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Well, I began this morning plugged in to the "Normal" channel with the passive precision w/nickel rounds, but ended up in the bright channel. I'm still using the Fdeck HP filter set to the lowest frequency & unity gain. Fantastic sound & feel with the ML-112. Nothing mushy or boomy, nothing brittle, just firm, full, smooth, and sweet.
Well, I began this morning plugged in to the "Normal" channel with the passive precision w/nickel rounds, but ended up in the bright channel. I'm still using the Fdeck HP filter set to the lowest frequency & unity gain. Fantastic sound & feel with the ML-112. Nothing mushy or boomy, nothing brittle, just firm, full, smooth, and sweet.
You can get a splitter cable and enjoy them both at the same time!
Now there's an idea...
So you are getting the blame when the keyboard players invade your sonic space?
Fortunately, my pastors like it loud. My purchase wasn't motivated by the need for a higher SPL or additional headroom - the Walkabout was fine in both areas. I simply wanted to experience one of the best sounding all-tube amps. It's so hard to describe sound qualities with mere words. I think SactoBass may have gotten it in the first post: "It breathes" and "It's alive". Silly me couldn't type those words without associating them with Gene Wilder's performance in "Young Frankenstein".
Nice! Definitely interested in hearing about tonal comparisons with your Fender 100T when you have a chance.
Speaking of which, Ken, have you done an A/B with the Walkabout yet?Congratulations! I'll also be watching to read about your experiences/impressions.
Speaking of which, Ken, have you done an A/B with the Walkabout yet?
The Walkabout's EQ section is more flexible and powerful, so it would be easier to get a harsh response from it. I don't know if you could make the Reeves sound bad. Having the parametric EQ of the Walkabout would be an advantage in a sonically tough room. I hope this helps.
Nice! Definitely interested in hearing about tonal comparisons with your Fender 100T when you have a chance.
Right on, Ken, that definitely helps! I really like the sound of that. I am a little spoiled by the Walkabout's flexible EQ and I play passive basses, but I don't tweak the WA settings that much and could always get an EQ pedal if needed.I played the Walkabout into the ML-112 a little bit before hooking up the Reeves. They are in the same ballpark. The mid-range of the Reeves is smoother and the highs are "sweeter" (as Tom Bowlus observed). I found the low end response easier to control on the Reeves. I backed the Bass knob back to 11:00 and it was tight and full. I like having a standby control again after all these years. Because the D.I. is tapped off of the output transformer, the speaker and D.I. signal are both muted in standby mode. There are tonal differences between the two but it's hard to put into words. For lack of a better descriptor, the Reeves sounds more organic to me. The Walkabout is about as close to sounding "all-tube" with its MOSFET output section as I have experienced. The Reeves brings the subtle heft and roundness of a good all-tube amp. Those huge Heyboer transformers give the Reeves a built-in advantage in dynamics. Ready to go from a whisper to a roar in a millisecond, and provide a serious reservoir of power. If the Walkabout is a cantaloupe, the Reeves is a watermelon. The watermelon is bigger and sweeter, but both are tasty and satisfying.
Nice! I have a '70s V4B and it, too, goes into breakup a little earlier than I'd like. That amp does have a heck of a tasty midrange, though.
The most interesting electronic fact I've learned in the past few years came from Dave Funk's "Tube Amplifier Handbook". Resistors can distort!? I never knew and I don't think it would have ever occurred to me.
I'll shut up now. Enjoy your Reeves and all of your 'new' basses, brother!!!
If the Walkabout is a cantaloupe, the Reeves is a watermelon. The watermelon is bigger and sweeter, but both are tasty and satisfying.
My experience with the Reeves heads - kind of like an old P bass, you might be able able to get them to sound bad, but you'd really have to work at it.
