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Help me pick a rig? TH500/Mesa 800/TF.5/Rumble 800

Your R&B amp Choice?

  • TH 500

    Votes: 40 25.8%

  • Mesa 800

    Votes: 93 60.0%

  • Trick fish Bullhead .5

    Votes: 6 3.9%

  • Rumble 800

    Votes: 16 10.3%
  • Total voters
    155
Tonecaster

Tonecaster

Dec 10, 2011
523
841
Carlsbad, CA
#1
First off, apologies for posting this question again, I’ve seen similar questions, but not for a while.

Getting back into playing after a 30-year hiatus in advertising. Played professionally in the mid-late ’70s and early ’80s. Mostly club bands, corporate gigs, sessions, and some pit work.

I will be playing primarily older and some newer R&B, funk, jazz, and a limited amount of classes rock. Mostly corporate/wedding/club/worship gigs.
Instruments are my ’73 Jazz with RW’s and a newer P with flats.
Looking for a good solid classic tone. Clean, but definitely not hi-fi/sterile.

Favorite bassists: Jamerson (duh), Carter, Graham, Verdine White, George Porter, Louis Johnson, Richard Davis, Bernard Edwards, Duck Dunn, Carol Kaye, Pino Palladino, Sean Hurley, and so many more...

Slap/pluck, but only as needed. I was known as the bassist that everyone invited back. I like to sit well in the mix, (and be a good “hang" as they say now).

No need, at most, for more than a *tiny* bit of grit/OD to emulate tube amps.

Previously played with Marshall Major (ugh)/Sunn T/SVT/and Crown/JBL system (prog-rock days…)

Don’t want to carry a tube amp, but feel free to convince me. Find I prefer 12’s over 10’s or 15’s. I guess my tastes have changed. Would prefer 2 - 12 cabs, so I cab split one for cocktail hour. Prefer lighter cabs, but some have mentioned that the lightweight cabs don't sound as nice. I go to the gym daily, so I suppose I can suck it up.

Cost not really a factor. I know that the Fender is a bit of an outlier here, but included it as it gets a good deal of love on the internet. That said will (?) probably pick one up as a backup. Also, I've obviously grouped together similar price points, though varying wattages. Feel free to suggest differently.

If you feel I’ve missed something, please let me know. I’ve left out some systems that I’ve played and (generally) felt too sterile/hi-fi.

DI out a plus, but happy to purchase use the Nobel I’ve borrowed.

Would greatly appreciate any and all opinions. You folks have a wealth and depth of knowledge from all of your years of playing. An incredible amount of knowledge and sharing here. Amazing…

Thanks from the bottom of my heart for taking the time to read and opine!

Aguilar Tone Hammer 500
2 - Aguilar SL 112

Mesa/Boogie Subway D-800
2 - Mesa/Boogie Subway Bass Cabinet - 1x12

BULLHEAD .5K
2 - TF112 - 1x12

Fender Rumble 800
1 - Fender Rumble 210 2x10

All The Best,
Ed Taylor
San Diego, CA
 
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#5
pisces_bass said:
Add the Quilter Bass Blocks (800 and 802) to your list of contenders. Another contemporary amp company producing class D stuff that does well emulating tubes.

PS - I only took 15 years off and have been back into playing for about three. The new gear is pretty amazing.
Click to expand...
Thanks, Pisces_bass. Yes, so many great choices now. Easier when there were only Fender and Ampegs...

I'll add that to the list as well!
All The Best,
Ed
 
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#6
I would go Tone Hammer 500 or 700 with the Mesa cabs. I have a Mesa TT800 with accompanying 115 and 210 Subway cabs, as well as an Aguilar Tone Hammer 500 and SL212.

I bonded immediately with the TH500. I'm still trying to get in a groove with the TT800, to be honest. The TT800 can definitely be more neutral than the TH500 can get. The Tone Hammer, even with the eq set flat, has a "warm" voicing baked in. I think this is why I like the Subway cabs better with the TH vs the SL212. The vintage voiced SL cab WITH the TH500 goes from "warm" to "dark" unless you really fight it with the EQ and that's too much, imho.

The Mesa Subway cabs really are special. I would absolutely recommend going with the 115 first, then adding the 112 later if necessary. They are clear and authoritative with whatever input they receive. Also, the even dispersion they cast throughout a room is mind-boggling. Everyone (including you/me - the player) can hear the bass more easily without unnecessary volume to make up for "dead zones" or whatever you want to call them. I find I have to really be right in front of the Aggie cab to hear it well, without just cranking the volume to make up for being off-axis.

Given the players you admire and the tonal goals you've outlined, I reiterate the recommendation for the Tone Hammer head. The compact size and light weight (5lbs!) of the TH500 astound me afresh every time I pick it up. I know the tubeless Mesas are similar in size and weight, but I simply cannot explain how analog and "tubey" the Tone Hammer is. That mild grit thing you're talking about positively OOZES out of that amp when you want it. Yes, the controls are a little different than normal, but if you know that going in and allow yourself to start without treating it like all your other amps and just learn the controls, you'll quickly figure it out. Now I can go from fat cleans to grindy punch with just a tweak of a couple knobs. There is a SURPRISING range of tones available in the simple layout of the Tone Hammer heads.

Good luck!

To add: I had a Rumble 210 v3 cab for a few weeks and returned it. I simply couldn't get along with it. Very boxy/middy without the low end I expected for such a big cab. The poor experience with the Fender is what made me bite the bullet on the Subway 115 last year. I loved that so much I added the 210 and eventually the TT800 head.
20210505_162951.jpg
 
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#7
musicman556 said:
I would go Tone Hammer 500 or 700 with the Mesa cabs. I have a Mesa TT800 with accompanying 115 and 210 Subway cabs, as well as an Aguilar Tone Hammer 500 and SL212.

I bonded immediately with the TH500. I'm still trying to get in a groove with the TT800, to be honest. The TT800 can definitely be more neutral than the TH500 can get. The Tone Hammer, even with the eq set flat, has a "warm" voicing baked in. I think this is why I like the Subway cabs better with the TH vs the SL212. The vintage-voiced SL cab WITH the TH500 goes from "warm" to "dark" unless you really fight it with the EQ and that's too much, IMHO.

The Mesa Subway cabs really are special. I would absolutely recommend going with the 115 first, then adding the 112 later if necessary. They are clear and authoritative with whatever input they receive. Also, the even dispersion they cast throughout a room is mind-boggling. Everyone (including you/me - the player) can hear the bass more easily without unnecessary volume to make up for "dead zones" or whatever you want to call them. I find I have to really be right in front of the Aggie cab to hear it well, without just cranking the volume to make up for being off-axis.

Given the players you admire and the tonal goals you've outlined, I reiterate the recommendation for the Tone Hammer head. The compact size and lightweight (5lbs!) of the TH500 astound me afresh every time I pick it up. I know the tubeless Mesas are similar in size and weight, but I simply cannot explain how analog and "tubey" the Tone Hammer is. That mild grit thing you're talking about positively OOZES out of that amp when you want it. Yes, the controls are a little different than normal, but if you know that going in and allow yourself to start without treating it like all your other amps and just learn the controls, you'll quickly figure it out. Now I can go from fat cleans to grindy punch with just a tweak of a couple of knobs. There is a SURPRISING range of tones available in the simple layout of the Tone Hammer heads.

Good luck!

To add: I had a Rumble 210 v3 cab for a few weeks and returned it. I simply couldn't get along with it. Very boxy/middy without the low end I expected for such a big cab. The poor experience with the Fender is what made me bite the bullet on the Subway 115 last year. I loved that so much I added the 210 and eventually the TT800 head.
View attachment 4317593
Click to expand...

Musicman556, Thanks so much for your well-thought-out reply!

It's funny that you suggested the 1x15 & 2x10 combination, it was one of my first thoughts. I only abandoned it in favor of being able to move a 12 cab to another room for cocktail/dinner hour. Also, for some reason, I now find the 12's more mellow, the 10's too bright, and the 15's too muddy. But that is more than likely due to what I've been borrowing, etc. Also, many have commented that the SL cabs don't sound as good as the DB's.

Food for thought Musicman. Please let me know what develops with the Mesa. I might end up with both as I have this thing about backups...

Thanks!

All The Best,

Ed Taylor
 

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#10
My rigs are mix and match, but mostly I use a TH500 with a Barefaced Super Compact 112, and an AG700 or Thunderfunk TB750 with a Super Compact 112 and Super Midget 112. I bought a Subway D800 when they came out. It was close but I decided to stick with the AG700.
 
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#13
There are so many choices nowadays it is mind boggling!!! Don't rule out Bergantino. A Bamp and a pair of NXT 12's or a (what they call 322) 110 + 112 config lots of people rave about. You could scoop up all these pieces of gear, no matter the brand in the classifieds here with some patience. And a lot of the gear sold here is near mint condition :)

I currently own a Forte HP and a pair of HDN212's and the rig is pretty darn amazing.

You really have to play through these offerings yourself to get a good idea of the tone you hear in your head.

Everyone will give you opinions of what their ears like, not yours.
 
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#14
I own both a Tone Hammer and a Mesa D-800 (have never owned or played a Rumble). I use a pair of Hartke HD 1x12's. Both the Mesa and the Aguilar are really great amps. I don't think that you can go wrong with either of these amps. I personally prefer the Tone Hammer. Seems like I am always twisting knobs and chasing, but never quite finding, a really great sound with the Mesa. The Aguilar sounds great and "feels" great to me on just about any setting. But preference to sound is a subjective thing and only YOUR ears can be the judge.
 
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#15
Mesa over the Aguilar. Both are great, but the ToneHammer has more of a “baked in” tone that leans in the rock direction, and I found it harder to clean up. The Mesa does clean better, and with the voicing knob, can get a variety of tones. But I also find the eq points on the D800 to be in exactly the right place for my needs, so that’s important. I find it easy to dial in my tone, no matter the room or which cabs I use. I love it.

And both over the Rumble.

The other thing to note is the Mesa service. They are awesome to deal with, are fast, high quality, and reasonably priced if you happen to need service because you are a klutz and are hard gear…
 
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#16
Another vote for the Aguilar TH500/700 and which cabs you like. I played the D800 and couldn’t get on with it’s inherent voicing, even with a good deal of tweaking. The TH500 I had sounded good by itself, and amazing in a mix. The key with the head is learning how the Gain, Drive, and Master all interact.

Once you get a feel for that you’re golden.
 
#17
Tonecaster said:
First off, apologies for posting this question again, I’ve seen similar questions, but not for a while.

Getting back into playing after a 30-year hiatus in advertising. Played professionally in the mid-late ’70s and early ’80s. Mostly club bands, corporate gigs, sessions, and some pit work.

I will be playing primarily older and some newer R&B, funk, jazz, and a limited amount of classes rock. Mostly corporate/wedding/club/worship gigs.
Instruments are my ’73 Jazz with RW’s and a newer P with flats.
Looking for a good solid classic tone. Clean, but definitely not hi-fi/sterile.

Favorite bassists: Jamerson (duh), Carter, Graham, Verdine White, George Porter, Louis Johnson, Richard Davis, Bernard Edwards, Duck Dunn, Carol Kaye, Pino Palladino, Sean Hurley, and so many more...

Slap/pluck, but only as needed. I was known as the bassist that everyone invited back. I like to sit well in the mix, (and be a good “hang" as they say now).

No need, at most, for more than a *tiny* bit of grit/OD to emulate tube amps.

Previously played with Marshall Major (ugh)/Sunn T/SVT/and Crown/JBL system (prog-rock days…)

Don’t want to carry a tube amp, but feel free to convince me. Find I prefer 12’s over 10’s or 15’s. I guess my tastes have changed. Would prefer 2 - 12 cabs, so I cab split one for cocktail hour. Prefer lighter cabs, but some have mentioned that the lightweight cabs don't sound as nice. I go to the gym daily, so I suppose I can suck it up.

Cost not really a factor. I know that the Fender is a bit of an outlier here, but included it as it gets a good deal of love on the internet. That said will (?) probably pick one up as a backup. Also, I've obviously grouped together similar price points, though varying wattages. Feel free to suggest differently.

If you feel I’ve missed something, please let me know. I’ve left out some systems that I’ve played and (generally) felt too sterile/hi-fi.

DI out a plus, but happy to purchase use the Nobel I’ve borrowed.

Would greatly appreciate any and all opinions. You folks have a wealth and depth of knowledge from all of your years of playing. An incredible amount of knowledge and sharing here. Amazing…

Thanks from the bottom of my heart for taking the time to read and opine!

Aguilar Tone Hammer 500
2 - Aguilar SL 112

Mesa/Boogie Subway D-800
2 - Mesa/Boogie Subway Bass Cabinet - 1x12

BULLHEAD .5K
2 - TF112 - 1x12

Fender Rumble 800
1 - Fender Rumble 210 2x10

All The Best,
Ed Taylor
San Diego, CA
Click to expand...

First off, welcome back to playing bass!

That said, Mesa TT800 six days a week and twice on Sunday. Why? Two channels. I never realized how much I would switch channels until I had two. It is a RIDICULOUSLY well-thought-out amp. It is NOT as complicated to operate as the number of knobs and switches would make it appear to be.

I'll throw you another curveball on the cabs. Get a Mesa Subway 112 and 115. I know, mixed drivers have been frowned upon in the past. But these have been designed to work together or separately. The 115 is NOT a big or heavy cab. It also isn't muddy at all. By all accounts the two of them together are fantastic.

You would have the most versatile rig you can buy reasonably.

I don't own a 112. But I do have the TT800 and 115. Everything you describe is in that rig. Tube tone if you want it. Clarity. Portability. Versatility. It's all there. But the tone and volume of that rig are really what set it apart.
 
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