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.
Mesa Boogie Walkabout Mega-thread Part 10
- Thread starter Chef
- Start date
Yeah, I forgot about the two PH's being the same height. I guess I had an svt fridge in mind when I wrote that. I have a newer generation 4x4 Tacoma......I would bet it is not as high as your truck. Now trying to load a 410/15 PH solo is a different story.
In a medium-sized cab, you might dig the latest iterations of the MAS 112 or Bodai 112 made by Mike Arnopol. Particularly for outdoor use (or when trying to carry a larger room with your rig), Mike's cabs are, in my experience, unequaled in terms of clear monitoring and carrying the house without having to be crushingly loud on stage. They would certainly have a stronger low end response (and better power handling) than the 210AV cabs (which I've played through on a few occasions). Max volume should be on par with a "super" 2x12.
Efficiency vs. your two, 210AVs, I can't say for sure -- I found the Walkabout to be insufficient (at least if I wanted to keep it clean and dynamic) for loud gigs through my MAS 112 (though it sounded great), but mine is an 8 Ohm cab and a dB or two less efficient than the current, 4 Ohm cabs.
With the Walkabout and a MAS 112, I don't think you'd need an HPF for speaker protection, but, based on past experience, I think you'd get a small but significant increase in clean volume with the amp -- at least I did, running my fDeck HPF3 in the effects loop -- vs. using the lowest semi-parametric band. Your mileage might vary on that count.
Interesting idea putting your hpf in the effects loop. I’ve always put mine between the bass and amp input. Logically I would think that you’re wasting preamp resources processing the lower frequencies that, in the end, you’re not sending to the cab. Can you explain you’re thought process?
Your reasoning is sound. I simply tried it in both spots and, to me, it sounded a little better (more open, clear, dynamic) in the effects loop. The difference was subtle, but there. Might be an impedance thing (I play passive basses), might be a combination of factors -- I don't know for sure.
With my Shaw B-150 tube amp, I found that running the fDeck in front impacted the tone enough that I didn't want to use it. (I should give it another shot -- the fDeck is on loan at the moment, though.) That amp does not have an effects loop (Hmm, I wonder if Kevin Shaw could install one?) but, if it did, I'd try it there! Again, I'm guessing it has something to do with the impedance the amp would like to see at the input, but I don't know for sure. With other amps, the impact on the tone is minimal. In some cases (as with piezos) I can see running the fDeck (which acts as a buffer) between the instrument and everything else being more advantageous than placing it in the effects loop.
At any rate, you can always try it in both spots and see what suits you and your setup better!
Yeah - I'll try it in the effects loop on a couple of different amps and see how it sounds.
@agedhorse - any input on putting a HPF in different places in the signal chain?
@agedhorse - any input on putting a HPF in different places in the signal chain?
People have tested the FDeck in both places, and the maker, Francis Deck, has mentioned to feel free to use it wherever you wish. Apparently, the input is robust enough to take the hotter signal from the pre section or effects loop without issue.
From the laymans view, putting it in the pedal chain may sound weird, as where would all those really low frequencies come from if you have a string tuned to 41 Hz? But apparently, plenty do get generated as most users use it as the last pedal in the chain.
Again, from the layman’s view, placing it between the pre and power makes more sense as any really low frequencies that got boosted in the heads tone section can be controlled better.
I have not tested it in the effects loop, but now that this has popped up again, I’ll have to give it a test.
YMMV
From the laymans view, putting it in the pedal chain may sound weird, as where would all those really low frequencies come from if you have a string tuned to 41 Hz? But apparently, plenty do get generated as most users use it as the last pedal in the chain.
Again, from the layman’s view, placing it between the pre and power makes more sense as any really low frequencies that got boosted in the heads tone section can be controlled better.
I have not tested it in the effects loop, but now that this has popped up again, I’ll have to give it a test.
YMMV
- Feb 12, 2006
- 60,953
- 5
- 220,612
- Disclosures
- Development Engineer-Mesa Boogie, Development Engineer-Genzler (pedals), Product Support-Genz Benz
It depends. If the HPF can not handle line level signals, or has a low input impedance (<1M), then it must go before the input of the amp. If it can handle line level, it may still be better before the amp (especially if there's a compressor in the amp, the HPF should go before the compression) but overall it may not make much difference.
Al Kraft
Supporting Member
- May 2, 2016
- 10,768
- 40,434
- Disclosures
- Mesa Boogie beta product tester and player support
I use the fdeck HPF-Pre Series 3 and it seems to work well in either position on the heads I've tried it on. My thinking is that if there is something I want to remove from my signal, it's usually better to do it earlier rather than later in the signal path. This is especially true if what I'm removing would trigger an effect in way that's not consistent with shaping the final output I'm trying to produce.
In my rare and limited use of pedals, I've found that placing the fDeck at the start of the chain makes my MXR Bass Envelope Filter work more smoothly and predictably. I can absolutely see it doing the same for a compressor. I've generally put it last on the board, though, for speaker protection -- my little board consists of an Amptweaker Bass Tight Fuzz, the MXR, and an EHX Micro-POG. I worry that, even with an HPF at the front of the board, the POG's octave down could be dangerous.
On the other hand, while B and E strings obviously generate more deep, pitched content than G and D strings (which can strain speakers, to be sure), the stuff that really makes speakers jump, from what I have seen, is the un-pitched content that comes from the padding of fingers on the strings, etc., and that can come equally from the G and the B strings and often involves frequencies well below 30 Hz.
When I get the HPF back, I'll try it at the front of the board again and observe carefully.
I have considered putting an adjustable HPF (like the fDeck HPF3) at the beginning of the board and a simple, fixed, HPF at the end of the board (something like an SFX micro-thumpinator), but have never tried that. Most of the time, I play sans pedals (and like to have as little in the signal-path as possible), but I've heard of people doing that.
I can load one of my vintage svt fridges easier that I can the WA15!
Truck or suv mind you... And not counting the head!
Your red Kustom amp is so cool!I can load one of my vintage svt fridges easier that I can the WA15!
I'm in on this! I was looking for a powerful, USA-made bass combo and I stumbled on the Walkabout. I found a 12" model on Guitar Center Used online for $850 but I talked them down over the phone to $600. It's an early silver-face model with the date given inside the amp as 2001. It has the active/passive inputs, no player network, no fx loop bypass.
It had some issues and looked like it was gigged hard. I first used wood-glue and a gloss black paint pen to fix the spots where the tolex was coming loose or chipped off. Then I took off all the knobs and scrubbed them with soap to get the dirt off. Every jack and pot got a good deoxit scrub (this very thread had a tip to use a bent pipe cleaner to get the inside of the jacks- genius!). I replaced the handle because the old one was held together with electrical tape. The fan wasn't working so I did the SilenX fan replacement, again from this thread (all I have to say is everyone here must be WAY better solderers than I am because that was not easy in that cramped space!). I must have blown out one pound of dust bunnies inside the amp. The stock tubes were totally dead and one was microphonic so I replaced them with a NOS General Electric 12AX7 in V1 and a JJ 12AX7 gold pin V2.
All I can say is it sounds unbelievable. It's the first amp in years that really hit me with that inspiring feeling. The notes just feel so alive and the low-mids are so thick. I used the EQ tip from here to use the first parametric band to scoop out some of the real lows and boost the Bass knob a bit, which really made it pump.
Have taken it to practice a few times, just the one 1x12 combo has no trouble in my post-rock trio. It handles effects very well. I play a Bass VI (six strings, tuned as a guitar one octave down) and it gives the guitar-sounding strings a very sweet sound.
I must have read almost every page of this mega thread off and on at work while I was waiting to get home and play it more. I had no idea this amp had a cult following until after I bought it and played it awhile. I'm looking forward to the next time someone asks if anyone has ever tried sending its preamp to a bigger power amp and the next time someone asks if you can run it at 2ohms!
It had some issues and looked like it was gigged hard. I first used wood-glue and a gloss black paint pen to fix the spots where the tolex was coming loose or chipped off. Then I took off all the knobs and scrubbed them with soap to get the dirt off. Every jack and pot got a good deoxit scrub (this very thread had a tip to use a bent pipe cleaner to get the inside of the jacks- genius!). I replaced the handle because the old one was held together with electrical tape. The fan wasn't working so I did the SilenX fan replacement, again from this thread (all I have to say is everyone here must be WAY better solderers than I am because that was not easy in that cramped space!). I must have blown out one pound of dust bunnies inside the amp. The stock tubes were totally dead and one was microphonic so I replaced them with a NOS General Electric 12AX7 in V1 and a JJ 12AX7 gold pin V2.
All I can say is it sounds unbelievable. It's the first amp in years that really hit me with that inspiring feeling. The notes just feel so alive and the low-mids are so thick. I used the EQ tip from here to use the first parametric band to scoop out some of the real lows and boost the Bass knob a bit, which really made it pump.
Have taken it to practice a few times, just the one 1x12 combo has no trouble in my post-rock trio. It handles effects very well. I play a Bass VI (six strings, tuned as a guitar one octave down) and it gives the guitar-sounding strings a very sweet sound.
I must have read almost every page of this mega thread off and on at work while I was waiting to get home and play it more. I had no idea this amp had a cult following until after I bought it and played it awhile. I'm looking forward to the next time someone asks if anyone has ever tried sending its preamp to a bigger power amp and the next time someone asks if you can run it at 2ohms!
Hahahahaha. You sound like a true convert!!!
Welcome aboard, now that you've drank the Koolaid, there's no going back.
In the last 18yrs I've owned every version of the WA, love them all. I currently use the combo(12" Black face) alone or the combo with a Hartke 410XL or the head with 2 410XL's when called for. I've never been let down by the tone, and I use a lot of other equipment to compare it to.
I'm a lifer....
Welcome aboard, now that you've drank the Koolaid, there's no going back.
In the last 18yrs I've owned every version of the WA, love them all. I currently use the combo(12" Black face) alone or the combo with a Hartke 410XL or the head with 2 410XL's when called for. I've never been let down by the tone, and I use a lot of other equipment to compare it to.
I'm a lifer....
No doubt....It almost seems counter intuitive. Trying to lift a heavy combo like a Scout, is like deadlifting a bag of cement, compared to moving a load almost three times the weight with a hand truck.I can load one of my vintage svt fridges easier that I can the WA15!
Wow, sounds like you earned that one! I play psych rock and shoegaze/postrock myself, and I've been getting exactly what I've always wanted from my WA for over eight years now. I used to have the 1x12 combo and a 1x12 extension cab that a TB user built himself to the same specs as the WA extension cab, just without the passive radiator, but I got tired of hauling the two around, so a little over a year ago I bought an Ampeg SVT 2112AV, and the combo sounds fantastic. I put a set of Ernie Ball removable casters on it, so it's super easy to wheel my whole rig around.
The answer to your first question is yes, LOADS of people have tried, but no one's had success getting the same tone that the WA produces on its own.
The answer to your second question is a definite no — do NOT run it at 2 ohms!!!
Hi, I am a Boogie owner since 2 years only, I had a multitude of Ampeg, Eden, SWR, Traynor, Fender over the years up to the moments I have the chance to try the Mpulse600 and after, the BigBlock750, then I sold everything else in my setup, I didn't have the chance to try yet the WalkAbout and the WD800. I just note the consensus that everybody say the WA is the the sweetest thing on the earth in term of bass sound.
My questions is :
How close are the others models of the Mpulse family from the WA?
What differ in the circuitry between hte WA and these models?
Can somebody, who have tried the WA and others, testify the difference sonically?
Is the difference can come from the lower power / more saturation?
I remember an old interview of Jeff Beck saying about vintage Marshall guitar amp that his prefered was the JTM 45 watts instead of the Super Lead 100 watts. Is the fact that the WA 300 watts is pushed more than the biggers ones, that give his musicality?
Do somebody have a clue on this mystery?
My questions is :
How close are the others models of the Mpulse family from the WA?
What differ in the circuitry between hte WA and these models?
Can somebody, who have tried the WA and others, testify the difference sonically?
Is the difference can come from the lower power / more saturation?
I remember an old interview of Jeff Beck saying about vintage Marshall guitar amp that his prefered was the JTM 45 watts instead of the Super Lead 100 watts. Is the fact that the WA 300 watts is pushed more than the biggers ones, that give his musicality?
Do somebody have a clue on this mystery?
