i would keep the orange tim unless money or space is an issue. im surprised u sold ur svt as well!!
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The Fender Bassman 100T thread
- Thread starter Tim1
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Yeah, I am thinking that way. The SVT went mainly because maintenance and repair on it down here is a huge issue, plus it just wasn't getting the gig time over the Orange and Fender. There are no repair issues on Fender gear as the importers are down the road from me. I have not lost the SVT love, I am just waiting for a USA made one to turn up, but I do like the idea of keeping a 300 watt tube head in the stable - especially if it is a bigger version of the 100T 
Tim, fortunately di had one in stock so should have it early next week, rockshop wasnt keen on selling a cab without the head as it would break up the pairing, besides richards price was very sharp . i think once you try the sb it will help you to decide on the orange . does your guitarist really use a 100 watt marshall and 2 4x12 cabs sometimes!?
Reply to several postings
1). Grill Frame: Yes, Fender did a nice job making a solid frame. My Ampeg cabs have nothing like this. I can tell just by touching (gently pressing down) the grill cloth.
Whats interesting is the grill frame for the 1-15 NEO is slightly different than the 4-10 NEO. The 1-15 has a recessed area (routed out) that coincides with the outer rim of the speaker; the metal portion of the frame that sticks out beyond the wooden baffle (board). The 4-10 doesnt have this recessed area. See attached pics. Build yours whichever way seems appropriate.
2). Difference in volume & tone between the 6-10 NEO & 4-10 NEO: When standing 4-6 feet away from the cabs, I dont discern any noticeable difference between the two, other than what youd expect with respect to speaker & horn placement relative to the ear. The horn and top two speakers sit higher than the 4-10. That difference is noticeable, but is negligible.
What I found interesting is the tone difference between having one and two Ampeg 2-10 micro cabs. I originally had one. It was set on the floor. Loved the tone; absolutely killer. I decided to get another one. I placed the second cab on top of the first (I have pics of it somewhere in this thread). I instantly recognized that the tone was VERY different. Thats because of the relationship between ear and speakers. And yes, I flipped them around and heard the same anomaly.
3). 300 SB and the Marshall dilemma. I guess when you get your 300 SB, the other guy(s) may need to get the 100 all-tube Marshall to keep up with you. LOL
4). 300 SB and the 6-10 NEO: Like all cabs, the 6-10 NEO has its limits. You will not hear any appreciable clean volume using the 300 SB, the cab will begin to fart-out. The 100T will drive the 6-10 NEO cab to near peak performance. There is a difference in appreciable clean volume between the 4-10 NEO and 6-10 NEO, when using the 100T.
Any volume gain above the 100T/6-10 NEO combination will require using the 300 SB with a larger cab (speaker configuration); like two 4-10 NEO cabs, or two 6-10 NEO cab. Two 1-15 NEO cabs wont get you there, its like having a single 6-10 NEO cab. If you want optimal performance, the 300 SB needs to be mated with four 1-15 NEO cabs, or some such combination. Four 4-10 NEO cabs would be totally killer.
5). One Drop: Thanks for the info. The 400PS web site has great stuff posted.
http://www.timeelect.com/400-PS-IDX.htm
Id love to play through one of these hooked up to three folded horn cabs. I do remember that transition you mentioned. Guitarists were making the move from the 100 tube Marshals to the Mesa-Boogie (Mark 1 possibly) tube combos.
I appreciate the second paragraph in your post. It made me think of the movie Almost Famous. Sort of like the behind the scene stuff that goes on A different time, place, and experience thats forever lost
6). Moving more air comment: Yes the 6-10 will move more air than the 4-10, but things do have their limits. Imagine playing one thousand 1-watt transistor radios at the same time. Not hooked up together, just playing them as individual units. Yes, youre moving more air, but its still only 1-watt.
7). An observation Ill share: I suspect the wood used on these cabs is softer than the norm (Ampeg). Im basing this on the dent my 4-10 NEO has and a general impression I got when inspecting it. Just a heads-up for you; exercise caution if you frequently move these little honeys.
8). I really think the 4-10 NEO and 100T work well together. They make for a sweet rig and sing well. Im glad I got the cab.
9). Okay, lets get back to playing this fine equipment
1). Grill Frame: Yes, Fender did a nice job making a solid frame. My Ampeg cabs have nothing like this. I can tell just by touching (gently pressing down) the grill cloth.
Whats interesting is the grill frame for the 1-15 NEO is slightly different than the 4-10 NEO. The 1-15 has a recessed area (routed out) that coincides with the outer rim of the speaker; the metal portion of the frame that sticks out beyond the wooden baffle (board). The 4-10 doesnt have this recessed area. See attached pics. Build yours whichever way seems appropriate.
2). Difference in volume & tone between the 6-10 NEO & 4-10 NEO: When standing 4-6 feet away from the cabs, I dont discern any noticeable difference between the two, other than what youd expect with respect to speaker & horn placement relative to the ear. The horn and top two speakers sit higher than the 4-10. That difference is noticeable, but is negligible.
What I found interesting is the tone difference between having one and two Ampeg 2-10 micro cabs. I originally had one. It was set on the floor. Loved the tone; absolutely killer. I decided to get another one. I placed the second cab on top of the first (I have pics of it somewhere in this thread). I instantly recognized that the tone was VERY different. Thats because of the relationship between ear and speakers. And yes, I flipped them around and heard the same anomaly.
3). 300 SB and the Marshall dilemma. I guess when you get your 300 SB, the other guy(s) may need to get the 100 all-tube Marshall to keep up with you. LOL
4). 300 SB and the 6-10 NEO: Like all cabs, the 6-10 NEO has its limits. You will not hear any appreciable clean volume using the 300 SB, the cab will begin to fart-out. The 100T will drive the 6-10 NEO cab to near peak performance. There is a difference in appreciable clean volume between the 4-10 NEO and 6-10 NEO, when using the 100T.
Any volume gain above the 100T/6-10 NEO combination will require using the 300 SB with a larger cab (speaker configuration); like two 4-10 NEO cabs, or two 6-10 NEO cab. Two 1-15 NEO cabs wont get you there, its like having a single 6-10 NEO cab. If you want optimal performance, the 300 SB needs to be mated with four 1-15 NEO cabs, or some such combination. Four 4-10 NEO cabs would be totally killer.
5). One Drop: Thanks for the info. The 400PS web site has great stuff posted.
http://www.timeelect.com/400-PS-IDX.htm
Id love to play through one of these hooked up to three folded horn cabs. I do remember that transition you mentioned. Guitarists were making the move from the 100 tube Marshals to the Mesa-Boogie (Mark 1 possibly) tube combos.
I appreciate the second paragraph in your post. It made me think of the movie Almost Famous. Sort of like the behind the scene stuff that goes on A different time, place, and experience thats forever lost
6). Moving more air comment: Yes the 6-10 will move more air than the 4-10, but things do have their limits. Imagine playing one thousand 1-watt transistor radios at the same time. Not hooked up together, just playing them as individual units. Yes, youre moving more air, but its still only 1-watt.
7). An observation Ill share: I suspect the wood used on these cabs is softer than the norm (Ampeg). Im basing this on the dent my 4-10 NEO has and a general impression I got when inspecting it. Just a heads-up for you; exercise caution if you frequently move these little honeys.
8). I really think the 4-10 NEO and 100T work well together. They make for a sweet rig and sing well. Im glad I got the cab.
9). Okay, lets get back to playing this fine equipment
Chrisan, yes he really does use a full Marshall stack, but only very occasionally, like playing the Blues and Brews on the big outdoor stage and then it is as much for looks. He has one of the three limited issue Hendrix rigs that came out here. Lovely tone without having to go too loud to get it, especially if you use just the oversize bottom 4x12 as he normally does. He recently acquired a Fender custom shop Vibroverb Custom combo - sweet amp, 50 watts into a 15" speaker and much better match for the 100T. I was speaking to Richie yesterday, he said your 610 is on its way to you - I will be very interested to hear your impressions of the difference between the 810 and 610, and how you find the 610 handles the SB300 in a live situation with a bit of grunt.
FenderLove, thanks very much for your continued useful posts. I am surprised to hear you say that the SB300 is unlikely to get any more clean volume out of the 610 neo than the 100T, especially when Bass Player reviewed the Super Bassman 300 into the 410Neo and didn't mention any issues along these lines IIRC. One would assume that Fender sent it to them as a combination, plus I think Bass gear magazine has an SB300/610 combo to review which TomBowlus has hinted is pretty impressive. Ah well, maybe I will just stick with the 100T if getting use out of the SB300 means I will be dragging round the Bergantino 215 all the time to go with the 610. I guess it is a tribute to Fender that they have been able to get so much clean grunt from 100T.
Next question: Is there an appreciable difference going from the 610 to the 810 cab with the SB300? I guess this is one for you to answer, Chrisan. Either way I won't be buying an 810 as I prefer 610s for convenience all the time. Certainly when I played the 100T into the 610 side by side with the SB300 into the 810 the improvement in available clean volume was clear, but at the time I thought it was the 100T reaching its limits rather than the cab farting.
Just looking back on my post from earlier in the year which reminded me that when I played my old 300 tube watts SVT VR into the 610 neo it seemed to handle it fine to a goodly clean level, so maybe I have answered my own question. I can also recall feeling that the neo 610 was clearly at least up my legendary bergantino NV610 in terms of power handling ability, plus it seemed to have more response at the top and bottom end(as you might expect being ported and having a horn).
Hello,
I finally got my Bassman Neo 115s yesterday. I was in Jazz Bass heaven.
Tonight I get a muffled sound occasionally (enough that it can easily be reproduced) in both the vintage and overdrive channels. I tried each of the speakers independently and they both had the issue.
It is muffled for a bit and then there is a pop and the sound goes back to being great.
Any ideas what it could be?
BP
I finally got my Bassman Neo 115s yesterday. I was in Jazz Bass heaven.
Tonight I get a muffled sound occasionally (enough that it can easily be reproduced) in both the vintage and overdrive channels. I tried each of the speakers independently and they both had the issue.
It is muffled for a bit and then there is a pop and the sound goes back to being great.
Any ideas what it could be?
BP
Attachments
bassmentplayer, whats happening with the output tube status leds when its muffled?
what do you mean by, (enough that it can easily be reproduced)
what do you mean by, (enough that it can easily be reproduced)
Hell Chrisan,
Enough that is easily reproduced means it happens every 5 - 10 minutes.
I have peeked at them and sometimes they are all flashing green, I am going to do a little testing today. (play it with the back facing me so I can see the LEDs).
I'll post what I find out.
Thanks for the interest.
BP
Enough that is easily reproduced means it happens every 5 - 10 minutes.
I have peeked at them and sometimes they are all flashing green, I am going to do a little testing today. (play it with the back facing me so I can see the LEDs).
I'll post what I find out.
Thanks for the interest.
BP
BassmentPlayer, it COULD be a tube as quality control on tubes can be a little unpredictable and Fender will have only limited control over it (although they do own Groove Tubes, I believe 
). Either way if it is an amp issue then the only user replaceable part is a tube. If it was me, with the amp being under warranty, I would not be asking or contemplating doing anything myself, I would simply take it in and get it sorted under warranty. Problem solved .
I have to ask, and please do not be offended by this, but I assume that you have checked the other possible culprits - leads, plugs and your guitar? Could be a lead not connecting well or a dryish joint in the guitar socket. Not likely I know, but perhaps worth trying a different lead from amp to speaker and from guitar to amp just to be sure. Wiggle the lead in the guitar socket when it happens or try a different bass. Just a thought and no doubt you have eliminated this possibility, but as I said my first thing would be to go back to the shop and use the warranty - if you do much more you may void the warranty.
). Either way if it is an amp issue then the only user replaceable part is a tube. If it was me, with the amp being under warranty, I would not be asking or contemplating doing anything myself, I would simply take it in and get it sorted under warranty. Problem solved .I have to ask, and please do not be offended by this, but I assume that you have checked the other possible culprits - leads, plugs and your guitar? Could be a lead not connecting well or a dryish joint in the guitar socket. Not likely I know, but perhaps worth trying a different lead from amp to speaker and from guitar to amp just to be sure. Wiggle the lead in the guitar socket when it happens or try a different bass. Just a thought and no doubt you have eliminated this possibility, but as I said my first thing would be to go back to the shop and use the warranty - if you do much more you may void the warranty.
With FenderLoves assessment of the 610, I don't see much advantage over my Genz Benz Über 410. It is rated at 1000 w with a sensitivity of 103. Tim says the Fender hangs with the NV 610 so I don't know. The sound of the Fender vs the GB may something to consider though. I'm having a hard time justifying the purchase on looks alone.
Yep, I too have been left a little confused by FenderLove's assessment of the 610 - I am certainly not doubting him but when I had it side by side with my Berg 610 I simply could not hear any real advantage in keeping the Berg, plus the Fender could go a bit lower and had a horn if you want to use it. I could EQ the Fender to sound like the Berg, less so the other way. I ran my SVT VR through both cabs and they both seemed to be able to achieve the same volume before protesting - which was, of course , below its maximum output but as loud as I would ever want. The Fender did have the looks and was considerably lighter.
I was surprised that FenderLove appears to feel that there is little advantage to owning the 100T over the Super 300 if you are running it into the neo 610 and like a clean tone, but he does justify his opinion. I am just surprised that he states that the cab would fart out at similar volume levels with both heads. Mind you, your guitar (active or passive) and tone settings also come into this equation I suppose. It is making me feel that I might just as well stick with the 100T and use the Orange into the Berg 215 for bigger occasions and save myself some money. Anyway, time will tell and I should be able to hear for myself soon. Thanks again for all the input, FenderLove - I wish I owned half your gear
.
I was surprised that FenderLove appears to feel that there is little advantage to owning the 100T over the Super 300 if you are running it into the neo 610 and like a clean tone, but he does justify his opinion. I am just surprised that he states that the cab would fart out at similar volume levels with both heads. Mind you, your guitar (active or passive) and tone settings also come into this equation I suppose. It is making me feel that I might just as well stick with the 100T and use the Orange into the Berg 215 for bigger occasions and save myself some money. Anyway, time will tell and I should be able to hear for myself soon. Thanks again for all the input, FenderLove - I wish I owned half your gear
.Weeeelllll.....this is really interesting.......
Just spent some time in the band room with the 100T into the 610 neo and the Orange AD200 into the Bergantino 215. First, playing my 68 Jazz into the 100T with controls centered on the vintage channel FenderLove is right - it stops being clean/farts around 6 and 6 on the master and gain (maybe just a tad more). The Orange will go a tad louder while staying clean into the 215. Coming out of the 100T's preamp out and going into the Orange to run the two together was stunningly clean and pure tone - very loud but so clean that it did not sound too loud if you know what I mean. It was a good match of the two amp/cabs.
This left me thinking that there was no point in getting the SB300, the 610 seemed at its optimum with the 100T as FenderLove said and I always had the option of the Orange into the Bergantino for a little more volume, or combining the two heads. My wallet was starting to thank me.......anyway, on a whim I tried the Orange 200 watt head into the Fender 610 cab. Wow!! All the extra control and tightness that you would expect was there in spades. And I am sure it was louder and cleaner at a louder volume than the 100T.
So where does this all leave me???? Well, I am definitely looking forward to hearing for myself the SB300 with the 610 neo. I figure that if the cab enjoyed the extra grunt and control of the Orange 200 head then it should do likewise for the Fender 300 head. I am also aware that more power does not manifest itself just in apparent volume but in far greater control over the speaker, everything can become tighter. And again it shows what a great cab the 610 neo is, remember I actually sold my Bergantino 610 after getting the Fender 610 and gigging the two side by side. Bring on the SB300, I can hardly wait 
Just spent some time in the band room with the 100T into the 610 neo and the Orange AD200 into the Bergantino 215. First, playing my 68 Jazz into the 100T with controls centered on the vintage channel FenderLove is right - it stops being clean/farts around 6 and 6 on the master and gain (maybe just a tad more). The Orange will go a tad louder while staying clean into the 215. Coming out of the 100T's preamp out and going into the Orange to run the two together was stunningly clean and pure tone - very loud but so clean that it did not sound too loud if you know what I mean. It was a good match of the two amp/cabs.
This left me thinking that there was no point in getting the SB300, the 610 seemed at its optimum with the 100T as FenderLove said and I always had the option of the Orange into the Bergantino for a little more volume, or combining the two heads. My wallet was starting to thank me.......anyway, on a whim I tried the Orange 200 watt head into the Fender 610 cab. Wow!! All the extra control and tightness that you would expect was there in spades.
And I am sure it was louder and cleaner at a louder volume than the 100T. So where does this all leave me????
Well, I am definitely looking forward to hearing for myself the SB300 with the 610 neo. I figure that if the cab enjoyed the extra grunt and control of the Orange 200 head then it should do likewise for the Fender 300 head. I am also aware that more power does not manifest itself just in apparent volume but in far greater control over the speaker, everything can become tighter. And again it shows what a great cab the 610 neo is, remember I actually sold my Bergantino 610 after getting the Fender 610 and gigging the two side by side. Bring on the SB300, I can hardly wait 
if you have the fender bass knob centered on 5 you are giving it ALOT of low end, some of which you may not hear, but will cause it to fart out easily.
Agreed. That's a lot of bass boost on a Fender tone stack. Flat is either 0 or 2 depending on who you listen to.
Cheers,
Liam
Yeah, I am aware of that - I normally play with it on 3 . I was just setting an easy reference point, I did play around with it on less. My main point being that the cab handled the AD200 admirably, didn't mean to get sidetracked on your point (which is true) that 0-10-0 or 2-10-2 is flat on a traditional Fender tone stack. Ultimately of course we all use our ears to set our tone - I set up the Orange to approximate the same tone as the Fender, to my ears.
Hi Tim ,just to shoot some shizzle, how do you tell if your hearing speaker distortion or amp overdrive? Have you tried the 100t with the 610 and and the 215 chained, ie; give the amp alot of speaker clarity to find out when the head starts to overdrive.cheers
Okay guys, me again. Having nothing better to do with my time 
(in my defence it is a public holiday down here) I have responded to your valid point that 0 or 2 is bass flat on the vintage channel and repeated things with the bass on 2 and 3. The result was similar - it is still clean on 6 and 6 and after that things can get a tad rough if you start playing hard, although certainly less noticeable than with the bass on five.
The other point I should make here is it just hit me again what an amazing job Fender have done with the 100T - it is just crazy loud for a 100 watt tube head and it will do most gigs for most of us I reckon. So very much better than the old Bassman heads in terms of clean tone and headroom.
I again compared by running the Orange 200 into the 610 cab and I still felt it was able to go a bit louder and cleaner with the Orange, as you might expect - I am not saying that the Orange is better, just that the 610 seemed to be able to handle more power than 100 tube watts (the 100T actually has the tone I prefer with the jazz). However, it is still VERY loud and clean with the 100T. So why consider the Super Bass 300 I ask myself? Simply because if I have a gig where I am pushing hard on 6 and 6 (and I do get those), I think I would be better off having the power in reserve to give me a more controlled feel to the tone/speaker. That is it in a nutshell, I would rather run on full than half empty. FenderLove is right that if you really want to harness the power of the SB300 you will want more than one cab, but IME there is normally a clear benefit in terms of bass tightness and a general feeling of control from having a bit of extra power there in reserve - rather like driving a V8 in 100 km/hr zone as opposed to a 2 litre 4 cylinder if you get my drift. However, FenderLove has stated that there is no appreciable difference in volume between the 100T and SB300 into the 610 so what I have to find out for myself is whether there is an appreciable improvement in tone when you do get to that borderline area before the speaker begins to protest.
Anyway, that's it for me guys. Just spent a day listening to and playing with gear rather than doing the reading practice I had promised myself I would do. Oh well...
(in my defence it is a public holiday down here) I have responded to your valid point that 0 or 2 is bass flat on the vintage channel and repeated things with the bass on 2 and 3. The result was similar - it is still clean on 6 and 6 and after that things can get a tad rough if you start playing hard, although certainly less noticeable than with the bass on five. The other point I should make here is it just hit me again what an amazing job Fender have done with the 100T - it is just crazy loud for a 100 watt tube head and it will do most gigs for most of us I reckon. So very much better than the old Bassman heads in terms of clean tone and headroom.
I again compared by running the Orange 200 into the 610 cab and I still felt it was able to go a bit louder and cleaner with the Orange, as you might expect - I am not saying that the Orange is better, just that the 610 seemed to be able to handle more power than 100 tube watts (the 100T actually has the tone I prefer with the jazz). However, it is still VERY loud and clean with the 100T. So why consider the Super Bass 300 I ask myself? Simply because if I have a gig where I am pushing hard on 6 and 6 (and I do get those), I think I would be better off having the power in reserve to give me a more controlled feel to the tone/speaker. That is it in a nutshell, I would rather run on full than half empty. FenderLove is right that if you really want to harness the power of the SB300 you will want more than one cab, but IME there is normally a clear benefit in terms of bass tightness and a general feeling of control from having a bit of extra power there in reserve - rather like driving a V8 in 100 km/hr zone as opposed to a 2 litre 4 cylinder if you get my drift. However, FenderLove has stated that there is no appreciable difference in volume between the 100T and SB300 into the 610 so what I have to find out for myself is whether there is an appreciable improvement in tone when you do get to that borderline area before the speaker begins to protest.
Anyway, that's it for me guys. Just spent a day listening to and playing with gear rather than doing the reading practice I had promised myself I would do. Oh well...
Hi Chris, good question and this is exactly why I used the Orange 200 to compare. Not very scientific I know, but I set the tone of the two to sound the same to my ears, then played and pushed the 100T to breakup. When I played the Orange with its 200 watts into the cab it clearly stayed clean to a louder volume. Also you can tell if it is preamp overload by cranking the control, and similarly get a feel for the power tubes through the master volume control. I am very interested to hear your feelings when you get the 610 as you are in an ideal position to answer a few questions, having played and gigged regularly with the 810 and it will be interesting to see if you notice any significant changes with the 610.
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