ROLAND D-BASS 210 EXPERIENCE

[luknfur]

I am very much interested in one of these too. I was wondering how large the venues are that you are playing at? Do you use PA support? If so ho is the DI out?

I’m taking care of an elderly mother who is basically bedridden (in the Dude Pit as I call it - since Steve had a similar situation) so unfortunately my trips are limited to the pharmacy, doctor, and grocery store.

Regardless I’m more the Steely Dan type as audiences do nothing for me but I’m looking forward to playing with musicians again. Fact is what spawned the purchase of this amp is I’d thought my mother had passed away one night and I didn’t have anything that was a single load trip without a dolly. I really had no interest in a combo but these don’t show often and struck me as a good deal and worthy of close examination - and the more I play it the more impressed I am with it.

I’d love to hear feedback from anybody who’s played one out or heard one played out cause playing with a band is the only test of any merit but it’s not a situation I can comment on.

Maybe this thread will eventually spawn something along those lines. I read a post from a DB TB'r who didn't find a Roland DB amp (related but not the same) worthy and PM'd him but have yet to hear anything back.

 

[greenboy]

My impression in the store was that it could easily gig, and I liked the general tonality and output better than the earlier series of Roland D-amps.

 

[luknfur]

The BP guy didn't seem to have issue but you can't expect them to rag on something. Although apparently it impressed another player to want to play through it instead of his own rig.

I looked at the DB amps that came out years ago and it's not the same chassis but no doubt similar technology. These have been out since 2005 so somebody's bound to have had some experience playing them out. Roland bass stuff is kind of strange in who it appeals to but it's definitely not the masses. Doesn't help that it's on the expensive side short of boutique.

When I started this thread there was a TB'r with a D-bass 210 in the classifieds and I'm surprised he hasn't come in. Although again probably not the most unbiased opinion. Who knows, maybe he hasn't cause he thinks it sucks.

 

[luknfur]

Probably going to post periodic updates for a numbers reasons.

The dude I PM’d and posted to about the DB never responded and he just posted a thread yesterday so for whatever reason, nothing’s coming from that.

I did put the D-bass up at table height (little higher than it would be as a stacked cab) and it cut a lot of the bass out but otherwise was about the same. No surprise there.

The last week I’ve pretty much stuck with the same vintage settings as the last experience except switched to the Trace Elliot model on the cube, still using the G&L the same. Different flavor of squawk basically but a nice dark 60’s Fender vintage J tone with some tuba-like tone in the mix. Again nice broad spectrum tone but more flexible than the last tone in that not such a different spin on fit to some tunes. Maybe squawk is an inherent part of the vintage amp model. It's different.

I’ve been playing bass a lot more since I got this amp. Sold the bass pod cause I’m just not using it as I‘m getting my tone junkie fix from this setup. Even adding more tunes into the set - which I haven't done for a while. Need to get a few Bluegrass tunes and hardcore country standards.

 

[luknfur]

Dude that had the problem got back to me the other day. Said he had a DB500 that cut out intermittantly and as a result never really could trace the problem.

Also just read a post where a TB'r replaced the stock speaker in a DB700 with a JBL. Not long ago I also ran the Roland Cube 30 "head" into a GS112 and it sounded fine. Apparently this FFP (Feed Forward Processing) Roland pitches is not particular about the speaker it feeds.

Lately I've also been running the cube through the effects loops instead of into the input on the 210. Adds another dimension to flexible tone since the 210 has an effects control that mixes the input so you can graduate from 100% 210 to 100% effects (cube in this case).

 

[luknfur]

Some updated experiences on the cube through the 210 effects loop.

I don't really use effects and in fact have never had an effect aside from incorporated into the V bass or pod - and now on the cube. One thing I've found appealing in the phase/flange effects of those is a tone in a segment of the loop that I liked - but not that continual swooshing junk and inconsistent pitch/volume response which to me makes it pretty useless for any kind of normal bassline. Seems on some "real" phase/flange effects you can "freeze" the tone at a given point so you only get the part of the loop you want. I've also read comments about guys using like a little chorus mixed in to make the tone more appealing.

For whatever reason I just recently messed with using some of the effects on the cube and mixing them in with a set of Villex pups I picked up. Now I understand the part about the chorus. I've added some chorus and flange using roughly 25% cube in the effects mix and it does add a subtle appealing touch in some tunes. It's subtle enough to where it probably could be switched on in the middle of tune and the other band members may not even pickup on it. In as much the effected tone works just as well to a broad range of styles just as the uneffected tone does. More apparent solo especially on slides. Can be made less apparent or blatantly apparent as desired.

In this particularly case using flange switched on adds a tad more brightness, little percussiveness, some warmth, takes a bit of the edge off of the attack, and can take a bit of definiton out of the tone. Haven't messed with the chorus that much but it's definitely noticeably darker than using flange. Using the effects is so subtle sometimes I'm not sure if it's even toggled on or not - depends on the tune. That I like. Probably more blantant recorded than live.

When I got the D-bass they threw in an F5-SU footswitch. Virtually useless with it as it simply puts the D-bass in standby mode only while you're stepping on it - not toggle on/off. Turns out the same switch when used with the Cube toggles the effects on/off so it has come in handy after all - being able to do as much is a great way to A/B for making the effect used as subtle as possible - if desired.

I also did a couple of pup reviews and discovered the cube/D-bass setup really complicates assessing a pup. The tones can vary so dramatically that it's hard to tell what the pup actually sounds like. I think doing as much was actually easier using the bass pod.

 

[JRB]

Hi everyone,

Well I might as well add a bit to this since I got a Dbass 210 about two weeks ago. I am going to wait to write a real review for a while until I gig with the unit. Overall, my experience is a bit different then that of Luknfur, mainly because I am more of a plug and play player. While, he spent a long time playing with everything, I just tried all the settings, saw I loved the superflat the best, left it there and just used the eq a bit depending on the room I am in. Simple, no big dialing in.

I think the amp sounds great, is very loud and is well built, I actually like the finish but if it did get damaged I am not sure what would happen to it.

The only problem is that compared to the mini heads that are out these days (The F1 just came out) it is a big combo. But for a 210 it has the footprint as the rest (ie Epi, or most other 210's I looked at) just taller. That taller does make it harder to move around, but as I found with my 410 having casters with a bigger cab is often easer then a smaller cab without.

Anyway, I will give a better review in the future.

 

[luknfur]

Cool. Some gig feedback besides bass player mag.

 

[luknfur]

Latest discovery.

Picked up a pod X3 and found the D Bass makes a pretty decent guitar amp as well.

 

[Earwigger]

Hi all, sorry to ressurect this thread. I recently downsized my rig from a GK 4x10/1x15 stack to a Roland D-Bass 2x10/115x. I've had it for a few months now and my general consensus is positive.

My opinions, if anyone cares ( ) are as follows:

lunkfur's opinions are pretty much shared by me, though I find the COSM models to be all blessings and no curses. The Super Flat is by far my favorite for use with my G&L 2500. The "expander" button is usually on, but if I'm just playing at home then I have it off. I dig super low lows, and the D-bass can make that happen.

The Vintage COSM model sucks a lot of treble out, which works great with my Ibanez SR506 with active Bartolini MK-1s. It smooths the entire spectrum of sound out and gives it a much more traditional quality without sacrificing dynamics or musicality.

My least favorite is the Modern, as it sucks the midrange out and is sort of an "Instant Fieldy" setting. Treble is boosted, as is bass. It's clear it was meant for slap bass or pickstyle, both of which I do not do. I enjoy it with my ash-bodied P/J Aria, which has a very scooped sound by default.

The compressor/tube compressor is nice. I have the tube option on pretty much all the time, at about 25% compression. It has a very solid tube emulation that has replaced my SansAmp BDDI.

The EQ, I must admit that I don't touch it aside from turning some mids down when I use the Vintage setting. I never use the EQ on my amps as I've always found that it does not give me the tone I want any more then if I don't use it. Either the bass sounds good direct or it does not sound good at all IME.

As for live, the 210 combo DOES have some balls, and is more then ample for practice. I use the 115x extension cabinet (which is the same rig as Alain Caron!) when I do live shows, as it's always good to have another 300w pushing a 15" when you've got a big room to fill.

It's impossible to explain the settings on the amp in detail without going on for boring hours, so I'll make it rather quick: The Roland sounds GREAT. The power is there. It is light (so deliciously light after my 300 lbs of GK cabs), and I have banged it around a bit, but it has held up. If you don't get the input stage correct (active/passive and gain) then there will be a lot of hiss from the compressor, but this is easily remedied. If you use an active bass, the active switch should be down. Its not just a Gain modifier, it actually treats the input differently. If using a passive, then make sure it's off. This will increase your sound quality quite a bit. Its a light, incredibly responsive and incredibly good sounding 2x10. I went into GC the other day and was blown away by how muddy and unimpressive all of their amps and cabs were after spending time with the Roland. It spoiled me.

 

[luknfur]

Any feedback on these amps is worth mentioning as there apparently aren't a lot of guys who've experienced them. Cost is about what the MB210 combo is (but you won't find one sitting in a GC to try out though it's my understandning they could order one) and with the extension you're working your way toward a BergIP. Gig experience is a particular plus.

Lastly I've been running a pocket pod through the D-bass for the last week which is akin to the guitar portion of the x3 but lacking most the decent bass stuff in it. Regardless good for distorted bass tones and three piece rock.

 

[locolobo85]

Good thread. My dream setup right now is the 2x10 (oops) for practice and rehearsal with the 1x15 extention added for gigging.

 

[Earwigger]

It's actually a 2x10. I had a prejudice against 2x10s for the longest time as I thought they were weak and useless, but the Roland has enough balls to stand up with a lot of other amps. Ideally I'd trade the 2x10 for the 1x15, since I think the 15" speakers handle live situations so much better, but I'm perfectly content with the 2x10 now.

 

[locolobo85]

That's interesting. I thought about the 1x15 with the extension cab but figured the 2x10 would round out the overall sound when paired with the ext cab. Something new to consider. I really need to find a place to test drive this rig.

 

[luknfur]

Just in case you're not aware, the only extension Roland makes for it is the 1x15 which is a powered cab as there is no speaker out on the D-Bass as the internal speakers/tweater have their own independent amp. I have inquired in this forum and there's no reason anybody knew that you couldn't use any powered extension as basically it's just a signal out from the D-Bass. The Carvin powered 2x10 seems to be getting good response from this forum and seems are comparatively inexpensive - probably more so than the Roland 1x15 I would guess but I've never checked. I also haven't check for other powered Roland cabs - probably some for keyboards I would think.

 

[luknfur]

The latest experience is probably one of amusement - if you’re not me. Had a mouse in the house (no cat). Of all the places the rodent had to draw a bead on, the D-bass. Little beggar was setting up residence and packing it full of dog food.

That internal labyrinth Roland built for sound is nothing but a pinball maze for dog food. Tilted and shook till I had my fill. Figured I’d just take the speakers out the next day - which I did (sort of).

I‘ve been wanting to have a look inside anyway. I’d planned to get some vintage style blue Fender grill cloth to keep things clean and critters out (bugs, chameleons, god knows what else) and keep them from doing the unimaginable - till it happens. Hadn’t given any thought to covering the bottom ports - till now.

Fortunately Roland doesn’t use any goop around the speaker grill (just felt) so it came off easily. Apparently Roland designs their grills to easily pull up from the bottom cause it’s not easy if you don’t. I couldn’t get the grill off the cube till I did as much. The grill is remarkably form fit and, as with the cube, the workmanship of the amp overall is as impressive as the tone (in spite of the cheesie Barfboard - or whatever the cab is made of).

Somehow Roland wraps excess wire and ties it off so the speakers only come out about an inch from the face. I ran into the same thing on the Bass cube 30. They use shrinkwrap-like connecting wire to speaker clips so they aren‘t coming loose without a fight. On the cube I just cut the wires and even that wasn‘t easy - getting a pair of cutters between the electronics/housing and maneuvering to squeeze the handles without jerking on the already taught wires. Wasn’t about to use the same approach on the D-Bass. Unlike the cube, the D-Bass speakers have half dozen leads running to them.

So with a headlamp I pulled the speaker away from the face as far as I could and looked around through the gap into the cab as best I could. There is the comparatively elaborate baffling shown on the Roland site. There’s a single strip of white “insulation” (god knows what coming from China). Roughly the width of the speaker laid behind each speaker at the back of the chamber. Mostly bare “wood” and some block bracing. The Neo speakers are apparently different other than the material as there were leads running to the “mag” as well as the typical +/- clips. I have no clue what they’re for (FPP or what) but they aren‘t on the cube which has FPP (cube’s not a neo either). They are pretty light and remind me of hi-fi speakers in appearance. Roland has the same goop around the leads coming from the electronics compartment so the speaker chamber is effectively sealed off.

As far as I could tell Roland seemed to use some adhesive under the tweeter’s plastic face so I didn’t remove it beyond removing the screws to find that out. I may have been able to pry it loose with little effort but I wasn’t going to risk cracking or breaking the housing to find that out. Which reminds me I ran across a similar experience some months back trying to remove the cab handles - which are also plastic. Seems I did that to have a look at the speaker chamber as well. The cab strikes me as not designed to take apart or take much of a beating - which is fine if it’s not subjected to/or is protected from abuse and doesn’t malfunction but not good if not.

The mouse was not given a fair trial and summarily executed.