Pondering Some New Ideas, Need Some Input

[agedhorse]

View attachment 5414601

Inspired from what Ampeg does with the SVT/B15 voicing option in the Venture amps, or the voicing option of the Quilter V803

EDIT: Please pardon the super dirty mockup

All those amps have such different architecture that this combination isn’t going to be very believable because the different architectures are at odds with each other .

 

[gtirard]

All those amps have such different architecture that this combination isn’t going to be very believable because the different architectures are at odds with each other .

I'm not surprised.

I wonder how Ampeg did for the SVT/B15 thing though. These amps also have very different architecture...

 

[agedhorse]

I'm not surprised.

I wonder how Ampeg did for the SVT/B15 thing though. These amps also have very different architecture...

Yes and no, not that different.

 

[paskisti]

Maybe I'm in minority, but would consider only non-tube products to purchase for improved reliability and lesser chassis size. Carbine type amp but not even a single tube. I like grindy tones and simple amps so my vote would be Carbine in D-800 chassis and layout (no usb, semi para mids or aux in). I don't know if Carbine circuit design prevents using mid shift buttons in low and high mids but they add flexibility.

 

[ImTheOnlyOne]

This is about a Mesa branded product. Products meet price points. Mesa, the brand, may represent stand-out tone, quality engineered build, pro-level reliability, and heritage.

Now, consider how microprocessors have changed and continue to change professional audio. Make the next amp "smart".

I read most amps on stage these days are for self monitoring and player control. FOH wants a happy player, but even more-so, a happy mix.

[Use your best Rod Serling voice now ] Imagine a "smart" stage amp that sensed the room (think room correction on a hi-fi) using ultrasonics, EQ-ing itself, in accord with its volume setting and cab compliment, to a savable/sharable profile. Grant the player access to a a resonant HPF, LPF, sweepable mid (like a Broughton RFE), Gain and EQ something akin to an OE DCX, and maybe a notch for acoustic players. Pre and Post DI.

400W at 4 Ohm fan-less, goes to 2 Ohm activating fan.

Backlight the controls and logo at sensible levels (uh oh, price point), no larger than a D-800+, incorporate stage-friendly gimmicky niceties (pick holder, cable management, tumble resistance, No sharp corners). Be sure to include a surprise, "It even has a...!" feature. Eat someone's lunch. Guaranteed, they'll eat yours if you let them.

 

[melloncollie]

I think a preamp pedal with tubes would do fairly well especially since there’s really nothing that’s designed to sound like a bass 400. It’s typically ampeg either svt or b15

 

[agedhorse]

Maybe I'm in minority, but would consider only non-tube products to purchase for improved reliability and lesser chassis size. Carbine type amp but not even a single tube. I like grindy tones and simple amps so my vote would be Carbine in D-800 chassis and layout (no usb, semi para mids or aux in). I don't know if Carbine circuit design prevents using mid shift buttons in low and high mids but they add flexibility.

The Carbines architecture are built around preamp tubes.

 

[paskisti]

The Carbines architecture are built around preamp tubes.

Fine, so probably it cannot be designed well or easily without them.

 

[Doufuss]

As a follow-up question, would a Carbine inspired amp along these lines be more or less interesting?

Yes. But the variable HPF included on the Subway line is a necessity. I especially liked the rotary voice control, although only ever used 'little frowny face' and 'little smiley face' positions.

 

[Doufuss]

For the guys that don't like the handles - I've never considered them to be handles. I call them bumpers, like on a car, to protect the control panel.

 

[Doufuss]

The Titan/750 amps had this wonderful grind that was perfect for punk and grunge. Maybe something like this?

 

[ihixulu]

Zero interest in tube power section, and after playing with the D800+ for a few months now, don't care about a tube front end at all. I'd be interested in a more aggressive version of the D800+, something that starts behaving like a 4 on the Floor on the high end of the gain. Basically something that explores the tonal palette beyond the cleaner side of things.

I know Andy has mentioned that distortion is such a personal thing perhaps better left to pedals, and I don't necessarily disagree. But I think part of what makes an amp company become a brand is a commitment to a tone/voice. Mesa's guitar side certainly has established a distortion voice and I think it would be cool to see the D series say, "this is what Mesa bass distortion sounds like."

 

[jnewmark]

I don’t really have any interest in a 400 or Carbine type amp as I have found the amp I love and don’t really have gas for another. But I do have a suggestion. Whatever kind of amp you design, include a variable HPF, if at all possible. I feel that this feature is the most useful tool to have for those of us who play the local scene and in a different room every gig. To have an onboard one would really be a help for those of us who battle weird room nodes and odd setups constantly.

 

[Zooberwerx]

I know squat about amps but I know what I like:

*HPF…got that covered.

*Replace treble shelving with an RFE including freq center and boost.

Other than that, if it’s black and has knobs on the front, I’m good.

Riis

 

[Passinwind]

This is way past my pay grade, but I would hope, Andy, that you NEVER go 1/8" headphone/aux in jacks. For me they are a quick trip to the plugs that size getting snapped right off, and real/pro headphones are always 1/4".

+ one million.

 

[HolmeBass]

did the peavey amps ones have issues or just didn’t have enough demand/market?

I am not sure, honestly. I think sales of the more traditional, and less costly, VB2 cut into sales of the VB3.

 

[abarson]

This is about a Mesa branded product. Products meet price points. Mesa, the brand, may represent stand-out tone, quality engineered build, pro-level reliability, and heritage.

Now, consider how microprocessors have changed and continue to change professional audio. Make the next amp "smart".

I read most amps on stage these days are for self monitoring and player control. FOH wants a happy player, but even more-so, a happy mix.

[Use your best Rod Serling voice now ] Imagine a "smart" stage amp that sensed the room (think room correction on a hi-fi) using ultrasonics, EQ-ing itself, in accord with its volume setting and cab compliment, to a savable/sharable profile. Grant the player access to a a resonant HPF, LPF, sweepable mid (like a Broughton RFE), Gain and EQ something akin to an OE DCX, and maybe a notch for acoustic players. Pre and Post DI.

400W at 4 Ohm fan-less, goes to 2 Ohm activating fan.

Backlight the controls and logo at sensible levels (uh oh, price point), no larger than a D-800+, incorporate stage-friendly gimmicky niceties (pick holder, cable management, tumble resistance, No sharp corners). Be sure to include a surprise, "It even has a...!" feature. Eat someone's lunch. Guaranteed, they'll eat yours if you let them.

Rod Serling invocation aside (nice touch!), how much do we really want technology to control our experience? At what point do we determine that human interaction and sensory distinction is superfluous? Someone else in this thread mentioned app control via their phone. Gawd, more dependency on that slave-making device?!? Instead of just turning a knob? The last thing I want to do mid-song is scroll through menus. Bad enough I'm using an iPad now for lyrics.

 

[ImTheOnlyOne]

Rod Serling invocation aside (nice touch!), how much do we really want technology to control our experience? At what point do we determine that human interaction and sensory distinction is superfluous? Someone else in this thread mentioned app control via their phone. Gawd, more dependency on that slave-making device?!? Instead of just turning a knob? The last thing I want to do mid-song is scroll through menus. Bad enough I'm using an iPad now for lyrics.

I truly don't want the complexity most digital tech adds, but it can be such a value add when done right.

And menus can feel like...

 

[metron]

I think the 400+ is one of the best sounding amps Ive used. The graphic eq was essential for me though. Without the geq it was good but not my top choice.

 

[J-phatt]

As much as I am against the majority of class D amps, I’m all for a small lightweight tube head like that certain 50 w competition. Most of my amps ARE graphic EQ and a/b heads , hybrids or tube.
Weight keeps me from taking the tube heads out mostly.
I find a graphic very useful and a little easier to cut unwanted frequencies than a parametric, but I think the walkabout and mpulse 600 amp had such a useful parametric it might as well have been a graphic .
I think most people would deal with the cost if it meant a tube driven DI, lighter weight with almost the same features. I know I would .
I know this is unrelated to the question but the buster head, walkabout and mpulse 600 are my favorites and I’d drool over anything that combined those even just a little.
Maybe a revamped buster is more doable than a prodigy or 400+ remake?
As echoed on here , sorry if not much input , but very much appreciate your input and thought into what most bassists want, and all your wisdom that’s right here for us to use.

Please put in a few words to convey your thoughts on Class D amplification. I know they’ve been around for a while and have been using a bandmate’s Markbass 110 800w combo recently. I don’t have quibbles about the amplification so much as the 1x10” driver array.