mazdah

I never used them and graphic EQ on my 3pro. I never use them with my SVP pro preamp. They are just taking away the mid-magic that Ampeg ammps have. Just turning graphic eq on them can run the sound - too many transistors on the tube signal path.

Maybe it's the cab. My bastard has a massive low end boost and gets much quieter if I set the switch on its low position. Sound extreme, just like bright switch which adds razor sharp highs in its down position.

[quote name='badboy1984' timestamp='1424941132' post='2702079']First I would like to say the bass, mid and treble switch position is weird because up position mean engage and down means off. Logically it should be the other way round. [/quote] It is, the default position is up. With bass switch down there is a massive low end boot. Mark says that they are by default all up.

You certainly can! But LB-30 (mine, not sure about newer ones) has effects loop BEFORE preamp, not between preamp and poweramp, so both preamps will work in conjunction, no matter how you plug it in.

[quote name='mrn1989' timestamp='1422959732' post='2678754'] 2000 WATT?? [url="http://www.bugera-amps.com/EN/namm-landing-v1.aspx"]http://www.bugera-am...landing-v1.aspx[/url] [/quote] 2000W peak maybe. Veyron tube is a Streamliner copy

I tried this bass: https://www.youtube.com/watch?v=uAshofkfSjc ... and it's simply AWESOME! The neck is slim and fast, but very comfortable. The sound is top notch. Those basses (all of their basses I think) have their amazing Tri Logic Preamp inside.

This is Ampeg PF-500/800 clone. Just like they did with other BVV - they stole SVT-3PRO, 4PRo and SVT-CL design. The blue drivers in this cab are obvious, and they really ARE "world famous" and "british engineered".

OB1 500W is the amp you are looking for but I hope that your Terror will live long now

Nice and reliable. I sold it to buy Ashdown Little Bastard, but the Ampeg was allright.

I think that half of the ECC83 may be V1, so the EQ is solid state... but the preamp is valve (like Eden, SWR stuff).

[quote name='hamfist' timestamp='1421825235' post='2665326'] Not sure there is great demand for a 10kg amp in todays market., outside bass geeks.  Most bassists couldn't give a monkeys what class their power amp is, but they do care greatly how heavy it is. I'm very surprised they didn't use the very effective bass terror power section in this, to make it much, much lighter. [/quote] Well, that lightweight fad amazes me. Why should I care to have 4-7lbs amp, when my cab weights 20-40lbs (or more)? I still have to carry heavy stuff, one more thing that weights like one of my cabs doesn't matter at all. I do like pretty light gear, but my Little Bastard is still lighter than the cab I use with it (VS112) and most of the cabs available in stores. My 3U rack with Ampeg B1, SVP-PRO and Fender TBP-1 weights the same as my Ampeg PF cabinets (but is easier to carry around because of the nice soft handle and smaller size). When I have to lift the cabinet (or two) anyway, one more thing to carry doesn't make my life any easier. I had Ampeg PF-350, but sold it as soon as I recovered from health issues (five surgeries in one year), I compared SVT-7PRO to my old 3PRO (and SVP-PRO preamp) and I'd never choose 7PRO over 3PRO or SVP preamp. The sound is simply not there. Just like with pretty nice sounding PF-350 - does the job, but the sound was always better when I used my old B1 as a poweramp for PF-350 preamp. I consider every Class-D amp a compromise, simple give-and-take: you get the lightweight amp that does the job, but you give away some of the sound quality.

The powerful ones are expensive, I was going to buy Behringer Europower, but I found Ampeg B1 head (150w @ 4 ohms). Enough power and AMAZING sound when I don't want to use my preamps.

Puma is amazing and just the one knob changes the whole character of the amp. Pricey but very powerful and ultra light.

I've never heard an amp that didn't hiss an hum like crazy with gain and master all the way up. Even the super high-tech ones do!

It's basically a preamp from Mark King 500 head, with class-d power amp. Mark wrote that it's not going to sound just like MK500 because of the lack of big transformer.

I'd go with Ashdown cabs. It seems that they work really well with their amps. I prefer Ashdown VS-112 over my Ampeg cabs with my Little Bastard 30 head. If you are going to gig with this amp buy a bigger cab - VS212 or even VS412 (there is one! looks amazing, but it's heavy as hell;)

I know that digging up this old thread may not be the best thing to do on a forum, but I think it has to be answered. This passive tone stack is different than Fender one. But no matter what you do, trees always goin to be a little dip on mid friequencies. The eq is pretty subtle (can be extreme on lows and highs of you use the switches). Midrange defines the whole characteristics - more mids = more everything, so sometimes to tame the brightness or lows you have to cut mids. Also this eq sounds good with more "drastic" knob positions, you don't have to be afraid of using the knobs, whereas active preamps tends to behave strange when not used properly. Just use you ears, not eyes.

Kustom Groove 115C combo. 600W, very heavy, single "15. Sounded great until I tried my first Ampeg

You should be pleased with Ashdown. I love Ampeg, and since 2008 I played Ampeg and only Ampeg. But I never menaged to love my PF-350 and ... two weeks ago I bought my first Ashdown I think you might be more pleased with MAG than with PF-350. Plus - it's very simple amp, easy to fix.

Is Ashdown little bastard old school enough? I sold my new portaflex to get it. Nice score, all valve and light head.

Whoa! With TONS of low end normal BDDI has, this may be a overkill...

I wouldn't buy Fodera because they are wet expensive. But I played one Empire Japan 5 and it was totally worth the price.

I seem to like MIM Jazz Basses better than US and Japan made ones. They are not that appealing but I like their slightly darker, more vintage timbre. I had two Mexican Standard jazz basses and liked them more than Highway One, Limited 94, US Standard 5 and Deluxe from mid nineties I tried.

[quote name='Handwired' timestamp='1408625111' post='2531916'] I fear that with that particular mic placement we're hearing the individual driver more than the cab. [/quote] Well... this is what you do in the studio or on the stage. How else would you put a microphone to record a bass cab? I would like to hear some ambient too, but close mic is the sound you hear in the studio recordings.

I never liked D112, I love good old trusty Shure SM57 for miking my bass cabinet. I play Ampeg, the amp IS the instrument (or a part of a instrument) and I choose it because I wanted THIS specific sound. I don't like it to be ruined by DIboxes.