Are these amps & cabs the rolls Royce of gear? How come they are not more popular? What do you about this mysterious mfg? Subject line should say Glockenklang.
Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
Glockenklang?
- Thread starter Thir13teen
- Start date
I own a Glockenklang Heart-Rock amp, where the poweramp has been updated to the Heart-Rock II (1000 watts at 2.7 Ohms). Built like a tank, unbelievable clear tone, superb service.
If you're looking for typical Ampeg, Mesa or Orange tones you have to look elsewhere, but if you want the tone of your bass being perfectly reproduced - with all it's details - try a Glockenklang.
If you're looking for typical Ampeg, Mesa or Orange tones you have to look elsewhere, but if you want the tone of your bass being perfectly reproduced - with all it's details - try a Glockenklang.
A bass player I've seen a couple of times, Rani Sharone, of Stolen Babies uses a Glockenklang 4x10" with an Ampeg head (SVT II PRO I think) His tone is really bright and distorted, but that Glockenklang cab has been plenty loud to power the clubs I've seen him at out here.
This was the only time I have ever seen or heard of Glockenklang.
This was the only time I have ever seen or heard of Glockenklang.
I used a glockenlang pre for an alembic I owned that had its orignal electronics malfunction. If their amps are anything like their onboard preamps expect very clear and transparent tone and to reproduce without much coloring the instruments voice.
Definitely nice stuff. VERY expensive in the US, like Walter Woods, which at least partially explains why you don't see them very often.
They have a unique tone signature of fat and warm and big down low, and VERY clean and somewhat hi fi up top, which works for some and not for others.
Also, until recently, all the heads were quite large and heavy. I have the newer Blue Soul (11 pounds) and it is simply superb if you dig the tone profile. Massive output, zero compression, massive articulation and pure tone, and super high quality.
There are only a few small retailers in the US that carry these, so most players don't even know about the stuff. Almost impossible for anyone to 'try before buy' so it is quite a leap to pay that much money on pure reputation for most.
I am totally digging the Blue Soul.... sounds better to me than my old Heartrock, and while it is not a micro, it is light and relatively small.
I've played through a few of the cabs and they are quite nice, but not IMO as 'differentially amazing' as the heads versus the competition.
They have a unique tone signature of fat and warm and big down low, and VERY clean and somewhat hi fi up top, which works for some and not for others.
Also, until recently, all the heads were quite large and heavy. I have the newer Blue Soul (11 pounds) and it is simply superb if you dig the tone profile. Massive output, zero compression, massive articulation and pure tone, and super high quality.
There are only a few small retailers in the US that carry these, so most players don't even know about the stuff. Almost impossible for anyone to 'try before buy' so it is quite a leap to pay that much money on pure reputation for most.
I am totally digging the Blue Soul.... sounds better to me than my old Heartrock, and while it is not a micro, it is light and relatively small.
I've played through a few of the cabs and they are quite nice, but not IMO as 'differentially amazing' as the heads versus the competition.
The Blue Soul uses the same preamp (from their "Soul" amp) as the Heart-Rock as far as I know, but of course the poweramp makes it sound a bit different.
Don't worry, their stuff is very expensive here in Germany too
I believe the preamp is based on the HeartRock II versus the older Heartrock, which most feel is an improvement (a bit more present and even in the midrange).
Really nice head, VERY conservatively rated at 650 watts into 4ohms. Same heavy duty, quality feel as the HeartRock. More power and wump than the Soul in a smaller, lighter format, and for most, unless you are using multiple large cabs that can use the extra power, the Blue Soul will be just as impressive as the HeartRock at a lower price and MUCH smaller, lighter format.
Pricey stuff (in the US, the Blue Soul sells for around $1,800 or so with the carry bag and shipping), but definitely feels and sounds like it should cost that much (again, if you like the tone profile of this company, which is definitely not for everybody). I dig it. As you say, very articulate and transparent, and unusual in the combination of fat, warm, organic low end, and the cleanest, purest upper mids and treble in the business).
For the OP, here is a picture of my Blue Soul on top of my Bergantino AE212. Classy looking piece of gear with the feel, look and slam of a lead sled in a reasonably small, baggable 11 pound format
A few cool features that help communicate the thought that goes into these amps.
- the master volume control is an audiotaper design (like a mixing board volume slider), so you get a very even increase in volume through a large part of its travel. The amp doesn't even start to pump until the master is past noon.
- defeatable EQ so you can quickly A/B the neutral/flat tone of the amp with your EQ settings
- Second input has its own volume control AND a sophisticated mixing board type pad control for hot output basses. So, basically a variable pad versus the 'all or nothing' 15db pad/active setting of most other amps
- indicators for both preamp 'overdrive/clip' and power amp clip, along with indicator lights for mute, effects loop on/off, etc. In other words, indicator lights and switches for almost every function of the amp.
- EQ gain/cut amounts (i.e., +/- db range) are adjusted to match the way the human ear hears frequencies. So, the midrange has a tighter range of boost and cut than the deep bass or upper treble, resulting in the impact of the boost and cut being the same across the EQ bands at the same 'knob setting'. In other words, the EQ knob travel impact on the perceived volume of the boost or cut is adjusted to match the differential non-linear impact of those frequencies on perceived volume. So, a visual inspection of EQ levels across frequencies is highly correlated to what you are actually hearing.
- The class D/SMPS power module is actually a 1000 watt rated high end unit (forgot the name of the manufacturer, but it isn't the typically ICE module used in most micros). So, the 650 watt rating is very conservative, and I assume they have the power output limited down to keep the THD levels and power delivery levels relatively constant across the full range of the amp's frequency output at high volumes.
- The pots they use on this amp feel like the pots you would get on a $5,000 custom home stereo power amp. They almost feel like they are filled with oil or something. Very tight, very smooth, very 'heavy' feeling.
A few cool features that help communicate the thought that goes into these amps.
- the master volume control is an audiotaper design (like a mixing board volume slider), so you get a very even increase in volume through a large part of its travel. The amp doesn't even start to pump until the master is past noon.
- defeatable EQ so you can quickly A/B the neutral/flat tone of the amp with your EQ settings
- Second input has its own volume control AND a sophisticated mixing board type pad control for hot output basses. So, basically a variable pad versus the 'all or nothing' 15db pad/active setting of most other amps
- indicators for both preamp 'overdrive/clip' and power amp clip, along with indicator lights for mute, effects loop on/off, etc. In other words, indicator lights and switches for almost every function of the amp.
- EQ gain/cut amounts (i.e., +/- db range) are adjusted to match the way the human ear hears frequencies. So, the midrange has a tighter range of boost and cut than the deep bass or upper treble, resulting in the impact of the boost and cut being the same across the EQ bands at the same 'knob setting'. In other words, the EQ knob travel impact on the perceived volume of the boost or cut is adjusted to match the differential non-linear impact of those frequencies on perceived volume. So, a visual inspection of EQ levels across frequencies is highly correlated to what you are actually hearing.
- The class D/SMPS power module is actually a 1000 watt rated high end unit (forgot the name of the manufacturer, but it isn't the typically ICE module used in most micros). So, the 650 watt rating is very conservative, and I assume they have the power output limited down to keep the THD levels and power delivery levels relatively constant across the full range of the amp's frequency output at high volumes.
- The pots they use on this amp feel like the pots you would get on a $5,000 custom home stereo power amp. They almost feel like they are filled with oil or something. Very tight, very smooth, very 'heavy' feeling.
For the OP, here is a picture of my Blue Soul on top of my Bergantino AE212. Classy looking piece of gear with the feel, look and slam of a lead sled in a reasonably small, baggable 11 pound format
A few cool features that help communicate the thought that goes into these amps.
- the master volume control is an audiotaper design (like a mixing board volume slider), so you get a very even increase in volume through a large part of its travel. The amp doesn't even start to pump until the master is past noon.
- defeatable EQ so you can quickly A/B the neutral/flat tone of the amp with your EQ settings
- Second input has its own volume control AND a sophisticated mixing board type pad control for hot output basses. So, basically a variable pad versus the 'all or nothing' 15db pad/active setting of most other amps
- indicators for both preamp 'overdrive/clip' and power amp clip, along with indicator lights for mute, effects loop on/off, etc. In other words, indicator lights and switches for almost every function of the amp.
- EQ gain/cut amounts (i.e., +/- db range) are adjusted to match the way the human ear hears frequencies. So, the midrange has a tighter range of boost and cut than the deep bass or upper treble, resulting in the impact of the boost and cut being the same across the EQ bands at the same 'knob setting'. In other words, the EQ knob travel impact on the perceived volume of the boost or cut is adjusted to match the differential non-linear impact of those frequencies on perceived volume. So, a visual inspection of EQ levels across frequencies is highly correlated to what you are actually hearing.
- The class D/SMPS power module is actually a 1000 watt rated high end unit (forgot the name of the manufacturer, but it isn't the typically ICE module used in most micros). So, the 650 watt rating is very conservative, and I assume they have the power output limited down to keep the THD levels and power delivery levels relatively constant across the full range of the amp's frequency output at high volumes.
- The pots they use on this amp feel like the pots you would get on a $5,000 custom home stereo power amp. They almost feel like they are filled with oil or something. Very tight, very smooth, very 'heavy' feeling.
G.A.S!!!
Interestingly, I kind of pooh poohed this amp when it was first announced and when I played it at NAMM (even though I realized trying something at NAMM is almost worse than not being able to try it at all!). Initially, I thought, what is the big deal with another 650 watt amp that is light but not a micro? What's the big deal with this.
I didn't totally love my HeartRock, but when I started to read the reviews of how many people felt the HeartRock II took care of some of the tonal issues I was not particularly happy with, and since I sold a ton of stuff this year, I thought 'what the heck' (also, I found out that Dan Lenard was selling these, and he is just a complete joy to do business with... one of those guys you enjoy giving your money).
When I got it, I was quickly blown away. Headroom and open low end that literally brings to mind a CA9 or whatever... this huge, powerful, controlled WUMP down low, but very articulate.
So, I'm very pleased with it. Like any other head, it has a voice. It isn't about grindy, bright at all. It really is 'warm lows meets super hi fi clean hi's), which results in the head giving every bass I own a sort of 'Glock voicing'. But man, it is a good voicing. This head is the definition of 'transparency' to my ears... meaning super wide range, with very clean reproduction from the upper mids on up. Hard to do that without sounding 'sterile', but Glock figured it out.
Highly recommended. I tell you what, for the they guys playing basses like Fodera's and other soap bar loaded bass.... i.e., very articulate, big sounding instruments, and who want a bit of that 'playing through a hi end tube mic preamp into a mixing board, this amp kills.
Sounds good to me.
I'm down to the Blue Soul or the TecAmp Puma 900 at the moment, both look good. Unfortunately, I'm not able to try any of them. Have to make sure to get the 30 return option.
Then there's the GK MB800 which is a lot less money, but I don't think I would like those agressive upper mids with the Barefaced Big Twin T. Kind of tired real quick of that heavy GK voicing also.
Blue Soul vs Puma ut is!
I'm down to the Blue Soul or the TecAmp Puma 900 at the moment, both look good. Unfortunately, I'm not able to try any of them. Have to make sure to get the 30 return option.
Then there's the GK MB800 which is a lot less money, but I don't think I would like those agressive upper mids with the Barefaced Big Twin T. Kind of tired real quick of that heavy GK voicing also.
Blue Soul vs Puma ut is!
Sounds good to me.
I'm down to the Blue Soul or the TecAmp Puma 900 at the moment, both look good. Unfortunately, I'm not able to try any of them. Have to make sure to get the 30 return option.
Then there's the GK MB800 which is a lot less money, but I don't think I would like those agressive upper mids with the Barefaced Big Twin T. Kind of tired real quick of that heavy GK voicing also.
Blue Soul vs Puma ut is!
Hard to beat the Puma900 for the cost. A bit brighter up top and not as full down low, but should sound very good with the Big Twin. I have gotten a few reports back from a TecAmp retailer of a few complaining about 'noise' in the upper midrange from the Puma heads when used with fEARful cabs (which are similar to some of Alex's cab). I have no idea if that is an issue with the fEARful crossover or a particular mid driver, or the head, or if its just guys sitting at home cranking by themselves and hearing stuff that isn't there
I have glock cabs and they are very good. The cabs have similar qualities of the heads. Clean without being sterile. I have not tried the blue soul head, but was not a total fan of the original soul head. It was a great sounding head, but a little underpowered.
As KJung mentioned, it does really sound great with basses with soapbar pickups. I often run it with a poweramp with either a focusrite Isa One or an Avalon U5. Very clean sounding cabs. It really has a beautiful tone... Yeah I said beautiful.. the only way I could describe it.
As KJung mentioned, it does really sound great with basses with soapbar pickups. I often run it with a poweramp with either a focusrite Isa One or an Avalon U5. Very clean sounding cabs. It really has a beautiful tone... Yeah I said beautiful.. the only way I could describe it.
Sounds strange....your last option may very well be correct.
Yeah, something a bit strange there, but who knows. I LOVE the new Puma voicing, and the size/weight/power ratio is amazing. Not cheap, but won't break the bank either.
Wow, great feedback guys. I guess now I'm going to be on a mission to try one of these heads. The only reason I remember them is because Bass Player did a review on some of their geat like 15 yrs ago.
I would just need something like a 1x15 and a head/preamp.
Now my gears are thinking; what if I added their onboard preamp to my passive jazz bass?
I would just need something like a 1x15 and a head/preamp.
Now my gears are thinking; what if I added their onboard preamp to my passive jazz bass?
The Glock onboard is a bit of an unusual design.... VERY high treble control that basically just adds or subtracts very high upper treble.
Also, one of the ways I describe my Glock with my more classic voiced instruments (P and J's) is that it 'sucks the vintage out of them'. I never use the Glock with my PBass.... pure choice there... too clean and crisp, even with significant EQ. My active 70's J with single coils KILLS through the rig I posted, BUT, it sounds more 'modern' than 'classic'. That old school upper midrange grind that is so associated with a 70's J is smoothed so much that my J sounds more like my old Fodera. Nothing wrong with that, but if you want a vintage J to sound like the recorded tones that many of us have come to love with a passive J (or P), I would not really recommend these heads.
The TecAmp Puma500/900 is a great mix of 'high quality tone' but still with the midrange distortion and brightness and tightness that makes a Fender type instrument 'sound like most want it to sound'. IMO there.
I wanted to love Glock amps so badly; I convinced myself that I HAD to have one. However, I wasn't about to drop $5000 on an amp without playing through it first.
So, I took my bass to the big bass place in L.A. and played through a Heart-Rock II. I was so disappointed that I couldn't speak.
Glock amps faithfully reproduce the sound of your bass, as was stated earlier in this thread. They do nothing more. To me, it sounded completely sterile.
This is NOT a put-down to Glockenklang. I simply have different taste in amps. I have played through everything I can find, and I always go back to Mesa/Boogie amps. They provide the sound that I love. Just a matter of personal preference.
I do feel bad for the folks who love Glock amps and buy them; not only are they expensive to an order of magnitude that I can't understand, they must be made of moon rock, cuz they weigh a metric ton.
Glocks are often used for instrument evaluations in Bass Player and similar magazines, as the sound is so clear and unfettered that it provides the most faithful reproduction of the instrument itself. So, like anything else, play it first. Make sure you love it before you buy it.
So, I took my bass to the big bass place in L.A. and played through a Heart-Rock II. I was so disappointed that I couldn't speak.
Glock amps faithfully reproduce the sound of your bass, as was stated earlier in this thread. They do nothing more. To me, it sounded completely sterile.
This is NOT a put-down to Glockenklang. I simply have different taste in amps. I have played through everything I can find, and I always go back to Mesa/Boogie amps. They provide the sound that I love. Just a matter of personal preference.
I do feel bad for the folks who love Glock amps and buy them; not only are they expensive to an order of magnitude that I can't understand, they must be made of moon rock, cuz they weigh a metric ton.
Glocks are often used for instrument evaluations in Bass Player and similar magazines, as the sound is so clear and unfettered that it provides the most faithful reproduction of the instrument itself. So, like anything else, play it first. Make sure you love it before you buy it.
+1 on the tone. VERY clean, very transparent, unique tone. I always try to communicate to people considering these amps that they have quite a unique tone that some will love and like you, some with hate. If you dig the more tubey, midrange complex Mesa models, the Glock would not be a good thing if that is the 'sound in your head'.
Regarding weight, the Heart Rock II weighs about the same as, for example the DB750, so it is the typical 3 space lead sled weight. With the Blue Soul out now, it would be hard to recommend that one any more.
That is why the Blue Soul is so stunning. VERY similar performance to the very heavy HeartRock, and 11 pounds. I guess you could say that similar to the HeartRock, it is among the heaviest amps in its class... the Blue Soul is not a micro. But man, does it slam.
I will again post up that the low end of the Glock amps is very tubey and warm. It is that zero distortion top end that people either love or hate. I describe it as 'sucking the vintage out of my Fender style instrument'. It gives you a bit of Mark King up top, whether you want it or not.
Again, super quality, super strong, lead sled type low end, 11 pounds, under $2,000.
Edit: Posts like yours are very important when you get into this high end stuff like Glock or Walter Woods. It is easy for those who aren't that familiar with this stuff to think, 'OK, this is the best stuff money can buy'. That is true on one dimension... the build quality and components are outstanding. However, if you don't like the inherent tone of the unit, it isn't worth a nickel! High quality and superior specs do not necessarily translate into preferred/great tone for many. This is true with basses, cabs, and amps IMO.
