scottfeldstein
Roots and fifths and a little extra.
Deal! And, yes it is 500w.
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.
The Combo Club
- Thread starter ChefKen
- Start date
Deal! And, yes it is 500w.
My other Fender Rumble is a 500w combo and quite a powerful beast. I dearly would like to hear that Hartke 500w with the 12 driver..plenty of headroom with 500 watts I would say...lol
Last edited:
scottfeldstein
Roots and fifths and a little extra.
I just hope it can move enough air to carry a small gig. Here's hoping!
I have done quite a few outdoor gigs with just the 75w Fender Rumble with drums keyboard 2 guitarists and singer..it coped very well with plenty of headroom..I should imagine a 500w driving through a 12 speaker will, or should have a load of headroom and volume galore loll It should easily carry a small gig if my little 75w can carry an outdoor gig with 4 other musicians.
I remember that with Lou Gramm. He and Paul Rodgers had incredible bluesy voices that were perfect for their brand of rock. There were so many great talents during what I call the Golden Age of Rock, the mid-sixties through the eighties and even into the nineties. Thank goodness for it too. What the heck would I be listening to otherwise?
They're top five for sure, probably top three. Yes, King Crimson maybe, Emerson, Lake, and Palmer possibly. That doesn't even get to the groups who were not quite as well known but offered us fantastic music. PFM, Focus, and I'd even add Argent to that bunch. Wishbone Ash, Renaissance, Genesis...
Ars Nova (the American one), the Hello People, Jethro Tull, Spirit (pre-Dr. Sardonicus), Soft Machine (without question!)
Ah, sorry. Getting ahead of us here.
Ah, sorry. Getting ahead of us here.
So I got picked to be the boss this week? That's like the third time in as many weeks I have boss' duty. Oh well, might as well give it my best shot. Who knows, maybe one day they'll erect a statue of me in front of the club, complete with a long cigarette and a monocle.
Cueing G'Dog...
Scott, Giffro is 100% correct. As soon as your Hartke comes in, take a picture of it, upload away, and ask to be a member and I shall grant you your wish. We're pushing our way to 200 members in 2020 and would love to have you and your amp along for the ride. We also love reviews so don't forget to tell us all about it. My first guess is it should be enough for gigging with, especially with the built-in DI. Run it out to FOH if you need more volume. If it's a casual gig, you've got enough as is. Congrats on the pickup!
Good stuff there, Rambler. Just think how many incredible groups were all climbing over each other to be heard. Concerts were inexpensive fifty years ago, music was everywhere, and the groups really experimented with sounds the could make. No auto-tune either!
Waiting...waiting...waiting...
RR, I'm headed to Snoozeland, but I just spent 30-40 minutes noodling on a very interesting combo amp. Since it was nothing but a brief intro, I won't go into super detail, but it's like nothing I've played through before. What I mean is not only is the form factor different compared to every amp I've ever owned, but it has a pure tone that is new to my ears. Whether it's right for you, I don't know, but it's definitely worth an audition. I wish I had a day off tomorrow to experiment.
First of all, it's so quiet I don't even know it's on unless I'm playing through it. No noise, no hiss, nothing, period. Plug in my Beatle bass, turn up the gain and master volume, hit an open note, and there it is. The exact note. No coloration, no scooped mids, boomy bass, or digital-sounding highs. It's the bass pure and simple. Add or take away from the tone controls adds a little warmth, clarity, and brightness, but nothing exaggerated. I left the mid and high controls flat and tried a bit of bass (1:00) to warm it up. Perfect. Now you have to understand this bass is not like my Fender, and until I get her onto the field I withhold final judgment, but wow, this is the cleanest, smoothest, combo I've ever had the pleasure of auditioning. I always thought that of my Markbass gear, but I can tell the difference. This is much more neutral in comparison to what I remember with MB's forward-sounding midrange.
Volume certainly isn't going to blow you away; it is a practice amp first. I was running gain and master volume to 2:00 and that gave me both great tone and reasonable volume. No problem hearing it in this room, but admittedly, I wasn't playing music along with. It was just me. I'm already thinking an acoustic guitar (maybe a couple) and light percussion would work in a band setting if you're using the PJB as a monitor while running the line out to the PA system. Might work, but anything larger and/or more instruments may be a distinct challenge.
The amp is as solid as you'd expect. Feel of the knobs and toggles is quality all the way. The sound out of the fours is most surprising. No ground shaking, but to me, the fundamental is there and it's so sweet. My best evidence is the Rogue bass' sweet spot is the neck pickup and I tend to play there exclusively. The bridge pup is a little weaker and lacks bottom, but has its own sound, I guess. for fun, I slid the fingers down and gave the bridge pup a chance and it sounded unlike I've ever heard since owning the bass. The tone was much more balanced, it wasn't nearly as wimpy-sounding, and for the first time, I actually thought it was usable. The kicker is I did not do anything to that pickup. No controls on the bass were touched during the noodling session. It was all the amp.
Best of all, it doesn't sound like anything else I have in the fleet. Neither VOX, Ampeg, or the Fenders sound anything like this one. To me, it's more of an addition to what I already have as opposed to a replacement. That usually means it's a keeper to me. That's why the VOX combo is for sale. The SuperBeetle is the tone I like having and there's no need for a duplicate.
As soon as I run the Jazz through it I'll update you on the PJB. I still recommend you rin your competition because that's the best way to decide. Just make sure you do include the BG-75. Thumbs up so far!
A $4.50 middle-of-the-auditorium ticket was a little less affordable when the going rate for part time work was $1.25-1.65/hr but we managed to see some outstanding shows even if they were never the production extravaganzas they are now. Among my benchmarks is the 1967 concert with Chuck Berry opening, Terry Reid and headliners the Rolling Stones. We didn’t need no stinking smoke machines and light shows and trapezes. We got live music!
I was at the 1969 Atlanta Pot Feast...er, Pop Festival. July 4th weekend, 20+acts, stupidly low price(no, I don't remember how low). Hotter than the hinges of hell. Lived on Pepsi and garlic pickles; slept(?) in the car[Volvo Pv-544]. Had a blast. Ya couldn't pay me enuff to do it now, but back then? Too much fun!
- Oct 22, 2015
- 21,155
- 256,634
- Disclosures
- I am an affiliate for Ari Cap.
My understanding from the learned folks at the Phil Jones Bass Owners' Club is the gain and master pots are more progressive than linear. Shorthand = turn it up, it's made to be turned up.
Woo, that's quite the write-up! Thanks for taking the time to edumocate your questioning followers out here on the interwebs.
So far, your experience has me really liking the sound of that little PJB. I'm looking forward to hearing what you think when you plug in other basses. Considering my Jazz is a go-to instrument for me, I'm keen to hear your experience with your Jazz. Small, portable and sweet are a great start.
I took my GK MB150E upstairs to the office, and played 4 of my basses through it yesterday. Mostly, I'm trying to establish what my existing neutral setting is. I have all my EQ set flat, volume (input) is about 10:00, and output is 9:00, so this is barely even on. After a few minutes of noodling, I asked how loud it was in the house and was told it was acceptable for non-concentrating time.
I'm impressed how much better the little cab sounds in a room with real wood floors and plaster (1928 era) walls compared to the basement. My short-scale P-copy with flatwounds had a smooth jazzy (music style, not bass) tone that would sound great in an acoustic or laid-back group. It copped a tone between a double and a Jazz, and really was sweet and pleasing to my ears. I think it made me play better.
Next up was my Squier Affinity Jazz with Fender flats and tuned DGCF. Much clearer and more defined, with a sweet growl through the neck pickup or both, and a pleasant burpy bridge-only tone. It was very clearly a different bass, which my wife commented on when she came back up to see what I was doing.
Then my corrupted TUNE Bassmaniac with swapped-out passive P/J pups from Epic Custom and light gauge DR Black Beauties. I'm still not sure how much I like the tone from this bass after the conversion. It's less authoritative than the passive Jazz with stock pups. But it sounded completely itself - and I have to wonder if the smaller strings are part of why it does not seem as metal as I expected. Once again, dialing in different knobs for blending and tone-changing did not cause a harsh or muddy tone from the GK. This bass also sounded like itself - or at least how it sounds now.
Then the big Yeller dog came out. My Schecter Riot-8 with all of it's barking active electronics and chiming (even though slightly out of tune) 8 strings. This bass always sounds w i d e and full, and it was certainly being shown to best effect by the single 12". I dialed in bass, I dialed in treble. I ran only neck, I ran only bridge, I blended them in the middle. An 8 is a limited-use bass, but for songs which have room to let it bloom, it sounded great. So much better than in the dank and cold basement where the sound just goes to die.
So in review, the GK MB150E is a useful and transparent partner. I knew it sounded good, but I really have not focused on it in months. It does not give any room to hide, so my technique flaws were in the same light as when I pulled off a really tasteful piece. Taking it out helped to re-calibrate my ears for other amps.
I like this amp, I just want something smaller and lighter for more portability.
The bar is set. Who will clear it?
Agreed. Maxed out the volume with gain at noon and it sounded just fine and dandy. It’s a smooth progression too as the volume creeps as you gently turn it up. Another features I haven’t ever used before.
Woo, that's quite the write-up! Thanks for taking the time to edumocate your questioning followers out here on the interwebs.
So far, your experience has me really liking the sound of that little PJB. I'm looking forward to hearing what you think when you plug in other basses. Considering my Jazz is a go-to instrument for me, I'm keen to hear your experience with your Jazz. Small, portable and sweet are a great start.
I took my GK MB150E upstairs to the office, and played 4 of my basses through it yesterday. Mostly, I'm trying to establish what my existing neutral setting is. I have all my EQ set flat, volume (input) is about 10:00, and output is 9:00, so this is barely even on. After a few minutes of noodling, I asked how loud it was in the house and was told it was acceptable for non-concentrating time.
I'm impressed how much better the little cab sounds in a room with real wood floors and plaster (1928 era) walls compared to the basement. My short-scale P-copy with flatwounds had a smooth jazzy (music style, not bass) tone that would sound great in an acoustic or laid-back group. It copped a tone between a double and a Jazz, and really was sweet and pleasing to my ears. I think it made me play better.
Next up was my Squier Affinity Jazz with Fender flats and tuned DGCF. Much clearer and more defined, with a sweet growl through the neck pickup or both, and a pleasant burpy bridge-only tone. It was very clearly a different bass, which my wife commented on when she came back up to see what I was doing.
Then my corrupted TUNE Bassmaniac with swapped-out passive P/J pups from Epic Custom and light gauge DR Black Beauties. I'm still not sure how much I like the tone from this bass after the conversion. It's less authoritative than the passive Jazz with stock pups. But it sounded completely itself - and I have to wonder if the smaller strings are part of why it does not seem as metal as I expected. Once again, dialing in different knobs for blending and tone-changing did not cause a harsh or muddy tone from the GK. This bass also sounded like itself - or at least how it sounds now.
Then the big Yeller dog came out. My Schecter Riot-8 with all of it's barking active electronics and chiming (even though slightly out of tune) 8 strings. This bass always sounds w i d e and full, and it was certainly being shown to best effect by the single 12". I dialed in bass, I dialed in treble. I ran only neck, I ran only bridge, I blended them in the middle. An 8 is a limited-use bass, but for songs which have room to let it bloom, it sounded great. So much better than in the dank and cold basement where the sound just goes to die.
So in review, the GK MB150E is a useful and transparent partner. I knew it sounded good, but I really have not focused on it in months. It does not give any room to hide, so my technique flaws were in the same light as when I pulled off a really tasteful piece. Taking it out helped to re-calibrate my ears for other amps.
I like this amp, I just want something smaller and lighter for more portability.
The bar is set. Who will clear it?
A compliment right back at ya for the well-defines review. If I didn’t know better I’d think you were auditioning the GK and were totally impressed with it! I get it though...quality tone in a lighter, smaller package.
The one thing I thought of today that I failed to mention is I’m a stickler for that same tone as you talked about with your first bass (short-scaled P). I have to hear woody or I’m not happy. It’s a hollow-body with lots of unique character and inverted gear it. Last night, with flat controls and nothing else, the natural wood tone jumped right out, but in a very smooth manner. Very nice, RR, M, and any of my other lettered friends...
The Jazz is next and I’m excited about it!
I get it: I'm gushing about an amp I already have. Yep, guilty as charged. But that's because I bought the best amp I could afford at the time. And it's still super impressive over 20 years later. Strong, tough, but also surprisingly woody and organic sounding. I think it's one of the finest little amps I've ever tried (before the pitchforks come out, I've never tried any of the Rumble series) and I didn't think it made sense for me to jump into a combo shoot-out without giving a serious listen and run-though to my old favorite.
And I think we have some similar tastes in basses: my Shorty is strung with Pyramid flats like Sir Paul used to play. Very spendy, but an amazing sound and feel. As close to a Hofner as a P-bass can get?
I am also excited to hear how your next playing session goes, but anything worth having is worth waiting for.
I get it: I'm gushing about an amp I already have. Yep, guilty as charged. But that's because I bought the best amp I could afford at the time. And it's still super impressive over 20 years later. Strong, tough, but also surprisingly woody and organic sounding. I think it's one of the finest little amps I've ever tried (before the pitchforks come out, I've never tried any of the Rumble series) and I didn't think it made sense for me to jump into a combo shoot-out without giving a serious listen and run-though to my old favorite.
And I think we have some similar tastes in basses: my Shorty is strung with Pyramid flats like Sir Paul used to play. Very spendy, but an amazing sound and feel. As close to a Hofner as a P-bass can get?
I am also excited to hear how your next playing session goes, but anything worth having is worth waiting for.
Heading to bed, but wanted to update you with tonight's trial. I gave the Jazz a spin through the PJB and even though my new strings need to find their happy place, it sounded very nice. The 4" drivers truly have no problem with the lower notes, though it's pretty much the fundamental; you're not going to get super woofy bottom end like you would with another amp. Using only the amp, it's clean and detailed. Make a mistake and you'll hear it. Probably like your GK in that sense. The more profound lower notes with the Jazz sounded excellent, though more roundwound-ish. Give te LaBellas a week or two and they'll be like a fine Irish stout, dark and satisfying.
I tried doing some recording off my phone but it wasn't worth posting. I'll do a recording with a microphone this weekend. It still won't be perfect but should give you an idea of what the Double Four sounds like. Super sweet in the higher octaves tonight. Again, a smooth, effortless tone that brings out the bass. If I could wish for something, it would be an extra 80 watts and a couple of eights. I'm even wondering if you should look into their Micro series. The single 7" combo has gotten good press and players seem to like it. The amp is also about half the price of the red breadbox if you get a deal.
after tonight, I think I'm beginning to see why bass players are forking out fairly big bucks to buy the larger, modular setups. More power, more volume, and more of what makes this combo so good. That, plus the fact it'll probably outlive me makes for a fine investment.
I'll be back...
