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NEW MESA TT 800 AMP. OH. MY. GOD.

For folks who play with the TT: Are you using compression in front of the amp? I've tried a couple of compressors, but I'm not sure it's really adding much. There seems to be some natural compression already in the amp (from the tubes, I would guess), so maybe it's not really needed. In any event, I'd be curious to know if you use a compressor pedal with the TT and if so, which one?
I do. I have a tube-based Markbass Compressore that's nearly always on in front of the TT (or WD). I have it set to unity gain, pretty much to smooth out my fret clank and my ham-handed slap skills on the few songs that call for them.

To my ear, there's tube-type compression on the Boogie channel and the WD. I'm thinking the Subway channel too, but I've not really pushed that channel as much to see.

I used to have it in front of a Markbass Big Bang amp and it warmed it up a little. I've been turning it off lately when plugging into my new (to me) Subway+ DI to explore the slam/punch, let those transients through.
 
Thanks for the suggestions. I haven't tried the Broughton, but I'll consider it. I had the current version of the MarkBass Compressore for a while. Great controls and a really nice tube-driven compressor overall, but for me it was just a little too dark. I picked up one of the Becos units to try next. It's supposed to be transparent and has a different compression circuit than optical or FET, I think. Anyway, I'll give it a workout this weekend. I've got rehearsal this week and gigs on Friday & Saturday - plenty of opportunity to see how it performs.
 
There is probably a better thread to add this to, but here is my TT-800 story for today. Played an outdoor festival on a decent-sized stage with full PA. DI out from the TT-800, plus a mic on the 115 (also running a 210). After the first set the sound man asked nicely if I could turn the head down, since the weren't even putting me through the PA - the head was loud enough on its own. And this is playing out over a big field. I did turn down for the second set and the sound man thanked me, but admitted that it actually sounded better during the first set. He couldn't get over how good the head sounded. Thanks, Aged Horse!
 
I will second this and have posted before that my Carbine M3 and two GK Neo 112II's are a favorite pairing. For me, GK and Mesa gear mixing always has a good outcome.

I will try to get some time this evening with my two GK cabs and the TT-800. I was able to do a quick plug in and play last night with a Berg CN212 and one of the TT-800 prototypes - it's an impressive head. Below is my first impression and I will share what I learn tonight as well.

Let me just say that I hadn't expected to be as captivated with a dual channel head as I am with the TT-800. This thing is very intuitive with controls that seem to feel very musically integrated - it never gets unbalanced even when experimenting, even though there are two unique sections to experiment with so it takes some time to really find out everything it can do.

So I did what any bass player is going to do, I set this thing on a cab I know well (my CN212), plugged it in and tried all three of my basses. They're all 4 bangers, two German Warwicks (a Fortress 1 and Corvette Standard) and an EB MM Sterling (single H).

The SW channel feels and sounds familiar (a little more WD betwteen medium and low damping than D/D+ to my ear - I like the DF choice on this amp). The SW semi-paremtric mid is MUCH better most than any other semi-parametric I've used - effectve and non-intrusive. The deep and bright switches are very useful and add a lot. The deep provides a fullness that is not an annoying sub boost kind of deal. The bright opens up the upper mids and top end very musically. They seem like very broad, smooth shaping approaches that add quality to the tone, not just emphasis on certain frequencies.

I like the high gain input position a lot. At least with my basses, it seems to realy wake-up the pre-amp and give me a fuller sound. I suspect that very hot, especially 5 string basses could have greater success in the Boogie channel with low gain position - high will probably sound best for many of us though.

While I'm not doing any kind of OD kind of playing, I think having the symmetry control more toward noon or beyond (towards the ASYM setting) just sounds warmer and smoother. I'm not sure if it's supposed to be noticeable if you're not overdriving the amp, but it seems to make a difference to me. The Boogie channel mid controls seemed odd at first, but once you start to use them they just work!

I'm going to try some other cabs and impedances tonight, but when listening carefully last night I would say the SW channel has rich notes that are more tightly focussed around their center frequency with clean harmonics that have a well-defined punch. The Boogie channel to me also has rich, full notes but with a wider, not as distinct/focussed center frequency that is less defined around the edges and almost has harmonics that spill over (in a nice way).

I like both channels, but will need some time to really understand the Boogie channel's capabilty better. This is an unusal amp for me, because I typically like heads better with most of the "special voicing switches" off (high gain, deep, bright) - they are almost always "too much of something" for my purposes. On the TT-800 they are almost too good to run without. There is a lot of headroom in the preamp and the power amp feels massive.

It's also interesting that every knob when turned to the right tends to add quality, depth and dimension to the tone (not just more of something specific) and everything interacts very musically. In fact it dawned on me as I was writing this that the head behaves more like a musical instrument (in terms of how things interact sort of seamlessly) than it does a piece of electronic equipment. I find that very inspiring.

Overall this does seem to feel and sound a bit more like an old school tube head than the WD (which took its inspiration from the WA). My initial impression is that you can hear a little more 400 in this than you can WA in the WD. For the record, the WD is still a stellar amp that isn't repaced or made obsolete by the TT IMO. This head clearly had different design and tone goals. I think folks will be even more excited than they are now when they get to play one.

These were my original impressions and I''ll get deeper into speicifcs tonight as I get to be a better operator and try out different cabs. For now I am off to some meetings.

-Al
Completwly agreeimg with this assessmemt of the TT on day one of using.

Well mannered, not in that it can't drive (it can) but it nicely elevates its engineering into the usably musical realm.

Plis it takes different kinds of pedals like a champ thanks to the symmetry control.
 
The stellar late night typos of my previous post aside...

I compared the new TT to my well rested WD this evening.

Instantly rekindled my affection for the WD, and yet, while the TT's Subway channel seemed able to capture the vibe of the WD, the WD wasn't sounding like the TT. Only a quick comparison to be sure, but the lively rubbery give of the WD's pre is quite different from the TT's Boogie ready to record evenly composed envlope.

The WD's Treble tends towards getting bright, like the WA, whereas the TT's felt like a more usable taper, maybe different Q, and more about fingers than air.

Bass and HPF seemed tuned similarly, though the TT Boogie took a bass boost better.

On the D-350, I really like the bright switch, while on the TT I'm reaching for the Deep (and the WD has and misses neither).
 
The stellar late night typos of my previous post aside...

I compared the new TT to my well rested WD this evening.

Instantly rekindled my affection for the WD, and yet, while the TT's Subway channel seemed able to capture the vibe of the WD, the WD wasn't sounding like the TT. Only a quick comparison to be sure, but the lively rubbery give of the WD's pre is quite different from the TT's Boogie ready to record evenly composed envlope.

The WD's Treble tends towards getting bright, like the WA, whereas the TT's felt like a more usable taper, maybe different Q, and more about fingers than air.

Bass and HPF seemed tuned similarly, though the TT Boogie took a bass boost better.

On the D-350, I really like the bright switch, while on the TT I'm reaching for the Deep (and the WD has and misses neither).
It's almost like whoever designed these knew what they were doing ;-)
 
Thanks for the suggestions. I haven't tried the Broughton, but I'll consider it. I had the current version of the MarkBass Compressore for a while. Great controls and a really nice tube-driven compressor overall, but for me it was just a little too dark. I picked up one of the Becos units to try next. It's supposed to be transparent and has a different compression circuit than optical or FET, I think. Anyway, I'll give it a workout this weekend. I've got rehearsal this week and gigs on Friday & Saturday - plenty of opportunity to see how it performs.
I've been wrestling with this since I got my TT. I sometimes use a Darkglass Hyperluminal comp. There are three different "compressors" built in -- a FET, Sym, and Bus. I use the Bus compressor with a 75 comp /25 dry mix, medium comp threshold, attack, and delay. At bedroom volume and sometimes in the studio, I like the character that the comp adds.

For almost all my live shows, I go wireless straight into the TT and let it fly. I run my TT with low gain, no deep or bright, gain at noon, bass and mid at 2:00, shift and treble at 11:00, and O/D symmetry at 2:00. I set the volume to whatever I need, but usually not higher than 9:30 - 10. I use these settings with passive and active Fenders & Yamahas. I cannot recall a moment in time where I said I missed my compressor, or any of my other pedals. YMMV.
 
TT players - how would you characterize these Boogie settings other than "scooped"?

Really digging it a lot with a passive Jazz and Genzler BA 12-3

1734367863366.jpeg
 
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TT players - how would you characterize these Boogie settings other than "scooped"?

Really digging it a lot with a passive Jazz and Genzler BA 12-3

View attachment 7101307


These are pretty close to my settings, which I think let the character of my basses shine through. The difference for me in a band situation is I turn the deep and bright off, and I turn the bass and mid to about 2:00. I also bring the LPF to about 9:30. I like the the mids cut through the mix with these settings.

In any case, it’s really hard to get a bad sound out of this amp.
 
These are pretty close to my settings, which I think let the character of my basses shine through. The difference for me in a band situation is I turn the deep and bright off, and I turn the bass and mid to about 2:00. I also bring the LPF to about 9:30. I like the the mids cut through the mix with these settings.

In any case, it’s really hard to get a bad sound out of this amp.
“I also bring the LPF to about 9:30.”… Sorry, my OCD is getting the better of me. Did you mean “HPF”?
 
Would this work for running a TT in stereo...

Two amps, TT-800 and D-350.
Bass input to TT's front.
TT Active channel Send to a line level stereo effect, mono in, stereo out.
Effect Left out to TT active channel Return.
Effect Right in to D-350, Active on, EQ set basically flat. Ground lift the D-350.
Each amp out to a matching cab.

With the understanding that 1) Master volume settings will not match up at similar volumes, 2) I'm not looking to blow out the windows, 3) the D-350 outputs fewer watts overall than the TT, and 4) TT Symmetry settings would apply only to the TT.

Would the D-350 function well in this capacity? I wouldn't be heartbroken if not because I enjoy my D-350 stereo pair currently.

Note: Not choosing to use the D-350's Aux in because that's not present in the DI.
 
The aux in on the D-350 is the more appropriate signal path but you don’t have that on the DI out,

It not a great routing scheme, too many chances for gremlins including unintentional polarity inversion.

Using two D-350’s appears to be a better solution unless you went with two TT’s.
 
I'm gonna go way out on a limb and say I bet Andy has. :D
You would be correct.

The Strategy/Prodigy have a pretty high mid forward, bright in your face tone. While you could get there with the TT, that’s not its native voice or flavor.
 
Out of interest, has anyone ever compared the TT-800 to a Mesa Prodigy/Strategy?
Yessir! It's been a while since I've actively A/B/C'd them, but my recollection was that the TT was actually the brighter sounding of the three (with tone controls closer to "noon," but of course they all have powerful tone stacks and can cover a wide range of tone). I will have to do this again sometime soon...