What Amp do you like for Fretless?
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FretLessSince68
- Posts: 307
- Joined: Tue Dec 19, 2006 2:29 am
- Location: On an Island, WA, USA
What Amp do you like for Fretless?
Let's hear your ideas and opinions on Amps and Cabs that work well for fretless.
One good note makes my day.
Personally I love Eden amps.
I've got a beautiful CXC 1015 combo, and it works perfectlcy both for fretless and fretted basses.
It has a lot a low frequencies, but always a very clear and defined sound, plus you can add extra low, middle or treble just pushing bottons below the switches.
Another great thing is that it has two entries, one for active/passive basses and one for acoustic ones: my fretless is piezo equipped, so I can put it in the acoustic channel when I play softer things (jazz, acoustic sets...), and put it in the "normal" entry when I want my fretless to play rock, fusion, funk ecc...
In the past I used a lot Trace Elliot and they're very good amps too, but in my opinion more for fretted than for fretless.
I've got a beautiful CXC 1015 combo, and it works perfectlcy both for fretless and fretted basses.
It has a lot a low frequencies, but always a very clear and defined sound, plus you can add extra low, middle or treble just pushing bottons below the switches.
Another great thing is that it has two entries, one for active/passive basses and one for acoustic ones: my fretless is piezo equipped, so I can put it in the acoustic channel when I play softer things (jazz, acoustic sets...), and put it in the "normal" entry when I want my fretless to play rock, fusion, funk ecc...
In the past I used a lot Trace Elliot and they're very good amps too, but in my opinion more for fretted than for fretless.
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FretLessSince68
- Posts: 307
- Joined: Tue Dec 19, 2006 2:29 am
- Location: On an Island, WA, USA
My bass rigs need to work well for both fretless and fretted bass. Thus I need amplifier/speakers that are wide range and do not have a "signature" sound. For distinctive sound characteristics I use a programmable parametric EQ. For jazz I usually use only one basic sound so don't need the parametric.
The primary criteria I use in choosing a speaker is lack of coloration, a characteristic known as transparency. Ideally I would like to run through studio monitors but that is not realistic for economic and practicality reasons. One justification for this transparency is that when sending a signal to a mixer, my speakers are a fairly good representation of that same signal. What I hear is what I send. I depend on the instrument and preamp to tailor the tone, not the speaker.
Speakers that have a distinctive sound such as Hartke aluminum cones, GK, and some Peavey, do not provide the basic transparency I seek in a speaker. A well designed full range cabinet with in-phase front porting utilizing paper cone drivers will usually work for me.
EDIT 2/5/2011 I now prefer the sound of sealed enclosures, ported enclosures often have a boomy and unpredicable low bass characteristic having to do with the tuned resonance of ports. END EDIT.
It is easier to list what I don't like than what I do (like).
I don't like the sound of enclosures that are optimized for loudness at the resonant frequency such as some GK, Peavey, and others.
It took me a long time to realize that I don't like the sound of rear ported speakers such as Bag End S15-D or S15X-D. These have many positive attributes such as power handling capability and compact shape, but the rear porting yields unpredictable and often out of phase - wall, corner, and room coupling.
I don't like the sound of speakers that have a sonic hole in between the LF driver and the HF driver, such as a 15 plus tweeter (Bag End S15X-D). The high frequencies stand out too much for fretless, and the needed mids are lacking.
I have found that I need a speaker that has good definition and clarity.
Relatively smaller light cone speakers sound more accurate to me, whereas heavier speakers such as 15's respond slower and seem lacking in immediacy.
For small rooms and jazz, my current favourite bass combo rig is an Amgeg PortaBass PB-112 (1x12+HF) 250w@4 Ohm amp. Fairly transparent, very lightweight, removable telescoping dolly, a one hand amp. Sounds good for jazz or semi acoustic music, but not potent enough for fusion and other types of music. No longer in production.
Small size and light weight have become more important in recent years. Thankfully, the modern gear is much improved in power handling, there is no need to haul a refrigerator sized amp these days. To this end I have put together a MODULAR system that can be configured to be appropriate for most venues and sound similar in all variations.
EDIT 2/28/2011 - The modular system (Euphonic Audio speakers) is gone. Don't need the the extra cost. Ampeg gear cost less, works just fine, and sounds just as good or better (IMHO)!
Stepping up to the modular system in it's smallest form, is an Eden WT-400 powering one Euphonic Audio VL-110 speaker.
For medium loudness gigs I use an Eden WT-400 powering two Euphonic Audio VL-110 speakers, each with 1x10, 1x5, and 1xHF drivers. These speakers have a transmission line porting system and sound very coherent. This rig gets a great sound, the Eden is pure quality and can provide a clean bass sound to the very good EA speakers.
For louder gigs my big rig is a rack head driving either two, or four, EA VL-110 speakers in a vertical array. Basically like the left half of an Ampeg SVT split down the middle with extra mid and HF drivers. The preamp is a TubeWorks BlueTube II with a Rocktron BlueThunder DSP unit (that has an excellent programmable parametric EQ) in the effects loop. These driving a Stewart PM 2.1 (2100w) amplifier. The vertical 4x10 speaker array driven with 2100 watts can meet or exceed most reasonable stage requirements with headroom to spare. The only problem is the 2 Ohm load of 4x8 Ohm speakers. To get around this I run a stereo amp (usually with a mono signal) each side driving 2 speakers at a 4 Ohm load.
The biggest modular configuration, used for festival or outdoor events that are lacking a decent PA, adds a Bag End ELF unit for the big air sound.
The beauty of the modular bass rig is that each part weighs less than 40 pounds (except the ELF sub unit at 60 pounds). I can boost 35 or 40 pounds all day but 100 pound lifts kill my back. A word of wisdom from an old guy to the younger guys, don't blow your back or hearing just to do a gig.
I find the programmable parametric EQ to very useful and would not be without it on gigs that require versatile bass tone styles.
One speaker that intrigues me, and probably will acquire, is the SWR Henry the VIII, 8x8" speakers, front ported and fairly easy to move. EDIT 04/23/11 The SWR Henry the VIII did not work out. Although a fine speaker cab, it's front ports cause unpredictable boomyness.
Now that I have rattled on about tranparency you should be aware that Jaco used an amp/speaker with a very distinctive sound, two Acoustic 360 each having 1x18" driver in a folded horn W box with 200w each.
Here is some info on that great amp from http://www.backstage-lounge.com/story.a ... ycode=5770
UPDATE 07/28/2007
I continue to sell of most of the big gear having dumped the Bag End 15's and ELF 18. Plan to dump the EA VL-110's too, same problem, ports cause unpredictable boom.
The primary criteria I use in choosing a speaker is lack of coloration, a characteristic known as transparency. Ideally I would like to run through studio monitors but that is not realistic for economic and practicality reasons. One justification for this transparency is that when sending a signal to a mixer, my speakers are a fairly good representation of that same signal. What I hear is what I send. I depend on the instrument and preamp to tailor the tone, not the speaker.
Speakers that have a distinctive sound such as Hartke aluminum cones, GK, and some Peavey, do not provide the basic transparency I seek in a speaker. A well designed full range cabinet with in-phase front porting utilizing paper cone drivers will usually work for me.
EDIT 2/5/2011 I now prefer the sound of sealed enclosures, ported enclosures often have a boomy and unpredicable low bass characteristic having to do with the tuned resonance of ports. END EDIT.
It is easier to list what I don't like than what I do (like).
I don't like the sound of enclosures that are optimized for loudness at the resonant frequency such as some GK, Peavey, and others.
It took me a long time to realize that I don't like the sound of rear ported speakers such as Bag End S15-D or S15X-D. These have many positive attributes such as power handling capability and compact shape, but the rear porting yields unpredictable and often out of phase - wall, corner, and room coupling.
I don't like the sound of speakers that have a sonic hole in between the LF driver and the HF driver, such as a 15 plus tweeter (Bag End S15X-D). The high frequencies stand out too much for fretless, and the needed mids are lacking.
I have found that I need a speaker that has good definition and clarity.
Relatively smaller light cone speakers sound more accurate to me, whereas heavier speakers such as 15's respond slower and seem lacking in immediacy.
For small rooms and jazz, my current favourite bass combo rig is an Amgeg PortaBass PB-112 (1x12+HF) 250w@4 Ohm amp. Fairly transparent, very lightweight, removable telescoping dolly, a one hand amp. Sounds good for jazz or semi acoustic music, but not potent enough for fusion and other types of music. No longer in production.
Small size and light weight have become more important in recent years. Thankfully, the modern gear is much improved in power handling, there is no need to haul a refrigerator sized amp these days. To this end I have put together a MODULAR system that can be configured to be appropriate for most venues and sound similar in all variations.
EDIT 2/28/2011 - The modular system (Euphonic Audio speakers) is gone. Don't need the the extra cost. Ampeg gear cost less, works just fine, and sounds just as good or better (IMHO)!
Stepping up to the modular system in it's smallest form, is an Eden WT-400 powering one Euphonic Audio VL-110 speaker.
For medium loudness gigs I use an Eden WT-400 powering two Euphonic Audio VL-110 speakers, each with 1x10, 1x5, and 1xHF drivers. These speakers have a transmission line porting system and sound very coherent. This rig gets a great sound, the Eden is pure quality and can provide a clean bass sound to the very good EA speakers.
For louder gigs my big rig is a rack head driving either two, or four, EA VL-110 speakers in a vertical array. Basically like the left half of an Ampeg SVT split down the middle with extra mid and HF drivers. The preamp is a TubeWorks BlueTube II with a Rocktron BlueThunder DSP unit (that has an excellent programmable parametric EQ) in the effects loop. These driving a Stewart PM 2.1 (2100w) amplifier. The vertical 4x10 speaker array driven with 2100 watts can meet or exceed most reasonable stage requirements with headroom to spare. The only problem is the 2 Ohm load of 4x8 Ohm speakers. To get around this I run a stereo amp (usually with a mono signal) each side driving 2 speakers at a 4 Ohm load.
The biggest modular configuration, used for festival or outdoor events that are lacking a decent PA, adds a Bag End ELF unit for the big air sound.
The beauty of the modular bass rig is that each part weighs less than 40 pounds (except the ELF sub unit at 60 pounds). I can boost 35 or 40 pounds all day but 100 pound lifts kill my back. A word of wisdom from an old guy to the younger guys, don't blow your back or hearing just to do a gig.
I find the programmable parametric EQ to very useful and would not be without it on gigs that require versatile bass tone styles.
One speaker that intrigues me, and probably will acquire, is the SWR Henry the VIII, 8x8" speakers, front ported and fairly easy to move. EDIT 04/23/11 The SWR Henry the VIII did not work out. Although a fine speaker cab, it's front ports cause unpredictable boomyness.
Now that I have rattled on about tranparency you should be aware that Jaco used an amp/speaker with a very distinctive sound, two Acoustic 360 each having 1x18" driver in a folded horn W box with 200w each.
Here is some info on that great amp from http://www.backstage-lounge.com/story.a ... ycode=5770
So if a big amp has something you like, get it, and a truck.Acoustic 360
In the late ’60s, as venues grew ever larger and technology continued to advance, bass amplifier design began to mature. To provide the high output required for proper bass reproduction, designers at a new company called Acoustic Control Corporation attacked the challenge from two directions.
First, to minimize the amplifier overload caused by high-volume playing, they designed a 200-watt RMS solid-state power amplifier. Although using high-power amplifiers for low frequency reproduction with low distortion became de rigeur in the mid-’70s, it was a bold design step at the time. Then, taking a page from high-fidelity speaker designers, Acoustic’s engineers produced a folded-horn speaker enclosure loaded with a massive 18" driver. Besides extending the useful frequency response of the amp, this design was more efficient than sealed-box systems. Again, while such enclosures had been used for years in large theatre sound systems, this was new for an instrument amp. The large (48" x 24" x 18") speaker cabinet featured e" plywood with sturdy tongue-and-groove construction, and it was equipped with dual handles and casters for “dolly-like” handling.
The 360’s power amp was located in the bottom of the speaker enclosure, and the head contained only the one-channel preamp, designed for bass use exclusively. Front-panel controls included a BRIGHT/NORMAL switch and knobs for volume, treble, bass, VARIAMP, fuzztone, and an electronic tuning fork. (Remember: There were no handheld tuners in those days.) The bass and treble controls were boost-only circuits, so full-off was flat, and the VARIAMP controls constituted what was, in effect, the first on-board parametric equalizer: the RANGE knob provided a choice of one of five single-octave frequency ranges, which could then be cut or boosted with the EFFECT control.
Since the projection of the folded-horn box made it noticeably louder at a distance than onstage, an output jack (with crossover) was included for an additional speaker system to extend and smooth the mid- and high-frequency capabilities. The Acoustic 360 featured better low-frequency response, less distortion, and greater efficiency than anything on the market at the time, and it was the first truly professional-quality bass amplifier.
UPDATE 07/28/2007
I continue to sell of most of the big gear having dumped the Bag End 15's and ELF 18. Plan to dump the EA VL-110's too, same problem, ports cause unpredictable boom.
Last edited by FretLessSince68 on Sat Apr 23, 2011 5:44 pm, edited 5 times in total.
One good note makes my day.
Well if I had the cash, I'd go for Ampeg, only ever tried them never owned them 
While I think it is important to have great sounding and reliable gear, I also think the qualities of a fretless are produced by the player more so than the rig set up. I use an old Trace Elliot GP7 with a well used but reliable 4x10 cab, my effects are limited by choice, compression, chorus, sometimes a flange effect, for soloing chorus with maybe a pitchshofter and some delay/reverb.
I set all my EQ flat on the amp and fx setting, I use the bridge pick up on full the neck pick up I roll on and off the same goes for the treble control. This is used on fretted and fretless, I also make sure my strings are new which would be Rotosound Roundwounds
While I think it is important to have great sounding and reliable gear, I also think the qualities of a fretless are produced by the player more so than the rig set up. I use an old Trace Elliot GP7 with a well used but reliable 4x10 cab, my effects are limited by choice, compression, chorus, sometimes a flange effect, for soloing chorus with maybe a pitchshofter and some delay/reverb.I set all my EQ flat on the amp and fx setting, I use the bridge pick up on full the neck pick up I roll on and off the same goes for the treble control. This is used on fretted and fretless, I also make sure my strings are new which would be Rotosound Roundwounds
You're right Jason,great part of the sound lies in our hands and our heads, it's the sound we have in mind coming to life...isn't it a marvellous thing?!
However, I think that a good gear is helpful to get what we're searching for, and you're both right guys, Ampeg are terrific amps, they give you really a fat sound! I also like Trace Elliot's clear and precise sound (for slapping they have no equal!)...but my favorites are still the Eden beasts!
Anyway, in the studio I'll plug directly in the board, especially if I know the soundsman and he knows what kind of sound I'm looking for...
I'd like to know your opinion about one thing: are SWR good for fretless?
I tried one years ago and it sounded really amazing, then I tried another model and it sounded quite awful, so I don't know what to think...
Let me know your ideas guys!
However, I think that a good gear is helpful to get what we're searching for, and you're both right guys, Ampeg are terrific amps, they give you really a fat sound! I also like Trace Elliot's clear and precise sound (for slapping they have no equal!)...but my favorites are still the Eden beasts!
Anyway, in the studio I'll plug directly in the board, especially if I know the soundsman and he knows what kind of sound I'm looking for...
I'd like to know your opinion about one thing: are SWR good for fretless?
I tried one years ago and it sounded really amazing, then I tried another model and it sounded quite awful, so I don't know what to think...
Let me know your ideas guys!
Nick, I can't comment on SWR as I've never tried them but have heard they are very good for both fretless and fretted.
I do the same as you Nick, In the studio or recording at home I go straight into the board unless we're looking for a live bass and drum sound then it's grinding on down with the drummer. Both techniques have produced good results.
I do the same as you Nick, In the studio or recording at home I go straight into the board unless we're looking for a live bass and drum sound then it's grinding on down with the drummer. Both techniques have produced good results.
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FretLessSince68
- Posts: 307
- Joined: Tue Dec 19, 2006 2:29 am
- Location: On an Island, WA, USA
I agree, as Jaco said, "The tone comes from the fingers." Perhaps not a literal quote but the meaning is the same. Perhaps a new topic on the subject of Getting Tone Using the Fingers would be useful.
I also agree that when recording, going DI (Direct Input) is the usual procedure preferred by recordists, mainly because it's less work and gets a good clean signal. If your sound is dependent upon certain pieces of equipment then the common practice is to lug either an amp or a small rack containing that gear to the studio. Using two inputs, one DI and one MIC-ed, is also valid as it gets more "air" and the reluctance of a speaker cabinet has a sound in the time domain, not to mention coloration and other speaker/amp/mic type & placement characteristics and considerations.
I have as yet to hear a modeler that I like, but am open to listening to new ones.
Back on topic regarding amps/speakers:
If the speaker is to be used with fretless only then a lot of brilliance is usually not needed. So a speaker without a tweeter (HF Horn/driver) should perform fine as long as it can reproduce in the 3KHz to 4KHz region. A heavy cone 15 inch speaker might not perform in this band but a light cone driver probably will. This is why I like 10 inch speakers and am interested in auditioning a SWR Henry the VIII 8x8.
A while back I had an inexpensive York 100w 1x15 (light coned) combo that sounded great for fretless! Although lacking in power and headroom.
For me, fretless tone and dynamic reproduction is less demanding than for the fretted, although equally important. The fretless player should be able to get good tone from most decent quality amps providing that the instrument is good and one knows how to use the fingers to get tone.
If playing only fretless, and not concerned about the dynamic and frequency requirements of fretted bass, considerations such as low weight, smaller size, and lower cost, might take priority over factors such as abundant watts (headroom), HF driver, internal crossover, and overall quality. Of course if one can afford quality gear, don't scrimp on the amp, get the best you can afford.
Another important factor is the type of gigs one performs. These days I'm doing fewer loud gigs so the small amp is my main amp. If one cuts back on the gear to just one small amp, and then contracts to do an outdoor festival gig, you will be at the mercy of the sound guy just to cover the stage. If your amp does not have a post EQ DI out then you will have to use the sound companies DI which may be OK, or possibly not. In this case, whatever tone shaping you do on the amp will not go to the sound board because the outboard DI is usually inserted in-between the instrument and the amp. Your bass amp being small, will probably be your personal monitor and not carry far. So I advise that your amp (large or small) have a post EQ DI out to take advantage of it's tone shaping capabilities for the house feed.
When using an outboard DI the basic sound qualities/shaping abilities of the instrument itself becomes supremely important since your amp becomes more or less irrevelevant to the sound system unless MIC-ed.
If one really wants to cut back on the gear, seek out an instrument that sounds great, buy a good DI and that's all you need, assuming the sound company or house PA exists and will do you right.
I also agree that when recording, going DI (Direct Input) is the usual procedure preferred by recordists, mainly because it's less work and gets a good clean signal. If your sound is dependent upon certain pieces of equipment then the common practice is to lug either an amp or a small rack containing that gear to the studio. Using two inputs, one DI and one MIC-ed, is also valid as it gets more "air" and the reluctance of a speaker cabinet has a sound in the time domain, not to mention coloration and other speaker/amp/mic type & placement characteristics and considerations.
I have as yet to hear a modeler that I like, but am open to listening to new ones.
Back on topic regarding amps/speakers:
If the speaker is to be used with fretless only then a lot of brilliance is usually not needed. So a speaker without a tweeter (HF Horn/driver) should perform fine as long as it can reproduce in the 3KHz to 4KHz region. A heavy cone 15 inch speaker might not perform in this band but a light cone driver probably will. This is why I like 10 inch speakers and am interested in auditioning a SWR Henry the VIII 8x8.
A while back I had an inexpensive York 100w 1x15 (light coned) combo that sounded great for fretless! Although lacking in power and headroom.
For me, fretless tone and dynamic reproduction is less demanding than for the fretted, although equally important. The fretless player should be able to get good tone from most decent quality amps providing that the instrument is good and one knows how to use the fingers to get tone.
If playing only fretless, and not concerned about the dynamic and frequency requirements of fretted bass, considerations such as low weight, smaller size, and lower cost, might take priority over factors such as abundant watts (headroom), HF driver, internal crossover, and overall quality. Of course if one can afford quality gear, don't scrimp on the amp, get the best you can afford.
Another important factor is the type of gigs one performs. These days I'm doing fewer loud gigs so the small amp is my main amp. If one cuts back on the gear to just one small amp, and then contracts to do an outdoor festival gig, you will be at the mercy of the sound guy just to cover the stage. If your amp does not have a post EQ DI out then you will have to use the sound companies DI which may be OK, or possibly not. In this case, whatever tone shaping you do on the amp will not go to the sound board because the outboard DI is usually inserted in-between the instrument and the amp. Your bass amp being small, will probably be your personal monitor and not carry far. So I advise that your amp (large or small) have a post EQ DI out to take advantage of it's tone shaping capabilities for the house feed.
When using an outboard DI the basic sound qualities/shaping abilities of the instrument itself becomes supremely important since your amp becomes more or less irrevelevant to the sound system unless MIC-ed.
If one really wants to cut back on the gear, seek out an instrument that sounds great, buy a good DI and that's all you need, assuming the sound company or house PA exists and will do you right.
Last edited by FretLessSince68 on Tue Mar 13, 2007 4:59 am, edited 2 times in total.
One good note makes my day.
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On most of my gigs I have the luxury of having a decent sound system with separate subs and I get to be the soundman!
I have a Pearce BC1 preamp which has two independent channels that can be used individually or blended. They have different voicings, so I can set one for fretted and one for fretless. I use an ART SLA-2 power amp, which is designed to power studio monitors, so it doesn't color the sound of the preamp. It is rated for 200 watts a channel at 8 ohms, 280 watts at 4 ohms, or it can be bridged at 560 watts at 8 ohms. I use an in-ear monitor that I typically have bass only in my left ear and the main monitor mix (sans bass) in my right ear. I use a a Crate 15" cab loaded with a 4 ohm Eminence driver to provide the low end thump that the other players need to hear on stage.
If I need more power, I have an 8 ohm Ashdown MAG410T cabinet. It is rated at 450 watts and is rear porter, allegedly tune to 60hz. I run the ART bridged into the Ashdown and get a nice full sound. I do not what the crossover frequency is, but there is not a big "hole" in the sound between the drivers and the tweeter. The tweeter is not harsh at all. Of course, I don't use much high end anyway. I tend to cut the bass a smidge (11 o'clock) and boost the low mid frequencies between 200 and 350hz. If I need a big stack sound, I'll pair the Ashdown and the Crate and get a nice, big rock worthy sound. The 15" really fills out the bottom.
For recording, I run into an ART Tube MP preamp to get some warm gain and then straight to the board.
I have a Pearce BC1 preamp which has two independent channels that can be used individually or blended. They have different voicings, so I can set one for fretted and one for fretless. I use an ART SLA-2 power amp, which is designed to power studio monitors, so it doesn't color the sound of the preamp. It is rated for 200 watts a channel at 8 ohms, 280 watts at 4 ohms, or it can be bridged at 560 watts at 8 ohms. I use an in-ear monitor that I typically have bass only in my left ear and the main monitor mix (sans bass) in my right ear. I use a a Crate 15" cab loaded with a 4 ohm Eminence driver to provide the low end thump that the other players need to hear on stage.
If I need more power, I have an 8 ohm Ashdown MAG410T cabinet. It is rated at 450 watts and is rear porter, allegedly tune to 60hz. I run the ART bridged into the Ashdown and get a nice full sound. I do not what the crossover frequency is, but there is not a big "hole" in the sound between the drivers and the tweeter. The tweeter is not harsh at all. Of course, I don't use much high end anyway. I tend to cut the bass a smidge (11 o'clock) and boost the low mid frequencies between 200 and 350hz. If I need a big stack sound, I'll pair the Ashdown and the Crate and get a nice, big rock worthy sound. The 15" really fills out the bottom.
For recording, I run into an ART Tube MP preamp to get some warm gain and then straight to the board.
Kevin Johnson
Frets are over-rated
Frets are over-rated
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FunkDaFied
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Hey, Jason, yeah the distortion can get pretty sick, especially on channel 2. Sometimes I'll dial in a nice fat tone on channel 1 and a schreeching hi-end distortion on channel 2 with the bass rolled off and the master up just enough and then blend the two for for a big full rock tone.
Kevin Johnson
Frets are over-rated
Frets are over-rated
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FretLessSince68
- Posts: 307
- Joined: Tue Dec 19, 2006 2:29 am
- Location: On an Island, WA, USA
I have sold pretty much all of my high tech boutique gear. Including the Euphonic Audio 3 way boxes (too many drivers, too complex, too brilliant). The SWR Henry the Eighth 8x8 has front porting and I found that the low frequency performance was typical of other ported speakers, they couple with the room producing unpredictable low frequency boom. So the 8x8 is gone too.
I like my Ampeg PortaBass 1x12 combo the best, period. Sounds great.
For medium gigs I now have an Ampeg PortaBass 2x12 enclosure that does the job, is easy to move and sounds great although more low end coverage than the better sounding 1x12. I drive it with an Eden WT400 but may get an Ampeg PB800 if I can find one.
The defining characteristic of Ampeg PortaBass and SVT classic enclosures is that they are sealed boxes, no porting. This is something that took me a long time to appreciate. Sealed enclosures provide a focused, tight, and fairly accurate representation of what I think my basses sound like, at all volumes. Whereas the ported boxes have variable and emphasized low frequency performance depending on several factors, port tuning, loudness, damping factor of amplifier, room coupling, and standing waves.
The only down side to sealed enclosures is that they are limited in power handling. Apply too much power and you may damage it.
The Ampeg SVT 8x10 is also a sealed box and remains the gold standard of large boxes since 1969. The need for such a large box is very infrequent these days but remains on the short list of great boxes.
I like my Ampeg PortaBass 1x12 combo the best, period. Sounds great.
For medium gigs I now have an Ampeg PortaBass 2x12 enclosure that does the job, is easy to move and sounds great although more low end coverage than the better sounding 1x12. I drive it with an Eden WT400 but may get an Ampeg PB800 if I can find one.
The defining characteristic of Ampeg PortaBass and SVT classic enclosures is that they are sealed boxes, no porting. This is something that took me a long time to appreciate. Sealed enclosures provide a focused, tight, and fairly accurate representation of what I think my basses sound like, at all volumes. Whereas the ported boxes have variable and emphasized low frequency performance depending on several factors, port tuning, loudness, damping factor of amplifier, room coupling, and standing waves.
The only down side to sealed enclosures is that they are limited in power handling. Apply too much power and you may damage it.
The Ampeg SVT 8x10 is also a sealed box and remains the gold standard of large boxes since 1969. The need for such a large box is very infrequent these days but remains on the short list of great boxes.
One good note makes my day.
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FretLessSince68
- Posts: 307
- Joined: Tue Dec 19, 2006 2:29 am
- Location: On an Island, WA, USA
I have been GASing for a 4x10 box and have found a contender.
SWR Marcus Miller 4x10 GoLight.
This is a sealed box (hard to find), loaded with Neo drivers, and designed to be as light as possible.
From SWR site http://www.swrsound.com/products/search ... 4415510400
Specifications:
Reviews and testamonials are all very good so this may be the next cab in my van.
SWR Marcus Miller 4x10 GoLight.
This is a sealed box (hard to find), loaded with Neo drivers, and designed to be as light as possible.
From SWR site http://www.swrsound.com/products/search ... 4415510400
The SWR Goliath™ Series created the modern standard for bass instrument sound reproduction. Now the same painstaking attention to detail has been applied to our line of professional neodymium speaker enclosures—the golight™ series.
These high-quality, lightweight enclosures are the result of a painstaking process in which every component of our Goliath Series was evaluated and, whenever possible, a new lightweight high-performance component was selected for use in our golight enclosures.
We are also proud to have worked extensively with Marcus Miller to develop the first SWR artist model bass speaker enclosure. The Marcus Miller golight is a unique “sealed” 4x10 cabinet designed to deliver the tight, punchy midrange response that Marcus favors. The Marcus Miller golight 4x10 is a non-ported enclosure, 800 watts handling, custom SWR neodymium speakers, horn tweeter with attenuator, Speakon® and 1/4” speaker jacks, removable casters, side handles, vibration-free shock-mounted grill. 55 lbs. (24.9 kg) Impedance: 4 ohms.
Solid tone in a lightweight package. So golight today—less work on your way to play!
Specifications:
The only negative factor so far is Rat Fur covering.Model Name Marcus Miller golight™ 4X10
Model Number 4415510400
Series golight™ Series
Type Bass Speaker Enclosure
Description Extremely Lightweight Sealed 800 watt, 4 ohm, 4x10 Speaker Enclosure with Tweeter.
Features Sealed Non-Ported Cabinet Design for Tight Punchy Midrange
Spring Loaded Rubber Grip Handles
Grey Ozite Carpeting with Stack Lock Corners
Black Heavy Duty Stamped Steel Shock-Mounted Vibration-Free Grill
High Quality Metal Input Panel with Heavy-Duty Attenuator
Two 1/4" and Two Speakon® Speaker Input/Output Jacks
Horn Protection Circuit
Removable Casters
Impedance (Ohms) 4 ohm
Speakers (4) Custom-Designed SWR 10", 4 ohm Neodymium Drivers Manufactured by Eminence®, P/N 0076017000,
(1) Foster® Horn, P/N 0048847000
Controls High Frequency Attenuator
Covering Grey Ozite Carpet Covering with Black Stamped Steel Vibration-Free Grille
Weight 55 lbs. (24.5 kg)
Dimensions Height: 23.5" (59.7 cm),
Width: 23" (58.4 cm),
Depth: 18.375" (46.7 cm)
Power Handling 800 Watts RMS
Accessories Removable Casters P/N 0056483000
Cover Uses Cover P/N 0066171000, US MSRP $49.95 (Not Included)
Frequency Response 105 dB SPL @ 1W1M (-3dB @ 40Hz and 15KHz)
SPL 105 dB SPL @ 1W1M (-3dB @ 40Hz and 15KHz)
Introduced 1/2009
Reviews and testamonials are all very good so this may be the next cab in my van.
Last edited by FretLessSince68 on Fri Nov 25, 2011 2:06 am, edited 1 time in total.
One good note makes my day.