Beer of the Bass

In the kind of setting I'd tend to play in, guitarists are rarely using more than a 1x12 combo, drummers usually have some subtlety and there are often multiple vocals or acoustic instruments that necessitate keeping the stage volume reasonable. In that environment I've found that a 100 watt valve amp through a reasonably efficient 2x12" cab was always more than ample. So I'd expect to push a 50 watt amp a little more, but that should be a fun sound anyway. With that in mind (and experience with several valve amps from 40 up to 100 watts), I'm pretty confident that the Pf-50t will work for me. If your guitarists and drummer have more rockish tendencies, then you'd probably want a little more.

Well, I went for it! I guess I'll report back when it shows up...

Aargh, I notice Kenny's is showing the PF50t as still available, and I might be close to caving in! I have a new band lined up who are retro-minded and not crazy loud, so I'm kind of tempted. My old Dynacord would do the job, but this is lighter and has useful stuff like midrange EQ and DI outs that would make it more useful for gigging...

That would make sense, since since the Series 2 is the one that Francis published the schematic for! Myself, I'm going to pick up a Schalltechnik Vong Filterung kit (snappy name!) when they're back in stock. They have a fixed and a variable HPF in a similar configuration to the Series 3, plus a switchable lowpass filter and boost and a DI output.

Cheers for bringing attention to these; it looks like a really useful little problem solver and I can think of uses for one both with my electric and double bass. And it can be bought as a kit that's not too pricey, which suits me. I might have to get one...

Hmm, that is a good price - I'd be hard pressed to DIY a good 50 watt valve amp from new parts for much less. I shall be frugal and stick with my quirky old modified Dynacord though...

If you've got another amp around with 12AX7 and 6v6 valves, I'd be inclined to pop 'em in the phase inverter and power positions just in case that sorts it.

That's a shame, a lot of Hartke stuff has been pretty good sounding. I played a combo a while ago, not sure of the model name but it was basically the LH500 head in a 2x10 combo, and that was one I could use quite cheerfully.

A Guild/Dearmond Rhythm Chief 1000 with the fingerboard rod mount could perhaps work. It's another guitar pickup, but about the only one that mounts to the bass side of the fingerboard.

If anyone is considering the KNA pickup, it's worth mentioning that Thomann stock it (branded "Fire and Stone" for some reason), and it may work out cheaper than ordering from the US. I picked one up recently after my J-Tone wing pickup stopped working, though I won't have it out for a gig until next week.

Thinking about it, if you had the budget for it, it would be very cool to pick up a pair of the Adeson repro pickups and find a custom builder to come up with a nice lightweight short-scale to get that sound in a more dependable instrument.

I haven't seen one in the flesh, but the Bass Collection Bill Wyman bass looks like it might get towards that sort of character in a modern instrument. (Short scale, tiny body, pickup positions etc.)

I have done it, and it can work, but it is very drummer dependent. While people did it "back in the day", you really need a drummer who is aware of how they played in that era, or at least one with some restraint and sensitivity to the ensemble sound. A kick-heavy rock or funk approach rarely works with unamped bass!

I voted no, because I don't have any electric bass gigs at the moment, only double bass, often with the bow and sometimes unamped. I could do anything I do on electric bass on a 5-string Squier with a decent setup though.

The current R500h does look like good value for what you get, though not the most compact of it's sort. And I guess the graphic EQ might appeal to the guys who pine for their old Trace Elliots! I like that they used sparkly grille cloth too, superficial though that is...

I'm not intimately familar with Laney's range over the years, but is that definitely a bass cab? The basketweave tolex and cloth grille looks like a lot of their guitar stuff over the last few years.

I'm probably something of a luddite in these matters, but putting bluetooth in a guitar amp at all seems like a solution looking for a problem.

I'm hanging on to the Melos, it's just not coming out for gigs. I have two of them, one I was using and another tucked away waiting for me to refurbish it if I ever get around to it, both the silver-fronted cartridge based model.

Ooh, proper Hammond! I always like seeing those used live, as it seems to happen less and less often now.

A post-phase-inverter master volume (PPIMV) can work really well with this circuit to dial it down to lower volumes, though you lose the effect of the presence control at lower settings, and it's still not exactly the same sound as cranking it with no master. I built an amp for a guitarist friend a while back, based on the 1987 circuit but in a 1x12" combo cabinet. While the PPIMV is effective right down to practice volume, I'd suggest that it might be too much amp unless you're regularly playing very loud gigs. He's never had his above 50% on the master even in larger rooms, and it'll be even louder with a 2x12" or 4x12".

I'm concerned about that photo of the back. From that photo it looks a lot like the plates of the 6l6s are glowing red. This does not happen in normal use; it's usually a sign that the valves are drawing too much current and can lead to short valve life and sudden failures. Perhaps check in with the maker about that.

Only if the collectors in question are refuse collectors!

I have heard a pair of these, and I'd say that the screws are the least of their worries!