This is the best endorsement I've seen
If you do give into temptation, it should be low risk since returning them should be easy (assuming you have a GC nearby)!
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.
New Ampeg Venture Series
- Thread starter Jtown690
- Start date
Certainly, it’s been noted more than a few times in these pages. But that will mean different things to different players. I am happy to know that I don’t need to max out a speaker cab, especially when I play a stacked pair for most gigs. I have been fine with a pair of 210’s rated 200 watts per, and that with a V7 capable of 700 watts. Bc I don’t use all the watts at once. I save some for next time!
The 210 I see the most in my area is the Markbass with Kevlar woofers.
Fender Rumble 210 V3 - 700W
GK NEO IV 210 - 500W
Darkglass 210 - 500W
Genzler Magellan-ULV-210 - 600W
Hartke HyDrive HD210 - 500W
Ashdown ABM 210H NEO - 500W
EBS NeoLine 210 - 500W
GK CX210 - 400W
Markbass MB58R 102 PURE - 400W
- Feb 12, 2006
- 61,049
- 5
- 221,004
- Disclosures
- Development Engineer-Mesa Boogie, Development Engineer-Genzler (pedals), Product Support-Genz Benz
Just remember that at least one of these is "program" power which results in the most misleading number.
Fender Rumble 210 v3 = 700w (program)/350w (continuous).
This tracks.
Worth noting: the Rumble 210 v3 is primarily sold as an extension cab for the Rumble 500 combo, Fender's hands-down bestseller bass amp. In that role, it's sharing the workload with the combo's internal 2x10, not carrying an entire live backline on its own.
If your plan is to spend an extra $200 on a 300W-rated Ampeg VB-210 as the sole cab for your V7, don't expect it to fill a moderate-size stage with a somewhat loud drummer without incurring some risk of damaged or blown drivers. The V7 is good for 350+ watts at 8 ohms.
Playing at home volumes? Knock yourself out.
It ought to go without saying that all metrics matter, but if I were shopping for a single 210 to cover 70% of my gigs, a 300-watt rating would take it out of contention before I looked at anything else.
Understood. I'd prefer a higher rating, all other things being equal. But anything at 200 watts RMS + seems to cover my needs. I have a Genz Benz Focus 112 and Aguilar SL112. Both cabinets have been stout when driven with anything between a Mesa D350 and Aguilar AG700.
Full disclosure: I play at only moderate levels these days.
As do I - at least mostly.
But I also play a vintage-voiced amp designed to run with a little hair, which can push output beyond its clean RMS rating.
I have a Tonehammer 350. It can produce some "hair" but I don't know if that equates to overdriving the speakers. With a tube amp, probably but I'd have to defer to greater minds on this. Either way, good discussion and I appreciate your perspective.
A Tone Hammer 350 can deliver 250–350 watts into 8 ohms on peaks, enough to put a 300-watt cab in harm's way.
And I need a little more than that. I'm playing with a dynamic drummer who can get moderately loud in bursts, backing an acoustic singer-guitarist and sax player, covering everything from outlaw country to Motown. Our gigs are generally well attended, and about half are in larger venues. For the medium-sized rooms that make up the other half, a Tone Hammer 500 into a single 8-ohm 2x10 with a 350w capacity is about the minimum rig that would get the job done.
I've seen some of your videos. A 2x10 with 350/400 watt RMS rating will give some additional headroom, no doubt.
Yeah - and a lot of those videos are without FOH support. Tonight, for instance: Large venue, packed even more than its usual due to BL's birthday celebration.
I'd rather carry extra headroom than gamble with speaker cones.
Last edited:
So...
I had been working with a PF-800 (second hand) for about 7 years and it finally started faltering. I got it into the shop and they got it back up and running, but that got me thinking about having a backup. Being that I play 100+ shows a year, I cannot afford to NOT have a backup. So, after doing some extensive research, I bit the bullet and purchased a Venture Series V7, pairing it with my current SVT410HLF cab. I am thoroughly impressed at the tone, clarity and punch that I get with this head going through this cabinet. I knew I had made the right purchase when my guitarist made mention of how great my bass sounds through his IEMs now (believe me, high praise indeed). I like the control I get with this head and I appreciate the weight difference from my prior Ampegs I've owned.
I had been working with a PF-800 (second hand) for about 7 years and it finally started faltering. I got it into the shop and they got it back up and running, but that got me thinking about having a backup. Being that I play 100+ shows a year, I cannot afford to NOT have a backup. So, after doing some extensive research, I bit the bullet and purchased a Venture Series V7, pairing it with my current SVT410HLF cab. I am thoroughly impressed at the tone, clarity and punch that I get with this head going through this cabinet. I knew I had made the right purchase when my guitarist made mention of how great my bass sounds through his IEMs now (believe me, high praise indeed). I like the control I get with this head and I appreciate the weight difference from my prior Ampegs I've owned.
My praise of the VB-88 has been unreserved, and I still feel that way.
I want to report one more thing I didn't notice until I A-Bd with a Bergantino NV (sealed).
The sound from the port is delayed (well, "of course", I would say now, but had not noticed it).
I don't notice any tonal negative from this (neither with bass nor with hifi music played through it).
And I guess that almost everyone here would describe it with a positive word, like "thump", etc, as it does feel kinda pleasantly dynamic-like. Myself, I haven't decided (about this specific little temporal effect).
But it does lead to something important:
If the lows are delayed in time, then their phase must be different from what it would have been, but I hear no problem. But there's this other cab I've complained about, and I thought the main problem with it was a big phase shift as it passed through its tuning frequency.
So, there's this mystery of why I don't notice any audible negative due to phase shift in the VB-88. And here is my answer:
Another member here once mentioned that the frequency response of the VB-88 is already down a little, already at 45Hz (well above where I think its tuning frequency is). So my theory is that the VB-88s frequency response is allowed to begin decreasing gradually at a frequency quite a bit higher than its tuning frequency (instead of being held flat for as long as possible and then collapsing suddenly, and above 41Hz, where I can hear it), until it finally collapses (less severely because it has already declined some) below its tuning frequency (and below 41Hz, where I don't hear it).
Anyway, just one more little thing I haven't noticed anyone mentioning.
I want to report one more thing I didn't notice until I A-Bd with a Bergantino NV (sealed).
The sound from the port is delayed (well, "of course", I would say now, but had not noticed it).
I don't notice any tonal negative from this (neither with bass nor with hifi music played through it).
And I guess that almost everyone here would describe it with a positive word, like "thump", etc, as it does feel kinda pleasantly dynamic-like. Myself, I haven't decided (about this specific little temporal effect).
But it does lead to something important:
If the lows are delayed in time, then their phase must be different from what it would have been, but I hear no problem. But there's this other cab I've complained about, and I thought the main problem with it was a big phase shift as it passed through its tuning frequency.
So, there's this mystery of why I don't notice any audible negative due to phase shift in the VB-88. And here is my answer:
Another member here once mentioned that the frequency response of the VB-88 is already down a little, already at 45Hz (well above where I think its tuning frequency is). So my theory is that the VB-88s frequency response is allowed to begin decreasing gradually at a frequency quite a bit higher than its tuning frequency (instead of being held flat for as long as possible and then collapsing suddenly, and above 41Hz, where I can hear it), until it finally collapses (less severely because it has already declined some) below its tuning frequency (and below 41Hz, where I don't hear it).
Anyway, just one more little thing I haven't noticed anyone mentioning.
Last edited:
