@NickyBass Thank you for the best advice. Your responses to our questions here are always thoughtful and full of nuggets of wisdom. Thank man!
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Worship Bass Pedalboards
- Thread starter Cshanks5
- Start date
Always ampless at church and cover band. I think a tube DI really helps. If I didn't really like the pitch shift block on the Stomp, I'd be very happy with a tuner, compressor and tube DI.
For gigs where I use an amp (some jazz combo or singer/songwriter gigs) I have a Genzler MG350/12T-V combo. I put my Khan tube DI in front and get a better tone from an already great amp.
For gigs where I use an amp (some jazz combo or singer/songwriter gigs) I have a Genzler MG350/12T-V combo. I put my Khan tube DI in front and get a better tone from an already great amp.
I am not familiar with the TWS gear. I've owned a number of tube amps--some classic, some modern. What I can say is that modern boutique tube amps that I've owned were super solid and sounded great. But, one big draw back is resale value. I typically don't buy gear with the thought of selling it--but it happens. I had a Reinhardt, a Kendrick, an Electrosonic, etc. All sounded great, but they took a long time to sell and I eventually lowered the price a lot. There just aren't a lot of people who are familiar with them and it can be a bigger risk for a buyer.
Then there are modern tube amps like the Sadowsky SA200 that is super in demand and would sell quickly if you decide to move on from it. I don't know what they are selling for these days though. And they are hard to find.
Another option might be a 70's Ampeg V4. I gigged one for a while. It was only 100 watts, but it was a lot lighter than the SVTs. I had it tuned up by Dennis Kager who was with Ampeg for a long time in their golden era. After that, it was solid and ready to gig on the road. I'm not an expert, but I've had a lot less problems with older tube heads than modern SS stuff. Something like the B15 is pretty simplistic in design, by today's standards. I guess the less complicated it is, the less that can go wrong with it. I'm sure it will need to be serviced here and there, but so will most tube amps.
I'm not trying to talk you out of the TWS. I'm just trying to give different options, etc.
Thanks. I appreciate it. Did you decide if you were going to move forward with the Moog?
Sounds good. $3,500 for the amp alone is not chump change for sure. I think there is no denying the sound of a fully tube amp. I think a tube preamp sounds darn good, too. Like a Genzler Kinetics.
I got my best tone with an Empress Bass Compressor, Empress Para EQ Deluxe II into a REDDI. No effects. I currently use a Stomp but running it into a Khan tube DI has helped my tone a lot. There's no doubt in my mind that a tube or two somewhere in your signal (tube comp, tube DI, etc) makes a difference.
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Thank you for your opinion. I had a lot of amps. Also I had some vintage amps and you always need a good repair shop. The last two amps were a Ampeg Heritage and a Fender Superbassman which I still own and had a lot of troubles. For me a B15 would be nice, but getting one in good shape in EU is almost impossible.
So thats why I thought a boutique would be better. I know about the issue with reselling things which are not that known.
I tried a lot of Bassamps and sold each.
I am using a Moog Subsequent in Church and it is gorgeous.
Right now, I'm only using a pedalboard and the amp/cab sim on the board at the FOH.
I'm not familiar with TWS.
I have only one all tube bass amp ATM. It's an Ashdown CTM-30 with RM-210 &115 cabs. It's loud enough for small gigs and small to medium worship services. I has an output transformer based DI. It sounds really good straight into the board, but add an 810 cab sim and it's fantastic. At gigging levels it's running just over the level of breakup, which is where I like my tone the most. If I wanted more clean headroom I would go with the CTM-100/200/300 or BTM-400(discontinued) depending on what level of loud I would need. Mark Gooday (owner/founder of Ashdown) says his amps are built for the road, being able to run wide open without missing a beat. On the 100+ amps, the operator can bias the tubes using the VU meter for the reading.
I use an amp for practice at home too, it's an Ashdown Studio 10. While not as sweet sounding as the CTM, it's a good, appropriate facsimile to the house amp sim to know about where my tone will be.
Oh yes, will certainly do that in the near future. Just working to find a funding solution. Have purchase mucho equipment this year and my wife unit
told me to slow my roll. I am considering selling my 1992 Warwick Streamer Stage 1 five string neck thru to fund the Moog acquisition. I love my Warwick but I never play it anymore. I’m concerned that I will regret selling her because she was my main guitar for many years.
I’m playing at church in a couple of weeks. I think I’m goin to try a new board. Shure GLXD16+, Union LAB compressor, and a Khan VTDI. All on a Nano+. Should sound pretty good.
The only issue I have with my Khan is that it’s not dry board friendly in terms of connections. Difficult - for me anyway - to make it work so I left it off. I did the same when I had a REDDI so not a huge deal.
A church that I serve at semi regularly just upgraded their bass rig from a MXR comp and programmable Sansamp.
I think I might just play through this whenever I am there:
I think I might just play through this whenever I am there:
That is the move for sure. Very nice board!A church that I serve at semi regularly just upgraded their bass rig from a MXR comp and programmable Sansamp.
I think I might just play through this whenever I am there:
Why did you Show me this amp?
Now I have to pay 700€ more then expected.
It looks amazing.
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Yes, it is a different Animal.
I love it for quite Songs. You have Bass without any attak.
Yeah, sorry about that.
I don't think there is one in my future, but it does look amazing. And given the popularity of the CAPO, I don't think we will see too many available used--or they will be for sale at prices 50% HIGHER than list.
