Why did you choose the amp that you use?

[Billoney]

GK Backline 600. Not megawatt, and more than 2 pounds, but fills any room I've been in so far. I keep thinking I should replace it but, why?

If it ain't broke and gets the job done: a no-brainer!

 

[PraiseBassing]

My three favorite amps are the Ampeg SVT CL through either an 810 cab or 410 hlf, GK 400RB, or Trace Elliott ELF through a GK neo 212, 410, or both.

For the Ampeg, I like a clear but full and rich sound. Bear in mind my settings reflect playing live with a full band setting, not in my bedroom or recording. My bases of choice are normally passive four or five string jazz or p basses with SS roundwound strings.

I will run my master gain anywhere from 7-10, and bring the pre gain in to set the stage volume. I push the pre gain as little as possible. I roll the bass off, never more than 12oclock, normally 9 0clock. I push the mids, centered at 800hz, and roll the bass in for warmth. I roll the treble off a touch, to keep it from clanking, but enough for an edge and some presence.

The GK cabs I have do have a most definite mid bump, which I like. I can set the rb400 a little flatter because of that, but run the pre gain/post gain close to the same as the Ampeg. I will roll the boost in at times to get that growl. No more that 5 on the amp though. I cut the gigs back as they difinitely will get harsh fast. This amp/cab combo sounds great pushed as it compresses a touch like a tube head does that GK growl is a nice and controlled grunt when you want it. The DI is ok, but not the best. It will work for foh nicely though.

The TE elf I love because of its simplicity. It blends the old and new TE sounds together in my opinion. I like the three bands of eq and where they are placed frequency wise. On this I run the pre gain a little hotter, from 9-12 o'clock, and run the post gain no harder than 12 oclock. So far I haven't needed any more volume than that. Bass is set around 9-10 o'clock, midrange around 3 o'clock, treble about 10-11 oclock. This amp has a deep, almost Tubey baked in sound. If I had to describe it, I would use the words thick, full, and meaty, but not tubby at all. It plays extremely well with the GK 212 and 410 neo cabs, where the two compliment each other immensely.

The real sleeper with this amp is the DI. It's post gain and amazing sounding. By far one of the best signals I've used to send to foh. It's my favorite di sound so far. I'd like to add I do use a rack mounted compressor in front of the elf, to compress the signal a touch to keep the on board compressor from effecting the sound too much. I normally run a soft knee and either a 4:1 or 3:1 ratio. Nothing clamping, just enough to tame a little heavy handing when I'm digging in.

So those are my approaches and reasoning behind my favorite amp/cab combos. You wanted descriptive, here ya go.

Really loved this post! I may need to find and Ampeg SVT to sit down and mess with one day and hear all the tones every one is describing. I don't need one so not looking to purchase, just to gain knowledge of what other people are looking for, hearing, and enjoying. Are you running anything in addition to your rack comp?

 

[tedious1]

Does this combo not only get a good Ampeg tone but also get others easily? I haven't looked much at the Tech 21 pre's out there before.

LOL, I play punk originals, so I haven't had any particular need to test just how wide a palette the VT is capable of. I can say the presets in the manual don't sound much like what they are supposed to be, but I find I can with a little knob twiddling get them closer, at least to my ears.

But my tonal variety is in the ability to switch pres at the drop of some cash. If I want a more GK tone from my rig, I'm not going to try and coax it from the VT, I'm going to pickup a Plex. Mesa - Subway, etc. But far more likely I'll go with something like a Wounded Paw Bass1 preamp, I've met the builder, he's seen me and my band, and I have an offer of a guided tour of the puppy from the builder himself, the price is up there, but so long as I buy Mrs. Tedious some of the rubber ducks she collects and put up some display cases and shelves for them, I can get it. But it's gonna be a lot of ducks and a weekend of putting up shelves...

 

[JGbassman]

Really loved this post! I may need to find and Ampeg SVT to sit down and mess with one day and hear all the tones every one is describing. I don't need one so not looking to purchase, just to gain knowledge of what other people are looking for, hearing, and enjoying. Are you running anything in addition to your rack comp?

I'm not much of an effects guy, as I find they usually get washed out in the mix at medium to bigger venues. If you know how, a compressor is very good at creating different sounds. I do switch from finger style to slap and pick plsying through a show, and this helps with keeping the transients in line.

Through my bass/string choice, amp settings, and the way I strike my strings, I can get anything from a Geddy Lee crunchy sound to a dub or modern country sound. I'm not opposed to effects, I just haven't messed with them much. I did run a vt bass pedal at one point, and I still have my Sansamp RBI for the crunchy sounds via tool or dug pinnick.

In my rack I run two wireless units, one for bass, the other for vocals or to A/B for multiple basses, a tuner, and a compressor. I used to use the RBI pre for amp less shows using in ear monitoring, but I'm digging the elf di for that now.

So nothing fancy, about as simple as it Comes.

 

[walldaja]

My criteria: weight, wattage, sound, and price. That got me to the Fender Rumble 500 combo.

 

[cmcbass]

I use an Ashdown RM 800 Evo. I always thought Ashdown stuff was cool. I had a pf500 crap out on me and started looking for a new head. Saw a deal on musicians friend for the Evo at 350 dollars, but never received one. Ended up buying an RM 800 non Evo version off eBay that was advertised as an evo. Hooked it up and loved the sound, but I returned it because I didn't get what was advertised. got the Evo model from a different retailer. It works great for my sound and style. I'm happy so far, and I'm not gassing for anything else.

 

[jmon]

I have a TC Electronics RH450 that I have a variety of cabs for depending on the gig. From 210 to 212 to 410 and a combo of many.
I like the versatility. I like the sound. I like the size. And I love the floor tuner built into the pedal via midi cable. Also have 3 channels for playing with a pick/fingers/and some grind. Built in spectracomp compressor.

And since this amp didn't exactly fly off the shelves I have 2 of them now. Got a backup for less than half what they were new.

 

[Zooberwerx]

It matches the cabs (Epifani) which I purchased first.

Riis

 

[MrLenny1]

Features.
TC RH450 w/foot pedal.

 

[Paulabass]

In the last 45 years I've had a lot of gear, from real janky rigs of doom, to stadium gear.
Recently I decided to buy new from the ground up. I pretty much decided on 2 12 neo cabs, either GK, or Mesa. I wanted 500 watts+ and under $3000Cdn. $2250 U.S.
I went to a store that had a Mesa subway 800, GK MB800, MB fusion 800, and a few Markbass. They also had a GK RB1001, which was not on my 'try' list.
I swapped around heads and cabinets, with my own basses- A Modulus Q4, and a precision.
The winners 2 x GK neo 112, and a GK RB 1001. With a custom rack, and 2 sp-4 cables (to run biamp) total $2500cdn.
So far (one month) I'm completely satisfied.

 

[Interceptor]

I get a wide variety of work ranging from straight up jazz to country, and I'm mostly a small room player. Context matters, as my application is what I'm geared for.

I chose an Ampeg PF-50T as using different gain approaches every kind of tone I use from clear and fat to a little furry without needing any pedals. I also like the the fact that Ampeg has a DI output following the output tubes. I do use the DI in larger rooms and for recording work. The Ampeg is my number 1.

It isn't a super loud amp, but has been plenty for me in typical gig settings with efficient cabs. It records amazingly well.

My other amp is a Thunderfunk. I chose that one thanks to its great eq facilities, super DI and overall great dynamics. I've owned the Thunderfunk almost ten years, and it isn't going anywhere.

 

[Hundred proof]

My 90% of the time gig rig is not much to look at but gets the job done ... been using Mark Bass Little Mark IIs since they first came out, mine are the original AB class models from Italy, they have never failed in over 10 years of constant use on gigs ... the cab is a single 1x15 with a Eminence 2515 Deltalite neo built to Eminence factory specs by a custom cab builder weighs about 45lbs including the attached dolly, usually driven by a parts built J bass body/neck combination that sports a single P bass pickup run through a VOX ice 9 overdrive. It's not the same as using my vintage SUNN, Acoustic amps with my old Fender Jazz but it's a compromise that gets me 80% of the way there plus it's reasonable weight and has been reliable on countless gigs.

 

[Bim1959]

I've been a tube guy for years and love the warmth they add to my tone. Until the last few years I played a 70s Ampeg SVT thru a V9 cabinet or 2 older Hartke 410 cabinets. The Hartkes make things crisp and brighter overall. But. The older Ive gotten the more ive wanted something lighter in weight, so I went with an Ampeg PF800 and my choice of a few different cabinets ranging from an Acoustic B210neo to a Hartke 410XL.

Im not an ultra-clean sterile sounding amp guy. It just doesnt do it for me. And, I dont like compressed sound of the Mesa amps either.

 

[Slough Feg Bass]

a couple years ago I picked up the GB Shuttle 9.0 because:

- it sounds good, versatile EQ
- can go pretty loud
- small / lightweight
- switchable 120 / 220

I don't usually take a cab to gigs, I use whatever is on the stage, and the Shuttle seems to like powering them all.

 

[dreamadream99]

these days: i've chosen on the basis of weight and portability

Yep. Me too. Lots of us old guys going this route.

I spent my first 40 years of life playing a full biamp stack that outweighed me. But after a heart attack, two valve replacements, and a triple bypass, I sure do appreciate my 26 pound GK MB150S, and my 16 pound Barefaced 110 extension cabinet. It's a one trip, easy load in now.

 

[David A. Davis]

It can reproduce the sound of your bass or add a variable pallet of color to your tone. Jammed with so many features that it makes it very hard to beat.

• Bergantino Audio B|Amp Bass Amplifier
  • DSP, Embedded System Controlled, Bass Amplifier
  • LCD Display
  • Multifunction Tone Controls; 4-Band EQ w/ Adjustable frequency range and "Q"
    • Bass: +/- 9dB Variable from 40Hz to 120Hz
    • Lo-Mid: +/- 9dB Variable from 150Hz to 800Hz
    • Hi-Mid: +/- 9dB Variable from 800Hz to 3kHz
    • Treble: +/- 9dB Variable from 3kHz to 8kHz
  • Programmable Filters
    • Programmable bright switch: +3dB to +12dB in 1dB increments, variable from 2kHz to 10kHz in 500Hz increments
    • Variable High-Pass Filter (VHPF): Adjustable from 30Hz to 80Hz in 2Hz increments

Variable Feedback filter: Adjustable from off to -6dB to -12dB in 1 dB increments. Frequency range from E1 (41Hz) to G3 (196Hz) in half step increments

· On-Board Programmable Chromatic Tuner stable down to the low B fundamental

· On-Board Variable-Ratio Compressor (VRC) with adjustable compression level & make-up gain

· On-Board Multi-Effects for Overdrive, Distortion 1, or Distortion 2

· Auxiliary input and headphone jack for personal monitor and practice use

· Effects send and return loop

· Studio quality Direct Output, software selectable Pre or Post EQ

· Software Selectable Line Output (Pre-amp or tuner out)

· UPS – Universal power supply 115VAC- 240VAC 50/60Hz

· Software selectable Phase output (Normal or Reverse)

· 2 User Programmable Memory Settings

· USB Port

• Load Custom Speaker Profiles
• Software Upgradable
• Expandable System Architecture

· Power Section: 350W RMS at 8-Ohms, 700W RMS at 4-Ohms, 800W RMS at 2.67-Ohms and 800W RMS at 2-Ohms

• Software selectable, speaker impedance matching for optimal power transfer down to 2-Ohm minimum load.

· Dimensions (WxDxH): 10.5″W x 8.375"D x 3.75"H

· Weight: 6.5 lbs.

· ProNet Price: $1199 USD (International Prices set in each country)

· Bluetooth pedal for Memory setting recall and tuner function

 

[Nephilymbass]

Between all the various threads on power amp class and all the differences of opinion, I have read a lot of descriptive words that really tell me nothing about what people are hearing. In my experience there are so many variables that dictate how a head sounds. Instrument and cab pairing, eq settings, desired amount of drive heard.

For me, my GK MB210-II and 210MBE-II are lightweight and loud enough for any stage I will play. I'll do some testing with it later, because honestly there is a specific frequency range that it has a bump in with the eq flat, that led me to choose it. It's not down at 35Hz, but it is what was the most pleasing out of all the MB combos to my ears when playing up and down the B string. I'm assuming it is somewhere around 60Hz but don't know for sure, so I'll run some sine waves through it. I'll add more to this thread later.

So what does everyone use? More importantly to me, why do you use it? What contributes to the sound you hear and love from your amp?

20+ years of trying out different gear. There's a few things I like to have in my rig. . A full range signal to send to the PA. Oddly enough I like cabs with a limited frequency range. That's mainly from trial and error. I do like a full range sound but I don't like how at shows with decent pa subs the low frequencies would bleed back onto the stage and combined with a low frequency cab onstage would cause the sound onstage to get muddy. Really my setup is pretty modular and each thing was picked for its own reason. I like the Avalon u5 because it gives me the option of having a super clean hi fi tone. I thinking going with the Avalon was really inspired by my days of playing SWR. My Darkglass A/O is a drive pedal but I kind of think of it more like my dirty channel than an effect. The crown xls1500 power amp was chosen because it's a LOT of clean power(1550w@4ohms bridged) , it's reliable, affordable, and it's super light.I want to say it weighs 9 lbs. When I got it I really didn't care that much if the power amp was a 300w tube monster or a high spec class d amp because I'm sending my signal to foh before that anyway. The Shure glxd was really about convenience and reliability. Was using a different wireless that ate up batteries and started powering off in the middle of rehersal. I got the glxd when I went through a big rack downsizing and I replaced both a rack wireless and a rack tuner with it and it hasn't let me down a single time and I've had it 2 or 3 years now. The studio bass compressor is the most recent addition. The I've gone through phases where I had compressors and didn't have a compressor. Had some complaints from soundguys that really crank the bass that when I was jumping around in particular my signal would peak out and stuff. I generally use a tube compressor in the studio. So it was very much about picking one that worked well for shows and it works. I'll also mention I like the modular style setup with rack gear and pedals because I can always upgrade one thing at a time. Buying and selling bass amps any time you want a new sound really sucks. They lose so much value it's unreal. I've never gotten more than maybe 30% if what I've paid for a bass head when I've sold them. And They've ranged from peavey, Hartke, Ampeg, and SWR. It's a lot easier for me if I want say a new gritty sound to sell a pedal and buy an new one. For example when I switched from the b7k ultra to the Alpha omega. I sold my b7k for $300 and spent I think $350 on the A/O. $50 bucks beats the hell out selling a bass head for like 30% of what I bought it for and buying a new one. I don't have to pay for repairs either. My guitarist spent like $400 to get his old 5150 head fixed. Say my power amp goes down. I can buy a new one for less than that and just throw the old one away. If my Avalon goes down I can buy another used one for $300-$400.

 

[HarveyRobertson]

Refer to the Fender Rumble Club here at TB for that answer

 

[twinjet]

For me, my GK MB210-II

Same here. Got to know GK in high school and when I found a lightweight combo that was also powerful for a good price, I knew it had to be mine. Pairs wonderfully with my L-2000.

 

[bassstrangler]

I chose my Nano Mark because of the size and the price, it was sub $300 when I bought it new. Great purchase as I love it's sound.

My Genz Benz GBE 1200 only came into my possession because some guy wanted me to trade $600 worth of 2 used basses for it. He got two mint basses, I got a mint amp with a new $300 road case included.