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Everything posted by SamPlaysBass
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I know what you mean, I was being genuine in my reply haha. I always think of Ampeg 8x10s as pushing the air over me without a load of bottom or top end. Always nicely balanced, but mid focused to a certain extent. My current ported cabs tend to throw more low end frequencies out. Not bad, but different. I like the mid focused tone of a sealed cab but always wondered if a ported cab ever too much in an 8x10 configuration. Also, just to wade into the mix, we’ve got a band van and we’re pretty hands-on when it comes to load-ins. This cab will never be in a car or used down the Dog & Duck - I’ve got a TC RH750 and RS112 cabs for that. It’s a pure band acquisition that will be toured around the UK and Europe in a rock/soul band setting.
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That’s a dream room right there, Walshy! Down to brass tacks - what are the main differences between the pair of cabs with the SVT? Main things I’d like to know are: • Can you hear and feel the 6x10 as much as you can the 8x10? Is the height difference of the 8x10 noticeable? • Is there a difference in tone or are they near enough identical? • Is the Barefaced a compromise over the Ampeg? i.e. ‘It’s very nearly as good as the SVT but sooo much lighter etc.’ but the SVT realistically has a bit more to it. Cheers in advance mate!
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After some thought I’m set on a big cab, as impractical as they are… Is an 8x10 an 8x10 or is there a ‘better’ and ‘worse’ cabs 8x10 cabs?
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Thanks, Bill. Honoured to have input from a legend! In a roundabout way, I can see that an 8x10 is not the most efficient design by any stretch and two 2x10s will work well. However, I do worry about putting a big SVT on top of a couple of 2x10, although I could just leave it on the floor and save the backache of getting it up there in the first place.
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This makes insanely good sense. Thank you, Fretmeister! Sealed would make more sense, less hard work for the sound engineer and less boom on stage. I’m lucky enough to be playing 500+ capacity venues fairly regularly so a big cab as much for looks as well as functionality.
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Again another great idea, I love that if a speaker ever goes pop then Mark, Dan and co. are the most helpful guys in the business for replacements and spares. They are heavy, though. Heavier than the Fender and on par with the Ampegs. Out of interest, any comments on the sound of the Fender? I’m used to Ampegs but if there is a way of shaving a few KG off, I’d be happy to entertain the thought.
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I’ve often thought about the Barefaced 6x10 and they are a real contender. I’ve never used one, so I was wondering if by the magic that Alex manages to cram into them they achieve the same ear-level monitoring as an 8x10? I’m 5ft 9” and an SVT 8x10 is a great fit to be able to hear and feel the notes. The Barefaced looks quite squat but I’m aware, having owned a Compact many moons ago, of the design and engineering that goes into them. I don’t run an 8x10 particularly loud either, it’s a tactile/haptic thing about feeling the air and movement in my body. Otherwise I’d just wear in-ears all the time if it was purely for monitoring purposes. Also, as much as I hate to ask as describing sounds is so much more difficult than actually hearing them for yourself, but what sonic differences are there between big sealed and ported cabs?
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I’ve recently acquired my dream head - an SVT CL. I love it to pieces already and is rendering many of my pedals semi-redundant as it’s made me realise how my pedalboard was entirely geared up to try and emulate the sounds of an SVT. Long story short, I’ve got the real McCoy (except for maybe an early 70s SVT) and I love it. In the spirit of upgrades, I’m playing through Ashdown ABM 4x10 and 2x10 cabs which do the job admirably. However, I’ve always fancied an 8x10. I’ve played many over the years and I played through one on Saturday night. There’s something so visceral about the playing experience. The air moving around you, the monitoring that having speakers so close to the ear creates - I’m sold. The only consideration for me regarding an 8x10 is weight, and it’s more for weight in the van rather than loading purposes (though that will inevitably be a factor). I’d love a Barefaced 8x10, but cost is prohibitive at the minute. Fender’s 8x10 Bassman Neo is a bit lighter and comes with a tweeter, and I always have the tweeters engaged for a bit of sizzle. I’ve read that the Fender 8x10 is a ported design and I’ve never played a ported 8x10 - any major sonic differences to the sealed SVT cab? I’ve also heard from a couple of veteran bass player mates that the Orange 8x10 is a worthy contender and that the Ampeg SVT 610 HLF is a real gem in the lineup. Meanwhile, Talkbass rates the 410 HLF as a complete dog, which seems contradictory if the 610 is essentially the same design but with 2 extra speakers and is considered a bit of a darling in the range. I’m fortunate enough to be in a position where an 8x10 makes sense (or a 6x10, if that seems more viable). The man maths checks out but before pulling the trigger, I thought I’d ask the Basschat hive mind about a good recommendation as I’ve always found the best advice from Basschat. So, good 8x10 (or 6x10) cab recommendations for an SVT CL that isn’t going to make a full van burst its tyres? (Pic - current set up)
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He’s been active in South Wales as well. Same story, ‘double booked’, acting on behalf, no contact, taken money etc. Has anyone had any face to face dealings with him at all? I know it’s not unusual to work from behind a screen (especially post-Covid) but he seems to be getting away with an awful lot at a professional level even after having his name dragged through the mud. -
I was recently given this bass amp as the person I had it off wanted to make space in their garage. In all honesty, there’s not a great deal online about it other than it looks like Peavey’s version of a Trace Bright Box. It’s dusty, covered in cobwebs and not the best looking, but I was wondering if anyone had any info on them? They seem to originate from the late 80s. There’s an input on the back and it works just by plugging straight in the back - no EQ section here! Any info?
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Muzz - a good monitor mix is the dream. If only every gig had a great monitor sound 😂 I played a festival a few weeks back with a huge 8x10 and an SVT on top of it. It was barely audible otherwise it would interfere with the mics on stage. SansAmp did the heavy lifting again through the PA. Looked great on stage though 🤷🏼♂️
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The short answer is no, and the long answer is no, there wasn’t time. As much as that would be ideal and especially useful for future reference and recording, timings are still generally tight for the load in. Despite them being very decent venues, we were ‘only’ the support band and so had the slops when it came to timings. I wasn’t even aware of what mic was being used (though one night it was definitely a trusty SM57), and it was only on 3 nights out of 9 my cab was actually mic’d. If / when we’re in the headliner’s position, I’d like to spend some time doing just what you’ve described and getting it down to a fine art. That said, how much the audience would notice is another debate. The SansAmp settings I use are not traditionally SansAmp-y (i.e. heavy mid-scoop and a bit dirty) either. It’s more an facsimile of a valve amp well within its limits - fairly clean. It did the majority of the work whilst a cab feed added other possibilities if needed. Plenty of compliments, though. Looking at Tim’s (Myles’ bass player) rig, he had a lovely Mesa set up but there was a feed from a Fender Downtown DI doing a lot of the DI work. He probably had his cabs mic’d up but again what was actually coming out of the FOH was down the sound guy on the night.
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My cover’s blown! Thank you very much, greatly appreciated. Genuinely intrigued what other bassists would do in the above situation. On the Myles Kennedy tour, I used an Ashdown ABM500 Evo 3 and an ABM 4x10. Front of house was fed with a mic to the cab (if we had time) and the SansAmp. The set up worked well. It was nice to have some control over monitoring by way of the amp rather than leave it to someone else (granted, every sound engineer we came across was outstanding and a true professional in every way, but sometimes it’s nice to control your own volume rather than asking mid set). The SansAmp did the heavy lifting for the PA, and the Ashdown helped out with everything. Good results.
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Your band is booked to go on tour. The van is ready. The groupies are non-existent (no room for them AND an SVT) and you've stocked up on cheap lager and crisps for the journey around the 'heavenly' British Isles. You're playing nice, big-ish venues (O2 Academy sized, let's say). What amp set-up are you bringing? Let's hear them!
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I’ve got a Professional Jazz V mk 1 from 2017. I bought it after trying it in a music shop and being blown away by the B string as well as the general fit and finish. Clear, articulate and as useable as the other strings. I set up a finance agreement on the spot. Modern Fender is doing something well.
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Wayne Jones Audio Pre-Amp and Powered 1x10 Cab
SamPlaysBass replied to SamPlaysBass's topic in Amps and Cabs For Sale
Everything is sold. Feel free to close. Cheers all! -
Cheers all - designacable it is!
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My apologies - head to cab with speakon connectors. And / Or a speakon to 1/4” for those days where you’re borrowing someone else’s cabs.
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Welcome to the most exciting Saturday morning post on Basschat. I would like to buy new speaker cables. I have previously bought speaker cables from Amazon (Stagg, if I recall). They do the job for 6 months or so and then they decide they don’t want to be speaker cables anymore. Then they get placed in the bin and I buy new speaker cables (after wedging off the speakons just in case they come in handy). Where can I buy good quality, not expensive speaker cables that may outlast a year or so? I’m not adverse to making my own if need be, but I would like someone to hold my hands through the specifics of ordering the correct cable and accoutrements. Cheers guys, hope your week is more exciting than this post.
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Wayne Jones Audio Pre-Amp and Powered 1x10 Cab
SamPlaysBass replied to SamPlaysBass's topic in Amps and Cabs For Sale
Cab is gone. Pre-amp is sold Pending! -
Wayne Jones Audio Pre-Amp and Powered 1x10 Cab
SamPlaysBass replied to SamPlaysBass's topic in Amps and Cabs For Sale
Cab is provisionally sold. -
Wayne Jones Audio Pre-Amp and Powered 1x10 Cab
SamPlaysBass replied to SamPlaysBass's topic in Amps and Cabs For Sale
It’s got no right sounding this good. It doesn’t sound sterile, just perfectly even and dynamic up and down the entire range of the bass. 🤯 -
Wayne Jones Audio Pre-Amp and Powered 1x10 Cab
SamPlaysBass posted a topic in Amps and Cabs For Sale
I'm very reluctantly selling my Wayne Jones Audio Valve Pre-amp and Powered 1x10 cab, both in excellent condition. The pre-amp is amazing. Based on an Avalon 737 pre-amp, Wayne Jones tweaked the designed and frequencies to best suit bass guitars and as a result, he has created an unbelievably wonderful sounding DI. I used this head at a recording session with the wonderful Martin Levan, who is Andrew Lloyd Webber's sound engineer as well as producer of John Martyn's Grace and Danger and Iron Maiden's first album. He knows good bass tone. The man has golden ears and declared this pre-amp as 'very, very nice'. Shame my playing was average. Nonetheless, this is an amazing pre-amp. Warm, studio-quality sound for on-the-road applications. Each frequency point in the EQ corresponds to each string on a 6-string bass. Long story short, it's very responsive, articulate and outright outstanding. A sound engineer's dream, a producer's secret weapon. Secondly, to accompany the wonderful pre-amp, I have the matching powered 1x10 Wayne Jones cab. This cab has been lightly used, and is very reasonable to cart about. It's a 500 watt power section shoehorned into a diminutive 1x10 cab. It weighs about 18KG, has useful carrying handles, and is loud as tits. It can also be used to power an extension cab of your choosing, or blow the wigs off the front row on its own. It's a very, very good cab, built to exacting specifications with a 'money-no-object' attitude. It's great. I've heard rumours that these cabs make great studio monitors due to their clarity, design and general brilliance. It is matched perfectly to the pre-amp, and as such I'd be very much looking to sell them together. They will come with the relevant power supplies, muting foot switch and all necessary cables. I'm selling them as I am now in a 'rawk band', and will now spend the next year or so being carted about in the back of a big, smelly and slightly urine soaked van. I don't want to take these wonderful pieces of equipment on the road in these conditions. If our conditions ever improve, I'll likely buy a bigger Wayne Jones system. Until then, here they are up for grabs. £850 for both. Or £450 for the pre-amp, £450 for the cab. This rig brand new would be in the region of £1700, and that's before you ship it from Australia to UK, pay Boris the rest of your life savings in tax, wait years for it to arrive and grow so old you can't actually play anymore. Therefore, this is the next best option. Cash is king, as I'm going to be very poor soon. Any questions, don't hesitate to drop me a message. Sam IMG_1868.HEICIMG_1867.HEIC Cash is king, as I'm going to be very poor soon. Any questions, don't hesitate to drop me a message. IMG_1862.heic -
I’d love to try some of the big boy ABMs. I’ve yet to try an ABM 600 at full throttle, and the ABM 1000 seems a rare beast indeed. I think you’ve found a unicorn with yours - don’t ever sell it! If it’s got half the go that a valve amp has, you are on to winner.
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I bought an Ashdown CTM 100 a few years ago on finance. It was quite big, a little cumbersome (despite it being small in the valve amp world), had a limited tonal range and got dirty quite quickly, meaning on a large stage the amp and the DI were getting a bit hairy. In that band, I needed a fairly clean sound and Class AB and D amps were better suited for my gigs. I ended up swapping the CTM for a bass, swapping that too and ultimately making a loss of several hundred pounds. ...And I’d do it all again because valve amps are magical. It had a limited tonal palette but what it did, it did really well. Think Entwistle’s Live at Leeds tone. It looked great sat on a 4x10 and the response from a valve amp is just different to class AB and certainly class D amps - everything is more immediate, sparkly and just better. Valve amps respond to inputs differently. Dynamics are different. Better, in my opinion. Most of my thoughts could probably be written off as pseudoscience or perception, but I don’t care. I loved owning a valve amp and I’d wholeheartedly recommend one to someone who fancied one. No, you won’t be able to put it in a rucksack and take your gear in in one trip (🙄), but I find most of the practical points of owning and running a valve amp a bit like buying a Ferrari and being disappointed when it doesn’t do 40mpg. They aren’t designed with convenience in mind, and they are (in the bass world at least) a luxury item that needs more care and attention. Buy a valve amp, experience the highs and lows, sell it on if/when it does your head in and let someone else experience the same cycle.
