Man, I'd love to try one of those Sadowsky heads. Looks like a really well thought out preamp.
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Non-Ampeg Tube Amps
- Thread starter primusfan1989
- Start date
I don't currently own any tube amps, beside my Behringer Tube Ultragain Mic100 tube mic pre amp 
But beside an in this thread unnanameable all tube bass amp I owned for quite a while, I have owned a Dynacord Bass King T with solid state pre amp stage and a tube power amp stage(actually my first bass amp) and had the pleasure of playing through a Hiwatt too at a few occations.
I like the tube sound, but as said I like the sound of my current solid state just as much, even if the tones it is able to produce admittedly sounds nothing like exactly a tube amp.
But beside an in this thread unnanameable all tube bass amp I owned for quite a while, I have owned a Dynacord Bass King T with solid state pre amp stage and a tube power amp stage(actually my first bass amp) and had the pleasure of playing through a Hiwatt too at a few occations.
I like the tube sound, but as said I like the sound of my current solid state just as much, even if the tones it is able to produce admittedly sounds nothing like exactly a tube amp.
It's a good balance of simplicity and tonal flexibility. It's maybe not the most versatile amp out there, but tube-creamy yet still articulate. And the build-quality is top-shelf (as you'd expect from a product by Koch, which is a highly respected boutique all-tube amp maker in The Netherlands). BTW, these are now back in production in limited numbers due to the stronger $US versus the Euro.
Yeah, just can't afford it. I love the idea of having separate "bottom" and "top" controls from the "bass" and "treble" controls. And the mids look to be centered right where I want them.
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i didn't see any Aussie in the list, so i don't know if you will be able to see if anything is flat like a lizard drinkin!
i didn't see any Aussie in the list, so i don't know if you will be able to see if anything is flat like a lizard drinkin!
Yes - I wish I could read it
This showed up recently.
Marshall JTM 45/100 reissue from 2005. It features 2 50w output transformers, can run two 4 ohm cabs, sports KT66s, and it a really, REALLY loud 80w. Based on the original Super 100s made for John Entwistle and Pete Townshend. It nails the sound of 60s British bands, the just on the edge of exploding sound. Entwistle? Check. Bruce? Check. Ron Wood? Yup. There is a huge amount of bass on tap, so I'm running it with the Bass set on about 2, Mids 5, Treble 10, Presence 8, bright channel. With a Precision and round wounds, or a 4001 and round wounds, it has this fantastic clarity, even as it breaks up, where chords sound huge. It's also surprisingly HiFi, more so than later JTM100s as it isn't optimized for higher gain like they slowly became in the late 60s/early 70s, and I've very much looking forward to running it along side a Sunn 2000s, one amp for treble/OD, the other for clean power. Not having played through a Marshall before, I get why they are a standard. I think more people should use these for bass, it sounds great.
Marshall JTM 45/100 reissue from 2005. It features 2 50w output transformers, can run two 4 ohm cabs, sports KT66s, and it a really, REALLY loud 80w. Based on the original Super 100s made for John Entwistle and Pete Townshend. It nails the sound of 60s British bands, the just on the edge of exploding sound. Entwistle? Check. Bruce? Check. Ron Wood? Yup. There is a huge amount of bass on tap, so I'm running it with the Bass set on about 2, Mids 5, Treble 10, Presence 8, bright channel. With a Precision and round wounds, or a 4001 and round wounds, it has this fantastic clarity, even as it breaks up, where chords sound huge. It's also surprisingly HiFi, more so than later JTM100s as it isn't optimized for higher gain like they slowly became in the late 60s/early 70s, and I've very much looking forward to running it along side a Sunn 2000s, one amp for treble/OD, the other for clean power. Not having played through a Marshall before, I get why they are a standard. I think more people should use these for bass, it sounds great.
I never know what to do with presence controls on amps when playing bass through them. This was an issue when I used my Model T as a backup, since I was using the overdrive channel.This showed up recently.
Marshall JTM 45/100 reissue from 2005. It features 2 50w output transformers, can run two 4 ohm cabs, sports KT66s, and it a really, REALLY loud 80w. Based on the original Super 100s made for John Entwistle and Pete Townshend. It nails the sound of 60s British bands, the just on the edge of exploding sound. Entwistle? Check. Bruce? Check. Ron Wood? Yup. There is a huge amount of bass on tap, so I'm running it with the Bass set on about 2, Mids 5, Treble 10, Presence 8, bright channel. With a Precision and round wounds, or a 4001 and round wounds, it has this fantastic clarity, even as it breaks up, where chords sound huge. It's also surprisingly HiFi, more so than later JTM100s as it isn't optimized for higher gain like they slowly became in the late 60s/early 70s, and I've very much looking forward to running it along side a Sunn 2000s, one amp for treble/OD, the other for clean power. Not having played through a Marshall before, I get why they are a standard. I think more people should use these for bass, it sounds great.
Tube amps incorporate what is called a negative feedback loop. The purpose is to dampen the power section and limit how it distorts the signal as you push the power section into overdrive (curtails some harmonic distortion ).
The presence control limits that function-the higher you turn it the less the negative feedback.
As an effect:it has surprising little sonic consequence until you start to push the amp, and then it the additional harmonic output is usually perceived as "chime" and seems to augment the sustain slightly. Case by case for each amp, as the all have their own component values.
Net effect on bass is small due to frequencies that the fundimentals occur, but can be heard if your tone or cabinets are brighter. Much more impactful on guitar.
Long and short: twiddle with it and see if it adds any value to your tone from where you sit. If it does, use it.
Oh no, I know what it does. Definitely seems useful on guitar. Just most bass heads don't have one and so every setting seems weird and wrong to me when using my guitar head for bass.
Thanks @disssa .
When I got my 100w Eminar serviced I asked the tech about smaller amps and his comment was that I wouldn't get a meaningful reduction in size and weight over a 100w. Do you think that is a reasonable conclusion?
Yes- the iron needed to generate or output the additional power may cost 10 lbs or so. Guitar amps can get by with less output transformer and may get a touch more.
For my money 45lbs of 100 watt vs 35 lbs of 25-30 watt isn't enough diff for the power loss. The 100 will be gigable in most instances. The 30? Not so much
It depends on the size of the gigs. Do you use a PA?
I use the CTM30 and a 410+115 cab for rehearsals with moderately volumes as a standalone. It is loud enough for a rock band.
We are using a PA for live gigs and a use the CTM30 and a 210 cab for bass monitoring and the really good sounding DI-Out of the CTM goes to the PA.
I use the CTM30 and a 410+115 cab for rehearsals with moderately volumes as a standalone. It is loud enough for a rock band.
We are using a PA for live gigs and a use the CTM30 and a 210 cab for bass monitoring and the really good sounding DI-Out of the CTM goes to the PA.
I use my 15w ashdown and a PJB 4x5 for medium gigs with no problem. I put a Beta 52A on it and it gets whatever tone I want without upsetting the stage volume. In-ears for monitors and away we go!
