room was doing a much worse of a job than it was. I then put my Compressore in front with a little ratio and it made the light stay off at the same perceived volume. I usually had a little comp dialed in on the Hartke most of the time.
Anyways, the last point is basically I too at first thought it was reaching the limit but eventually realized I had some reserve/headroom - plus if I ever got another 4x10 or 1x15 this amp would step up to powering both just fine.
I am happy with mine. I got the little case, it is tight and it's also tight to get even my short speakon cable and power lead in there - but man it is fun carrying this little guy on the shoulder, guitar on the other shoulder and lifting the cab in one trip.
One thing I am trying to figure out is the best way to make it stay put on top the cab. Any feet would make it tighter to fit in the bag so maybe a one of those little rubberly pads you stick on your dash to hold things might be best rolled up in the side pocket - or left attached to top of cabinet.
Trying to decide whether to keep the 3500 as backup or monitor amp (working on building a PA right now) or sell it. Seems like they don't fetch a huge amount so since it still sounds fantastic I probably will keep.
I really find it unfortunate that GB tried to take the high road by giving us an amp design that is truer to what "should be" regarding gain levels and linearity while those droves of MB owners having gotten used to be cheated expect more cheating from everyone else.
I owned the MB LMIII, TA501, and played an SD800 extensively, while also owning the GB Shuttle Max 12.0 and Shuttle 9.0.
To me it is a ridiculous claim to think the the MB amps can even come close to the loudness and thump the 9.0 can deliver but I can see how this idea gets there.
With the LMIII, TA501, and SD800 all had most of it's available range on input at the first half of travel on the pot as well as the master volume. My Passive P Bass would clip the input at any setting above the 3rd notch on the input gain. Setting the amps input not to clip, running the amp flat, the master had no volume increase past half way. It was like the amps volume controls had really on half their travel the rest of the travel was there for looks only. I also found the Bas EQ control to be cheated in this manner as well. You could not use the Bass control to boost any as it would rob the amp of power thus making the Bass control a cut only knob. Then when trying to push these amps further to compete with my loud band mates it would just turn to squish.
I like the overall tone of the LMIII, it just could not deliver the goods when called upon. The TA501 was lacking in low end and the SD800 was no louder than an LMII/III. I tried for months to make these amps work. I owned the first LMIII to hit the streets. I just could not get the horse power I needed.
With the Shuttle the design just clicks with me I guess.
The Input section I can set half way (both controls) with no clipping and should I want to clip it it's a nice clip not a hard pop. The master works evenly from 0 to 100 MPH
.
I can see how some get confused by the Output Limiter light but to me it makes perfect sense. To be able to best control ones tonal shaping, the light allows you to know when the tubey sound in the power section is starting to engage. You can set the amp for so many different sounds. You can get overdrive from the preamp, push the power section hard and get that classic old school tube amp grind or it can be clean marined. The grind into a sealed 8x10 is as close as I ever want to be to Ampeg.
I stopped looking when I got the Genz Benz Shuttle 9.0. It is the best Bass Amplifier I have ever been in the presence of period. It will stomp all these other lightweight amps into the dirt. Pure and simple. The overall tone is what I'm really looking for in the 9.0. It's warm and honey round. Old School with much more authority than an SVT ever though of having.
Lately I have pretty much been playing Upright solely. I'm playing the 9.0 using one Berg HT112ER cab on a stand. 500 watts into one tiny small 8 ohm cab and kaboom! My David Gage pickup helps as well as the Fdeck Pre but it is the Shuttle 9.0 that is doing all the work.
Have a gig booked all next weekend in this fancy smanshy place and that is the rig I'll be taking. Can not wait. It is such a pleasure to have my Upright Sound working for me and loud enough while being small and light.
Here ye here ye all hale the Shuttle 9.0!
Thread.
I owned the MB LMIII, TA501, and played an SD800 extensively, while also owning the GB Shuttle Max 12.0 and Shuttle 9.0.
To me it is a ridiculous claim to think the the MB amps can even come close to the loudness and thump the 9.0 can deliver but I can see how this idea gets there.
With the LMIII, TA501, and SD800 all had most of it's available range on input at the first half of travel on the pot as well as the master volume. My Passive P Bass would clip the input at any setting above the 3rd notch on the input gain. Setting the amps input not to clip, running the amp flat, the master had no volume increase past half way. It was like the amps volume controls had really on half their travel the rest of the travel was there for looks only. I also found the Bas EQ control to be cheated in this manner as well. You could not use the Bass control to boost any as it would rob the amp of power thus making the Bass control a cut only knob. Then when trying to push these amps further to compete with my loud band mates it would just turn to squish.
I like the overall tone of the LMIII, it just could not deliver the goods when called upon. The TA501 was lacking in low end and the SD800 was no louder than an LMII/III. I tried for months to make these amps work. I owned the first LMIII to hit the streets. I just could not get the horse power I needed.
With the Shuttle the design just clicks with me I guess.
The Input section I can set half way (both controls) with no clipping and should I want to clip it it's a nice clip not a hard pop. The master works evenly from 0 to 100 MPH
. I can see how some get confused by the Output Limiter light but to me it makes perfect sense. To be able to best control ones tonal shaping, the light allows you to know when the tubey sound in the power section is starting to engage. You can set the amp for so many different sounds. You can get overdrive from the preamp, push the power section hard and get that classic old school tube amp grind or it can be clean marined. The grind into a sealed 8x10 is as close as I ever want to be to Ampeg.
I stopped looking when I got the Genz Benz Shuttle 9.0. It is the best Bass Amplifier I have ever been in the presence of period. It will stomp all these other lightweight amps into the dirt. Pure and simple. The overall tone is what I'm really looking for in the 9.0. It's warm and honey round. Old School with much more authority than an SVT ever though of having.
Lately I have pretty much been playing Upright solely. I'm playing the 9.0 using one Berg HT112ER cab on a stand. 500 watts into one tiny small 8 ohm cab and kaboom! My David Gage pickup helps as well as the Fdeck Pre but it is the Shuttle 9.0 that is doing all the work.
Have a gig booked all next weekend in this fancy smanshy place and that is the rig I'll be taking. Can not wait. It is such a pleasure to have my Upright Sound working for me and loud enough while being small and light.
Here ye here ye all hale the Shuttle 9.0!
Thread.
