Well there are several routes to go, one would be to take a normal guitar amp kit and modify it for bass. Rule of thumb: if the connection providing input to the Bass Bump can drive headphones directly use 100 Ohms for R8. Otherwise use 10K Ohms. This was my first tube design to use a PCB rather than point to point construction and I’m quite happy with how it turned out! Dont forget the Alembic F2B tube preamp, i have built it, but havent test it completely, but so far, it is so much fun !
Take the first pic in the blog as an example of a modern head that is flexible with speaker connections: it’s one of our amps, and you can plug in anything from 4 to 16 ohm speakers no problem. The amp just happened to be what was around at that time and it has been driven by all sorts of things since it doesn’t really have an amp of its own. Piping some white noise out of Logic into the Tech 21, connected in turn to the cabinet of your choosing, and recording the result through your usual recording chain, will yield a kind of sonic topographical map of your speaker and mic combination. Don’t forget the chassis to build it in, proper heat sink for the power section, cabinet if you want it to last.
Because this combination can help lessen the self-induction effect that might occur in your tubes, it is generally safer to use than the example in Case 1. In terms of the amount of mismatching you can get away with here, we’d go with the 25% rule: so, for instance, don’t connect a speaker with less than a 4 ohm output to a 16 ohm amp output! Likewise, power amps feature the usual assortment of power amp tubes (6L6, EL-34, EL-84, etc.).
In addition to a three-band EQ and volume control this little monster also has switchable overdrive and a contour button, a couple of nice features in an amp this size. Although a variety of so-called load boxes”, like the Palmer Speaker Simulator , which I own, exist for the purpose of enabling completely silent amplifier recording sans speaker cabinet, none that I’ve tested provide accurate results.
The Bass Amp Room package from Softube is the closest thing there is to a good all around package, but for me, it still misses the mark of what a recorded IRL bass amp sounds like. Not miking up an amp means near-zero setup time, and the unpredictability of the studio environs means that recording direct provides some indemnity against the sudden arrival of next door’s Spinal Tap tribute band just when you least expect it.
If you are hell bent on making your own search any 10 watt power amp on the interwebs or you could go to you local electronic shop and buy diy kit for building power amps. The preamp is based on the SansAmp Character VT Bass DI pedal which was designed to emulate the powerful tone of the SVT tube stacks. If you have no experience in the assembly of electronic projects, we recommend starting with a simple amplifier, such as the 40W amplifier. The B-15’s specifications seem quaint by later engineering standards: three 12AX7 preamp tubes and three 6L6 power amp tubes produced a mere 25 watts RMS through a single fifteen-inch speaker.
There is no way you will be able to find good transformers big enough for a good, clean bass amp for that. This might mean adding on a bass amp plugin for grittiness, an Erosion for graininess, or a Chorus for a wider sound. I/’s include standard guitar plug inputs for each channel along with effects send and return, series loop in and out (for PA and external amp use), direct out and headphone out. I recently updated the wiring in the cabinet to use spade connectors, so no more soldering iron required, and speaker swaps are now quick and painless. To this screw an expanded steel mesh which provides protection for the speaker.
They offer a complete line of guitar and amplifier products, specializing in vintage (pre-1980) reproduction cabinets and exact replacement components. I have a bunch of mates that are using them and all blown away with how they keep the bottom end in tact.. I’ve used a few other pedals and they all seem to take the bass out of the bass.. which seems a little dumb to me.. go figure! I have recently purchased a 16 ohm Leslie speaker and I was paraniod about driving it with an amp rated for an 8 ohm speaker.
When assembled, the cabinet was very accurate (getting the panels cut properly also helps!) and the cabinet was almost square (measure between the top and bottom opposite corners for squareness, should be the same distance) So with a little tweaking I got the cabinet set up right. If you look around on line you can find schematics for the 1987 lead and 1986 bass amps (and their 100 watt counterparts) and see the minor changes. They manufacture and internationally distribute their own custom wound pickups as well as custom amplifier and speaker cabinets in Burgaw, North Carolina.
There are a number of other mastering plugins, but none of them treat bass sounds so sweetly as Maxwell Bass — it’s a nice, round effect that’s almost universally applicable. The design in layout is very much the same but it’s the decoupling caps that change in value and some reduction in gain is also needed in the bass versions so that motorboating does not occur.
It didn’t take long for enterprising guitarists to put two and two together: By recording impulses through particular guitar cabinet and microphone combinations, those impulses could then be applied to neutrally-recorded guitar recordings after the fact. Any circuit you can think of can be used whether it is a transistor, op amp or valves(but I would discourage you with using valve pre amp since it would just kill the beauty of the valve sound if you pair it with a 10 watt practice amp it is not worth it). Sub-bass is the technique of mirroring a bass line in near-subsonic frequency ranges.
In 1960, the Ampeg company released a bass amp that would shape pop music for a decade or more – the B-15 Portaflex Flip-Top” head and cabinet. We’ve inquired about the possibility of a 2290 reissue, but sadly many of the components used to build the 2290 just aren’t available any longer, nor would it be possible to make a true reissue ROHS compliant. The Randall gear lets you mix and match a variety of different preamp modules to create a truly one-of-a-kind amplifier.
For the first example, a speaker that is 3 dB more sensitive than another will produce double the sound pressure (or play 3 dB louder) for the same power as the other. Don’t skimp too much on the speakers: they’ll dictate the volume, durability, and overall tonality of the cabinet. It’s also a solid practice amp for experienced bassists, so you know it will stick with you for a long while after you’ve advanced in your playing. The copper in electrical wire is of less quality than speaker wire, and will be prone to rust. For me, I have always had gas for a tube amp, but I have never found one I really like that I could afford as well :mrgreen:.
I have an old Valco tube amp that screams like crazy if I plug my lap steel into it, but it doesn’t act up with my guitar. JCM800 power amp and PSU schematic with 2x EL34 (50W) or 4x EL34 (100W) for models: 1959, 1987, 2203, 2204, 2103 & 2104 (Marshall, 1981). It sounds terrifc, mind you; but it’s just NOT really a whole lot better than the Behringer Bass V-Amp.
Well if you are going to build an all tube amp for this you first need to sell a kidney to pay for it and then buy a fork-truck to carry it. It’s fifty years post the rock and roll revolution, and all manner of amplifier designs are now available, both modern and retro — including digital simulations thereof which rock pioneers could not possibly have imagined. So there’s really no difference, still, if you use a bass amp sim, or any guitar amp sim.
For instance, Marshall always made Bass versions of their amplifiers (50 and 100 watters) so if you got a kit that was for the lead version, you could with a few modifications make it for what they concidered to be bass. I for one, has detected the advantages of S-gears guitar heads, when turning down the volume on the guitar and how the amp reacts, especially when distorted. Based on these variables and peculiarities, you can start to think about whether you would prefer to use this combination with a tube amp output of 4 or 8 ohms.
After a few rounds soldering and de-soldering in the sisyphean crusade of auditioning every possible combination of speaker and cabinet in my possession, I quickly came to understand a couple things. And a chorus pedal can have a great, but different, sound whether it’s placed in front of your amp or in the loop — it’s really just a personal artistic preference sometimes.