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Mesa Subway D-800+

#601
Ewo said:
Funny, about a minute ago i looked at a thread asking the same question about Sire basses...

I figure a good number of folks like to try new gear out. It's just part of the fun of being a musician--it is for me, anyway. You never know what might get you a little closer to the holy grail tone in your head, and it's great when you find something that does. But not many live near a music store with a deep inventory and can audition what sparked their interest. So they'll buy it, to be able to compare it to their current gear.

And when they acquire a piece of gear they like better for whatever reason, they sell their old stuff. Or if they don't like it better, they keep using what they've been using and flip the new stuff.

To the specifics of your question, when I got the D-800, my GK MB 800 went up for sale and my MB fusion 800 became my backup. When I got the D-800+ in my hands, my GK MB fusion 800 went up for sale and the D-800 became my backup. Those GKs are excellent amps, I think. I just like the Mesas better.
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I tried the D-800 and really liked it's tone, simplicity, and feature set. I have the MB Fusion 800 as well and thought it would find a new home when I brought the D-800 home. The MBF-800 has a harmonic richness from the tube preamp and a brightness I'd become accustomed to that the D-800 didn't have so I ended up keeping the GK. Two key features the GK doesn't have are an aux in to run my laptop in to (great for practice) and the ability to run 2.67 or 2 ohm loads. The versatile D-800+ looks like it might be the ticket with its HPF, bright switch, and sweepable mids.
 
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#602
SerratedBass said:
Are the Subway cabs voiced like the Powerhouse cabs, but in a lightweight package? Or are they a different beast altogether?
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There is a definite similarity, though the mid voicing is a bit more articulate and polite, the low end is a little deeper yet tighter, and the mid voicing has been perceived as more "sophisticated". The real world power handling is also a bit higher. Then there's some size/weight differences.
 
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#603
agedhorse said:
There is a definite similarity, though the mid voicing is a bit more articulate and polite, the liecemd is a little deeper yet tighter, and the mid voicing has been perceived as more "sophisticated". The real world power handling is also a bit higher. Then there's some size/weight differences.
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Thanks @agedhorse, you definitely have me considering a 210 and 115 now...... Damn
 
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#604
one of the many cool things about the subway cabs is that the rule-of-thumb caution against mixing driver sizes in a cab stack just doesn't apply. @agedhorse indicated, iirc, they were designed so that there wouldn't be the problems that sometimes make such combinations sound like poop.

i've got a good amount of woodshed, rehearsal, and gig time on various combinations of the 12s and 15s. i can tell ya for sure he succeeded at that goal!
 
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#605
Ewo said:
one of the many cool things about the subway cabs is that the rule-of-thumb caution against mixing driver sizes in a cab stack just doesn't apply. @agedhorse indicated, iirc, they were designed so that there wouldn't be the problems that sometimes make such combinations sound like poop.

i've got a good amount of woodshed, rehearsal, and gig time on various combinations of the 12s and 15s. i can tell ya for sure he succeeded at that goal!
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This was one of the specific design goals, which opens up possibilities that aren't there when restricted to identical driver design criteria.

There are advanced design/analysis tools that make this easier and less trial/error based but still it's necessary to listen to the results to be sure reality meets theory.
 
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#608
Hi there. Recently new owner of a Subway D-800+ here. Probably I don't have the stamina to document this properly right now, but I wanted to mention it. After searching this thread, I didn't quite find any reference to the following:

In the Subway D-800+ preamp, all the parameters together make it an extremely flexible sound shaping tool for bass guitar. And very importantly that includes the variable highpass filter. That's right: the HPF is not only for utility.

Details aside, some weeks ago I discovered that the deep switch on my Kern preamp was actually a fixed shelved EQ that attenuated the lowest frequencies when set off, not boosted them when set on; that this was true at least when the variable bass control was nearly shut. With that setup as a baseline, I was then able to ride the bass control to use it as a "fatness" adjustment. So powerful and wide spectrum. So very bass guitar.

The key there was changing the scale of what low end was within the whole instrument sound. No surprise, since changing scale (of anything; time, frequency, amplitude, etc.) is a favorite sound design technique of mine. But previously that eluded me with the Kern preamp's EQ.

Similarly with the D-800+ preamp, not only does that 'deep on and bass attenuated' technique work well, but also the HPF can be used to further change the scale. For bass guitar, this is an audio illusionist's (me, that is) dream come true. It is very powerful. Carefully throw the voice control into that mix and you can pretend that your bass guitar is musical instrument amplified/miked/monitored/etc. all sorts of ways. Impressive.

Yesterday I got into that with my D-800+. Tonight I got further into it, additionally using the high mid and treble controls for sculpting by attenuation. All I missed was drive, but I have many excellent pedals for that.

The Subway D-800+ variable HPF: much more than a dessert topping.
 
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#609
Snaxster said:
Hi there. Recently new owner of a Subway D-800+ here. Probably I don't have the stamina to document this properly right now, but I wanted to mention it. After searching this thread, I didn't quite find any reference to the following:

In the Subway D-800+ preamp, all the parameters together make it an extremely flexible sound shaping tool for bass guitar. And very importantly that includes the variable highpass filter. That's right: the HPF is not only for utility.

Details aside, some weeks ago I discovered that the deep switch on my Kern preamp was actually a fixed shelved EQ that attenuated the lowest frequencies when set off, not boosted them when set on; that this was true at least when the variable bass control was nearly shut. With that setup as a baseline, I was then able to ride the bass control to use it as a "fatness" adjustment. So powerful and wide spectrum. So very bass guitar.

The key there was changing the scale of what low end was within the whole instrument sound. No surprise, since changing scale (of anything; time, frequency, amplitude, etc.) is a favorite sound design technique of mine. But previously that eluded me with the Kern preamp's EQ.

Similarly with the D-800+ preamp, not only does that 'deep on and bass attenuated' technique work well, but also the HPF can be used to further change the scale. For bass guitar, this is an audio illusionist's (me, that is) dream come true. It is very powerful. Carefully throw the voice control into that mix and you can pretend that your bass guitar is musical instrument amplified/miked/monitored/etc. all sorts of ways. Impressive.

Yesterday I got into that with my D-800+. Tonight I got further into it, additionally using the high mid and treble controls for sculpting by attenuation. All I missed was drive, but I have many excellent pedals for that.

The Subway D-800+ variable HPF: much more than a dessert topping.
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That was deep, dude! (And I agree, I think ...)
 
#611
I've just got to say it, I love Mesa! Great customer service and they have always been stellar in that respect, it is one of the reasons why I continue to purchase their equipment, based not only on their reputation of high quality, dependable products, but equally their support. We go back years, I own and have owned many of their bass products, all good experiences.

Fast forward to today, while I am patiently awaiting the arrival of a brand new D-800+ and Subway 115 to jump on the bandwagon, (due in no small part to the buzz generated here). I recently picked up a mint condition used Subway 112 to round out the stack. Mint I say, until I got it home and realized the tweeter was blown. Being familiar with their transferrable warranty, I contacted the music store where I bought it and asked if they by chance could get me the original receipt from the person who traded the cab in - no dice.

So, I figured at worse, if the store didn't want to spring for a new diaphragm, I might be out $20-$30 bucks. I called Mesa and spoke with Chris (I think). I thought they would give me a hassle b/c I didn't have the original receipt for a <year old cabinet. No such thing, Chris informed me that the cabinet had a 3 yr. warranty and the tweeter was covered, all he needed was the serial number. It couldn't have been easier! The tweeter is on its way and no charge to me!

It is this kind of service that has won me over as a customer. I have spent a few thousand over the years on their products, Titan, Walkabout Scout (two of them), etc. and it is rare to encounter a company that doesn't try to nickel and dime you. Mesa has a grateful customer here for life. Well done guys!
 
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#612
Frankie Fender said:
It is this kind of service that has won me over as a customer. I have spent a few thousand over the years on their products, Titan, Walkabout Scout (two of them), etc. and it is rare to encounter a company that doesn't try to nickel and dime you. Mesa has a grateful customer here for life. Well done guys!
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There is often so much focus on price here at TB (and elsewhere in the world), and usually not as much attention to value. To me, the customer support at Mesa makes their gear a much greater value that a lot of other stuff. That's one reason I've been a long time customer. How long? Fun fact: at the Mesa Hollywood store I'm customer #139, and back in the day I used to get Christmas cards from Mesa (back in the early 80's iirc). They're a much bigger company now, but they still feel like a small, personal shop. That is not an easy task in today's world...
 
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#613
nostatic said:
There is often so much focus on price here at TB (and elsewhere in the world), and usually not as much attention to value. To me, the customer support at Mesa makes their gear a much greater value that a lot of other stuff. That's one reason I've been a long time customer.
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+1...while I think there a few others who are in the same league as Mesa in terms of customer support, no one does it any better. From thoughtful design to product quality to support after sale, Mesa is an exceptional value in my mind as well.
 
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#616
punisher911 said:
Really happy with my 800+. Hopefully I won't ever need their customer service. Now I'm trying to decide between another subway 15 or getting a subway 12 to sit atop my existing 15....
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I went with the 112 + 115 and couldn't be happier. That said, either cab or two of each (or more) would probably be equally satisfying. The 112 + 115 set-up offers the benefits of modularity with some additional flexibility I wouldn't have with two identical cabs - that may or not be of value in your situation. I have not heard the 210, but between the 112 and 115, the 115 is particularly remarkable in my experience, especially for a single 15. If I went with two identical cabs it would clearly be the 15's!
 
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#620
Watching some videos, the 12 sounds amazing. I think I'm going to have to add one to my set up. Also, was playing a bit yesterday on my 800+ and finally added my Pork Loin in front of it. Yep, that's all I need for my needs. Just enough dirt for my rock tastes. Couldn't be more pleased with this Mesa rig. Took me many years to find a guitar sound I liked (Egnator Armageddon). Same for bass... I've been through lots of set ups... Acoustic, Orange, Ampeg, TC Electronics, 410s, 115s, 210s, and even running direct with an 11Rack. My rigs kept getting smaller and smaller and easier to carry. However, none of them felt like keepers, I was always looking for something else. Until now. All set.
 
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