Mesa Boogie WD800

[DJ Bebop]

It's been eight months or so since I purchased a WD–800 amp head, along with a subway 112 cab for my studio, and a 212 for playing gigs.
I'm going to share some of my reactions and experience here in case it's useful to anyone interested in these instruments. I’m referring to them as instruments because they impart a great deal of color and personality to the sound of my basses.

The roots of my electric bass playing extend back to the early 70s, when I was using Acoustic and Kustom solid-state amps. The 80s I had a Yamaha. I considered the default eq of these heads to be pretty flat, with a quick response. I didn't consider these amplifiers to have much character, though, I'm sure that in tandem with their respective speaker cabinets, they likely did.

As someone that has spent a great deal of time doing commercial recording , I've been called on navigate a wide variety of styles. Pop, R&B, Funk, Soul, Fusion, and Jazz are probably my strengths, though, and my default tone would fall somewhere ain there. I'm playing a passive Fender, jazz bass with maple neck, and a fender ultra precision rosewood board.

I'm using a wireless unit from bass to amplifier. These units don't seem to get along with floor pedals. Therefore, I have put my Cali76 Compressor pedal in the effects loop, powered by a Birdsong converter cable in the USB outlet. This compressor handles this well with the input threshold set at approximately 9 o'clock. I'm using it for a mild bit of parallel compression. This is a handy feature to have on an amp head. I've been told that many pedals aren't well-suited to be in effects loops, but fortunately this one appears to be an exception. However, if I was a player that like to do a lot of amplifier EQ changes on the fly, it would upset the gain structure to the pedal.

There is a considerable difference to my ears going from low to high on the damping control. The low setting is much too flabby for my purposes, but I did enjoy spending some time with the middle setting. It creates a rounder sound that I enjoyed when soloed, but for my purposes the high setting was the clear winner. These ported cabinets sound faster and more articulate to me with this setting.

I don't like a boomy sound, and to that end, the high pass filter is a critical feature of this amp. Even in my home studio playing through the 112, I keep this set somewhere between noon and 3 o'clock. Anything less introduces flabby sounds that I'd be unlikely to dial in unless I was playing reggae or something like that. This feature is very useful in live performance as well, with the ability to tame a booming room with a single turn of the knob.

The passive midrange control is unlike anything I've experienced on an amplifier. Apparently, there is some make up volume built into this control, which almost gives the feeling that more than one parameter is being changed as it is adjusted. Having it set at noon seems just about perfect for my jazz bass, leaving in the punch, but stopping short of a cloudiness (to my ears) that happens from 1 o'clock and beyond.

As a matter of fact, noon is where I've landed on most of the settings on this amplifier. A very slight low mid boost and another at 1.3K are all I'm using as my default settings.

Cranking up with a medium loud band in a bar, the amp takes on an additional character. When pumping up the Master volume, there seems to be a built-in compression, so much so that I don't see the need to bring my compressor to the gig (although if I was required to do much slapping I would). I've heard it described as spongy or pillowy, and I'd have to agree. It sort of feels like the notes are bouncing off of a trampoline, if that makes any sense. With the 212, it's plenty loud for any situation, other than a huge club or arena. On an outdoor gig, I found myself backing off of the high pass filter and boosting the bass a bit.

Anyway, those are my impressions of the amp today. I'm well aware that everyone hears things differently, and that my opinions could well change as I spend more time with the amp..

That's it

 

[Al Kraft]

It's been eight months or so since I purchased a WD–800 amp head, along with a subway 112 cab for my studio, and a 212 for playing gigs.
I'm going to share some of my reactions and experience here in case it's useful to anyone interested in these instruments. I’m referring to them as instruments because they impart a great deal of color and personality to the sound of my basses.

The roots of my electric bass playing extend back to the early 70s, when I was using Acoustic and Kustom solid-state amps. The 80s I had a Yamaha. I considered the default eq of these heads to be pretty flat, with a quick response. I didn't consider these amplifiers to have much character, though, I'm sure that in tandem with their respective speaker cabinets, they likely did.

As someone that has spent a great deal of time doing commercial recording , I've been called on navigate a wide variety of styles. Pop, R&B, Funk, Soul, Fusion, and Jazz are probably my strengths, though, and my default tone would fall somewhere ain there. I'm playing a passive Fender, jazz bass with maple neck, and a fender ultra precision rosewood board.

I'm using a wireless unit from bass to amplifier. These units don't seem to get along with floor pedals. Therefore, I have put my Cali76 Compressor pedal in the effects loop, powered by a Birdsong converter cable in the USB outlet. This compressor handles this well with the input threshold set at approximately 9 o'clock. I'm using it for a mild bit of parallel compression. This is a handy feature to have on an amp head. I've been told that many pedals aren't well-suited to be in effects loops, but fortunately this one appears to be an exception. However, if I was a player that like to do a lot of amplifier EQ changes on the fly, it would upset the gain structure to the pedal.

There is a considerable difference to my ears going from low to high on the damping control. The low setting is much too flabby for my purposes, but I did enjoy spending some time with the middle setting. It creates a rounder sound that I enjoyed when soloed, but for my purposes the high setting was the clear winner. These ported cabinets sound faster and more articulate to me with this setting.

I don't like a boomy sound, and to that end, the high pass filter is a critical feature of this amp. Even in my home studio playing through the 112, I keep this set somewhere between noon and 3 o'clock. Anything less introduces flabby sounds that I'd be unlikely to dial in unless I was playing reggae or something like that. This feature is very useful in live performance as well, with the ability to tame a booming room with a single turn of the knob.

The passive midrange control is unlike anything I've experienced on an amplifier. Apparently, there is some make up volume built into this control, which almost gives the feeling that more than one parameter is being changed as it is adjusted. Having it set at noon seems just about perfect for my jazz bass, leaving in the punch, but stopping short of a cloudiness (to my ears) that happens from 1 o'clock and beyond.

As a matter of fact, noon is where I've landed on most of the settings on this amplifier. A very slight low mid boost and another at 1.3K are all I'm using as my default settings.

Cranking up with a medium loud band in a bar, the amp takes on an additional character. When pumping up the Master volume, there seems to be a built-in compression, so much so that I don't see the need to bring my compressor to the gig (although if I was required to do much slapping I would). I've heard it described as spongy or pillowy, and I'd have to agree. It sort of feels like the notes are bouncing off of a trampoline, if that makes any sense. With the 212, it's plenty loud for any situation, other than a huge club or arena. On an outdoor gig, I found myself backing off of the high pass filter and boosting the bass a bit.

Anyway, those are my impressions of the amp today. I'm well aware that everyone hears things differently, and that my opinions could well change as I spend more time with the amp..

That was a great review and IME accurately reflects a lot of the WD's most notable attributes. I know the WD and SW 112 cab well and you captured the playing experience with your settings beautifully.

What impressed me the most about your writing is that while my tone goals and settings are in some respects different, your descriptions had me hearing what you were talking about as though the amp and cabs were playing in front of me.

 

[agedhorse]

That was a great review and IME accurately reflects a lot of the WD's most notable attributes. I know the WD and SW 112 cab well and you captured the playing experience with your settings beautifully.

What impressed me the most about your writing is that while my tone goals and settings are in some respects different, your descriptions had me hearing what you were talking about as though the amp and cabs were playing in front of me.

Agreed.

 

[DJ Bebop]

I found that higher volume performance when driving the power amp with a medium to low damping maybe getting into more of the old Walkabout tone that was brought over in a more musical manageable style. I guess I forget this when whining about a more Walkabout-sounding WD. It's there you just have to go there like you would with a Walkabout, put your foot into it

It is a very versatile amp.

 

[DJ Bebop]

The only thing I would want out of a Gen II WD 800 to make it a “perfect” amp is to have two different input sections one like it has now with the tube front end and a switch to go from tube to a no-tube front end like the D800+, with maybe a deep switch.

 

[Nebadon2000]

The only thing I would want out of a Gen II WD 800 to make it a “perfect” amp is to have two different input sections one like it has now with the tube front end and a switch to go from tube to a no-tube front end like the D800+, with maybe a deep switch.

You know WD 800 II would lessen the value of yours

Unless you have a pre Gibson one
(That was tongue in cheek sarcasm )

 

[DJ Bebop]

You know WD 800 II would lessen the value of yours

Unless you have a pre Gibson one
(That was tongue and cheek sarcasm )

I in fact do have a Vintage pre-Gibson WD Not one of those heavy, poly finished, micro tilt post-Gibson WDs

 

[Chuck M]

The only thing I would want out of a Gen II WD 800 to make it a “perfect” amp is to have two different input sections one like it has now with the tube front end and a switch to go from tube to a no-tube front end like the D800+, with maybe a deep switch.

The re-invention of the Genz Benz Shuttlemax. The Shuttlemax is a great amp but the downside is the size. It takes a lot of real estate for all those controls.

I own both the D-800+ and the WD-800. I would not change either of them....or my D-350.

Genz Benz ShuttleMAX 12.2 1200W Bass Amp Head

Get the guaranteed best price on Hybrid Bass Amplifier Heads like the Genz Benz ShuttleMAX 12.2 1200W Bass Amp Head at Musician's Friend. Get a low price and free shipping on thousands of items.

www.musiciansfriend.com

 

[DJ Bebop]

The re-invention of the Genz Benz Shuttlemax. The Shuttlemax is a great amp but the downside is the size. It takes a lot of real estate for all those controls.

I own both the D-800+ and the WD-800. I would not change either of them....or my D-350.

Genz Benz ShuttleMAX 12.2 1200W Bass Amp Head

Get the guaranteed best price on Hybrid Bass Amplifier Heads like the Genz Benz ShuttleMAX 12.2 1200W Bass Amp Head at Musician's Friend. Get a low price and free shipping on thousands of items.

www.musiciansfriend.com

Still, one can dream

 

[Al Kraft]

Still, one can dream

...and should, because that's where the new ideas and next innovations come from! There was a time when talking to someone who wasn't in shouting distance, let alone who might be around the world was unimaginable.

 

[HueyFreeman]

Still relatively new to my WD800. Played out twice with great effect so far.
My next outing, gonna try boosting gain while pulling back mids considerably. Anybody else play with this setting?

 

[WRM]

Still relatively new to my WD800. Played out twice with great effect so far.
My next outing, gonna try boosting gain while pulling back mids considerably. Anybody else play with this setting?

Pretty sure I tried that w/TT-800 - one of the first things I do is try all of the switches & knobs through most of their travel, so I understand exactly what each one does to the tone. Then tailor for taste.

 

[Pontiac Thrasher]

Still relatively new to my WD800. Played out twice with great effect so far.
My next outing, gonna try boosting gain while pulling back mids considerably. Anybody else play with this setting?

Curious if you did the "set it and forget it" at the beginning of each event or did you tailor the sound as things moved along?

 

[Al Kraft]

Still relatively new to my WD800. Played out twice with great effect so far.
My next outing, gonna try boosting gain while pulling back mids considerably. Anybody else play with this setting?

There really aren't any bad settings on the WD IMO, which is a little amazing to me since there are a ton of user options to do all kinds of tone shaping. The mid control on this head is a little different than on many heads. You can dial in a lot a fairly broad effect with the WD mid control that is in some aspects similar to (but not the same as) a voicing control.

If you go to extremes with the mid control you can use the semiparametric EQ section to further shape and polish that that voicing. I typically like somewhere around the 2 o'clock position for my playing. Although I almost always work somewhere in the 11 to 2 o'clock range there are great tones outside that range,

 

[agedhorse]

I encourage reading through the owner’s manual as the first step.

 

[Hoochie Coochie Man]

I encourage reading through the owner’s manual as the first step.

The streets are paved with gold.

Sometimes we may need to be reminded that all you have to do is bend down and pick it up to become rich.

 

[JustFunk]

Hi folks, tonight I was just messing up a bit with connections at my home studio. At a point, not happy of the bass sound in the headphones out of the direct monitor of my scarlett, I decided to use the headphones socket of the WD as for the great cab simulation out of it. In order to get also the track in the headphones, I sent the headphones output of the scarlett (which receives the track from the pc) into the WD Aux in. I then connected a jack into the scarlett instrument input, previously connected to the tuner. Just casually, the other side of this jack remained connected to the tuner output of the WD. The Scarlett showed receiving a signal so that not only I could hear my bass and the track, but also record.

Does this mean that the WD Tuner out acts as another sort of DI out? I know that the send out acts as a post EQ preamp out, but it seems that the tuner out sends a signals that is affected both by the preamp and from the master volume, so exactly like a post EQ DI out.

Is this correct?

 

[HueyFreeman]

Hi folks, tonight I was just messing up a bit with connections at my home studio. At a point, not happy of the bass sound in the headphones out of the direct monitor of my scarlett, I decided to use the headphones socket of the WD as for the great cab simulation out of it. In order to get also the track in the headphones, I sent the headphones output of the scarlett (which receives the track from the pc) into the WD Aux in. I then connected a jack into the scarlett instrument input, previously connected to the tuner. Just casually, the other side of this jack remained connected to the tuner output of the WD. The Scarlett showed receiving a signal so that not only I could hear my bass and the track, but also record.

Does this mean that the WD Tuner out acts as another sort of DI out? I know that the send out acts as a post EQ preamp out, but it seems that the tuner out sends a signals that is affected both by the preamp and from the master volume, so exactly like a post EQ DI out.

Is this correct?

The block diagram shows that the tuner out is pre gain/tonestack/master.
Tuner out gets a buffered dry passed thru signal from bass.

 

[agedhorse]

The tuner out is a buffered phase coherent version of the bass itself

Be very careful if your routing so that you don’t inadvertently create a feedback path causing oscillation.

 

[JustFunk]

Thanks for the answers. However, that’s not fully clear to me. Not only English is not my first language, but I am also new to this routings.

I did some research and the impedence/frequency stuff related to ground loops and how these may occur within this routing is beyond my knowledge. However, I get that it is better to leave the tuner out just for the tuner itself.

On another note, in order to get a nice bass sound in headphones (using the headphones out of the amp), and a track at the same time (from the soundcard), any problems in sending to a mixer inputs both the WD headphones out (in a mono channel) and the soundcard headphones out (in a stereo channel), and get both out of the mixer headphones out, and leave the soundcard get the bass signal for recording from the WD DI? That should be equivalent to sending the soundcard headphones out to the WD Aux in, and avoid a mixer to mix the 2 headphones outputs.

My target is to have the WD cab simulation + the track, in headphones, + to record.

Thanks