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Mesa Boogie WD800

Yet I had several highly technical women that worked for me in the touring side of things that could talk circles around me when it came to scenery automation and rigging. One went on to have a long career with Disney's touring theatrical division as a technical supervisor and department head.
When I worked for General Electric Medical Systems back in the 1970s, and later on in the late '70s when GE was entering the positron emission tomography imaging business we had presentations from scientists from the University of Wisconsin physics department who collaborated with us in the effort. One presenter who intended to educate us about how positron emission worked, and who was a woman was explaining some very technical information about electron spin and such that I did not understand at all. After her presentation she approached me and addressed me by my first name and apparently knew me. I did not recognize her until she talked about our high school math teacher (who could not teach me anything) but who she learned calculus from and who had helped her to become a research physicist. (As a side note that same high school math teachers son became a Grammy Award winning record producer for his jazz and classical record work). These people make me feel like a real dolt. I regret that I did not appreciate the contributions that women made in technology back in those days There were almost no women involved in any technical positions at companies where I worked as an electronics technician back then. Most people, (except me) smoked cigarets everywhere in the workplace back then as well. Unthinkable now. It is ironic that in those days a coworker and I working for a healthcare related business objected to being subjected to the second hand smoke emitted by our coworkers were subjected to ridicule and official discipline for complaining about the workplace hazard of such smoke, We were considered trouble makers back then. I was threatened with termination when I requested to move away from the area where people smoked constantly. It reminds me of: "Irish, (and women) need not apply"!
 
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First rehearsal with WD800, so nice at 4 ohms through 212 and 215 cabs.
(Fx send out also sounded very decent through TC RH750 FX return :) ).
 

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Continued update part 1.
Can confirm the WD800 FX return acts really well in taking a preamp in. On this gig the chain was:
Upright Bass with Realist copperhead > Grace Design M101 mic pre > WD800 FX return > Acoustic Image Doubleshot cab.

Very clean sound. Probably a bit too much weight to carry to every gig, but I had to spoil myself by trying the Mesa at least once on an Upright gig! ;-)
 

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Update 3. Hahah ;-)
Still waiting for recently ordered official Mesa footswitch to arrive USA > UK, but sourced a UK built double footswitch.
Wasn't sure what to expect at tonight's gig, but there is (for me) a small pleasant increase in clarity when bypassing parametric mid section.

WD800 continues to deliver both through my own rig and in rehearsal situations with backline amps/cabs :)
 
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P.s. have any WD800 owners experimented with placing something like one of the Lightning Boy 23Fe+ transformers in the fx loop of the amp?
Be sure the transformer can handle full +4dBu average line level with a maximum level of +12dBu at 50Hz.

It also needs to have a 1:1 ratio.
 
Be sure the transformer can handle full +4dBu average line level with a maximum level of +12dBu at 50Hz.

It also needs to have a 1:1 ratio.
Thanks @agedhorse ! I'll do some research and shoot an email across to the boss at Lightning Boy Audio to confirm all these points.
Also Andy, another quick question please. I'm currently, as I type, using the WD800 as a DI in a setup for a jam session. Just wondering about the phantom power protection on the DI. Has it been designed in a way that protects from an occasional burst of 48V, or is it OK to use it in a situation where phantom power is being sent all the time for a whole gig? I think the desk at this venue only has a global phantom power which is sending 48v to all the channels.
Thank you!
 
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Thanks @agedhorse ! I'll do some research and shoot an email across to the boss at Lightning Boy Audio to confirm all these points.
Also Andy, another quick question please. I'm currently, as I type, using the WD800 as a DI in a setup for a jam session. Just wondering about the phantom power protection on the DI. Has it been designed in a way that protects from an occasional burst of 48V, or is it OK to use it in a situation where phantom power is being sent all the time for a whole gig? I think the desk at this venue only has a global phantom power which is sending 48v to all the channels.
Thank you!

It's fine....

DIRECT OUTPUT (DI OUT): A feature that sets your new SUBWAY WD-800 apart from the rest of the market is the inclusion of a studio grade XLR balanced direct output. This output is capable of driving balanced analog lines as long as 500 feet, is fully phantom power protected, is noise resistant and stability compensated for a reliable, low noise floor, high quality signal. This output follows the pro audio standards of pin 2=non-inverting, pin 3=inverting and pin 1=ground. Every known console in the world follows this wiring standard
 
Thanks @agedhorse ! I'll do some research and shoot an email across to the boss at Lightning Boy Audio to confirm all these points.
Also Andy, another quick question please. I'm currently, as I type, using the WD800 as a DI in a setup for a jam session. Just wondering about the phantom power protection on the DI. Has it been designed in a way that protects from an occasional burst of 48V, or is it OK to use it in a situation where phantom power is being sent all the time for a whole gig? I think the desk at this venue only has a global phantom power which is sending 48v to all the channels.
Thank you!
Yes, the DI output can be used with phantom power present as long as you wish.
 
It's fine....

DIRECT OUTPUT (DI OUT): A feature that sets your new SUBWAY WD-800 apart from the rest of the market is the inclusion of a studio grade XLR balanced direct output. This output is capable of driving balanced analog lines as long as 500 feet, is fully phantom power protected, is noise resistant and stability compensated for a reliable, low noise floor, high quality signal. This output follows the pro audio standards of pin 2=non-inverting, pin 3=inverting and pin 1=ground. Every known console in the world follows this wiring standard
Thank you! I must have read the manual 50 times...but just started getting anxious on the gig! Appreciate that!
 
OK, so it's official, in the middle of a fairly mad work period, and the WD800 has beaten out everything I own as my favourite DI for Electric hahaha. I'm not sure if it was on this thread, but I remember reading a TB user saying that when he decided to try recording with his WD800, the producer/engineer reported back positively saying that he didn't need to do any of his normal "sort the Bass out for the final mix" - type of processing.
That's exactly the feeling I got after the last couple days of rehearsals for an album being recorded in June. I did some rhythm section with the drummer, and the WD800 DI and drums just lock SO well. I can't put my finger on it, it just feels very right and very musical.
 
In other news. . . @agedhorse ..
I did something extremely foolish on very little sleep, exhaustion, and a lot of coffee...

Plugged the WD800 speaker out (via a speakon>1/4" speaker jack cable) into the 1/4" speaker out jack on the back of an Ashdown combo, when both the Asdown and WD800 were switched on.
(I had removed the cable connecting Ashdown speaker to it's head).

1. I realize this was incredibly foolish!!!

2. Just checking no damage might have been done that I need to get checked?

The Mesa still sounds great, and I went on to do four hours of rehearsal and then a gig with no problems.
(I will never do it again!! Doh!)
 
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In other news. . . @agedhorse ..
I did something extremely foolish on very little sleep, exhaustion, and a lot of coffee...

Plugged the WD800 speaker out (via a speakon>1/4" speaker jack cable) into the 1/4" speaker out jack on the back of an Ashdown combo, when both the Asdown and WD800 were switched on.
(I had removed the cable connecting Ashdown speaker to it's head).

1. I realize this was incredibly foolish!!!

2. Just checking no damage might have been done that I need to get checked?

The Mesa still sounds great, and I went on to do four hours of rehearsal and then a gig with no problems.
(I will never do it again!! Doh!)
Looks like you got lucky, if it’s still working then you are good,

I would check your combo too, that could be damaged.

This is another reason why I don’t like 1/4” connections.
 
Continued update part 1.
Can confirm the WD800 FX return acts really well in taking a preamp in. On this gig the chain was:
Upright Bass with Realist copperhead > Grace Design M101 mic pre > WD800 FX return > Acoustic Image Doubleshot cab.

Very clean sound. Probably a bit too much weight to carry to every gig, but I had to spoil myself by trying the Mesa at least once on an Upright gig! ;-)

You're the first player I've seen posting about how well the WD works with upright. :cool:
 
You're the first player I've seen posting about how well the WD works with upright. :cool:
I have in the past in the Mesa Mega thread. You just didn't see it 😔

Just not as exciting as @OneTwo’s post.
Kay M-1 with Underwood pickup > straight into WD front end > Subway 115. Sometimes a Zoom multi-effects unit after the bass.

😊
 
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