I ordered this on Thursday, and was told it would arrive in about a week. Long & McQuade called Friday, to say that it had arrived already!
First, if there ain't any pics...
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With a bass, for perspective:
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Construction and finish are very tidy:
This is a great little low-volume amp, with the usual features you expect in this class, plus the chain output that lets it drive powered MBE extension cabs. I suppose that this could actually be the front end to a modular rig loud enough for outdoor gigs, if you so desired.
Sound-wise, it doesn't try to mimic the heft of a big rig, but unlike a lot of practice amps, it doesn't sound unbalanced at either end of the spectrum.
With the EQ centered and the Contour off, it has the same modern tone profile as the other MB combos- solid low end, and a little grindy and forward in the upper mids. However, the tweeterless cab does give it a little extra midrange push, with a sweetness in the upper register that the other MB Combos lack.
Like the other MB's, it's loud for its class, but with only a single ten and a hundred watts, it won't keep up with even a gentle drummer. However, it should be loud enough to compete with hand percussion in a coffee shop or small-group setting.
G-K wasn't trying for plump or pillowy with this combo. With the EQ centered, the overall tone is woody and acoustic. As you should expect from a box this size, it's not going to punch you in the chest.
With a little push in the low end, I think it sounds pleasingly full and solid with a 4-string bass, and it doesn't fart out early with my 5-strings. However it lacks a little heft on the B string. Boosting the lows doesn't fatten up the bottom string as much as I would like, probably because of the cab tuning.
This was not a huge issue for me. I wanted this amp specifically for a duo gig I do every week, where the hall has bad "room boom".
However, I still want a pleasing tone in other venues, so I started fooling around with EQ. Knowing that a little 100-watt ten can't go low AND loud, I decided to try cutting instead of boosting, with the hope of bringing the bottom string back in balance with the top four.
Sure enough, I found a couple of settings that still had some growl, but gave the amp more booty. The amp sounds surprisingly girthy with either of these settings:
This one uses the Contour button as well, and has a distinctly dubby quality to it:
With settings in this general range, the MB110's character changes dramatically. These are a deep, Ampeg-gy tones, very fat, with a nice bloom on the note decay.
NOTE: You have to rack the volume up pretty high to compensate, and it runs out of gain long before you can get it up as loud as it was before the EQ changes. Thankfully, the amp remains quiet, even with these extreme settings.
It's tempting to think that you could put a booster in front of the amp, to recover the lost gain. IMO, this would be a mistake, as the speaker can't put out that much sub-bass at higher levels.
To me, this is a perfectly acceptable compromise for a 21lb, $300 micro combo, but YMMV.
This is not my first go-around with compact combos. Here's how it stacks up to some familiar players, at least IMO/IME:
- Doesn't sound as big as the MB112. For my needs, the 112 is not better, just different. The 112 definitely plays a lot louder, which would be a concern for many.
- Fuller and more pleasing tone than the SWR Workingman's 10. Louder, as well. Much better weight and form factor.
- WAY more B-string friendly than the SWR LA 10, which sounded like a whoopie cushion with my active 5-strings.
- More open-sounding than my Line 6 Studio 110, which used to sound like it was under a blanket.
- Not as compact as the old Fender Rad Bass/Frontman 25B, but has a nicer top end, plays a lot louder, and is noticeably lighter.
- The Traynor SB110 tries for more of a "big boy tone" with its tweeter and bass boost circuit. If you want a pillowy low end, the Traynor delivers. However, it suffers from the same mechanical limitations as the G-K, and if you push it too hard with the low end boosted, it farts out very early. Heavier, as well.
Overall, I would rate the Traynor as the MB110's closest competition, and the MB112 a better choice if you need to keep up with a moderate drummer.
I'll submit a gig report after Sunday afternoon...
First, if there ain't any pics...
[
With a bass, for perspective:
Construction and finish are very tidy:
This is a great little low-volume amp, with the usual features you expect in this class, plus the chain output that lets it drive powered MBE extension cabs. I suppose that this could actually be the front end to a modular rig loud enough for outdoor gigs, if you so desired.
Sound-wise, it doesn't try to mimic the heft of a big rig, but unlike a lot of practice amps, it doesn't sound unbalanced at either end of the spectrum.
With the EQ centered and the Contour off, it has the same modern tone profile as the other MB combos- solid low end, and a little grindy and forward in the upper mids. However, the tweeterless cab does give it a little extra midrange push, with a sweetness in the upper register that the other MB Combos lack.
Like the other MB's, it's loud for its class, but with only a single ten and a hundred watts, it won't keep up with even a gentle drummer. However, it should be loud enough to compete with hand percussion in a coffee shop or small-group setting.
G-K wasn't trying for plump or pillowy with this combo. With the EQ centered, the overall tone is woody and acoustic. As you should expect from a box this size, it's not going to punch you in the chest.
With a little push in the low end, I think it sounds pleasingly full and solid with a 4-string bass, and it doesn't fart out early with my 5-strings. However it lacks a little heft on the B string. Boosting the lows doesn't fatten up the bottom string as much as I would like, probably because of the cab tuning.
This was not a huge issue for me. I wanted this amp specifically for a duo gig I do every week, where the hall has bad "room boom".
However, I still want a pleasing tone in other venues, so I started fooling around with EQ. Knowing that a little 100-watt ten can't go low AND loud, I decided to try cutting instead of boosting, with the hope of bringing the bottom string back in balance with the top four.
Sure enough, I found a couple of settings that still had some growl, but gave the amp more booty. The amp sounds surprisingly girthy with either of these settings:
This one uses the Contour button as well, and has a distinctly dubby quality to it:
With settings in this general range, the MB110's character changes dramatically. These are a deep, Ampeg-gy tones, very fat, with a nice bloom on the note decay.
NOTE: You have to rack the volume up pretty high to compensate, and it runs out of gain long before you can get it up as loud as it was before the EQ changes. Thankfully, the amp remains quiet, even with these extreme settings.
It's tempting to think that you could put a booster in front of the amp, to recover the lost gain. IMO, this would be a mistake, as the speaker can't put out that much sub-bass at higher levels.
To me, this is a perfectly acceptable compromise for a 21lb, $300 micro combo, but YMMV.
This is not my first go-around with compact combos. Here's how it stacks up to some familiar players, at least IMO/IME:
- Doesn't sound as big as the MB112. For my needs, the 112 is not better, just different. The 112 definitely plays a lot louder, which would be a concern for many.
- Fuller and more pleasing tone than the SWR Workingman's 10. Louder, as well. Much better weight and form factor.
- WAY more B-string friendly than the SWR LA 10, which sounded like a whoopie cushion with my active 5-strings.
- More open-sounding than my Line 6 Studio 110, which used to sound like it was under a blanket.
- Not as compact as the old Fender Rad Bass/Frontman 25B, but has a nicer top end, plays a lot louder, and is noticeably lighter.
- The Traynor SB110 tries for more of a "big boy tone" with its tweeter and bass boost circuit. If you want a pillowy low end, the Traynor delivers. However, it suffers from the same mechanical limitations as the G-K, and if you push it too hard with the low end boosted, it farts out very early. Heavier, as well.
Overall, I would rate the Traynor as the MB110's closest competition, and the MB112 a better choice if you need to keep up with a moderate drummer.
I'll submit a gig report after Sunday afternoon...
Hmm, I've only had my new little G-K MB110 for a couple of weeks or so and I love it - and it hasn't had any problems keeping up with the two low volume drummers with dynamic control I’ve used it with so far. But by itself, I doubt it will keep up with a hard hitting LOUD drummer - but that's what the Chain output is for. 
