Welcome to Guitar World’s weekly gear round-up, your one-stop-shop for keeping up to date with what’s been happening in the big wide world of guitar gear over the past seven days.

From new electric guitars to amp modeler updates, the guitar industry is never short of fresh releases, and it can sometimes be hard to stay in the loop with every new launch.

To make things a little easier, we’ve put together an essential must-read guide that will cover the major releases, the boutique drops, and everything in between.

Below you'll find my personal highlights from the week, along with plenty of honorable mentions for the new gear you might have missed. Agree with my picks? Have a highlight of your own? Let us know in the comments.

Kramer 50th Anniversary Collection

There is a certain demographic who will be looking at this new 50th Anniversary Collection from Kramer, seeing the Gibson-owned high-performance electric guitar brand respraying all the hits of its current lineup in a really sweet Gold Metallic finish to mark its jubilee year, and they will acutely feel the passing of time.

Some might wince, suddenly feeling the urge to pick up a more age-appropriate instrument. But what even is that? Embrace the dying of the light. Take that Frying Pan out of your Reverb cart. So what if the premier shred brand of the ‘80s used to watch movies on Betamax – it’s still young at heart. And so are we.

Besides, the Baretta, SM-1, the 84, the Volante, NightSwan, and the Pacer Carrera have never looked better.

These all come with a gig bag and everything you need to split the atom, i.e. super-quick necks, jumbo frets, compound radius fingerboards, plus Kramer Eruption PRO humbuckers and Floyd Rose 1000 Series vibratos. And the price on these is not that bad either, with the range starting from $999.

PRS Jon Jourdan Limited Edition

Jon Jourdan’s new signature guitar is something different from PRS. We're used to seeing a more maximalist approach when it comes to its designs, electrics with an array of switching options to rinse everything out of their pickup configuration. But Jourdan’s day job requires something different.

His signature model is all business; a single-cut with a single pickup, one volume knob, and a wraparound bridge. And that’s it. As six-string lieutenant to Wolfgang Van Halen, touring the world’s enormodomes with Mammoth – not to mention his roles in To Whom it May and Clint Lowery’s solo band – he clearly needs something that you can tune down, crank up, and hit hard. This is the electric guitar as a hammer, albeit, a very expensive hammer.

“At the end of the day, my guitar is a tool. I want it to do exactly what I need it to, so we took out all the ‘extra’ stuff I don’t need,” says Jourdan. “This guitar sounds huge and is incredibly fun to play. There’s something about taking out any unnecessary wiring and removing the neck pickup so its magnets aren’t pulling on the strings that makes it feel alive. I can’t imagine anyone playing this guitar having a bad time.”

Its sole pickup is interesting, a PRS Metal humbucker. That’ll slug the front end of your guitar amp nicely. PRS is releasing these in Platinum and Gunmetal metallic finishes. Each instrument comes with signed backplate. The bad news is that they’re only making 200 of them.

Eventide H9 Gen 2

No one has ever accused the H9 Harmonizer of lacking features or sounds, but Eventide has just made it better anyway, and has done so without increasing the size of the enclosure.

The next-gen H9 is still respectful of your pedalboard real estate, but this time it comes with full ARM processing to make it faster and better, and SIFT processing; and with all of the algorithms from the H9 Max and H90, you now have some 74 sounds to play with.

Some of these are the kinds of sounds you can only really get from Eventide, such as its sui generis PitchFuzz algorithm, which comprises a trio of pitch shifters, delay, and a fuzz-cum-distortion, and there are some on-trend sounds that we’d forecast will play well for the avant-indie and shoegaze soundscaper, with Cosmic Web, Glitch, GrainMod, and Stutter showing us what happens when Eventide embraces the “granular” revolution.

The aforementioned SIFT technology now allows the H9 to run the polyphonic algorithms just as its flagship units do. All of these sounds can be bamboozling, but you’ve got more than a thousand presets to organize them.

As before, you can only run one preset/algorithm at any one time, but these effects contain multitudes. The H9 Gen 2 could be a powerful chameleon to have on your ‘board for wildcard sounds and studio-quality delay and reverb essentials.

Also launched this week…

Knaggs 250th Anniversary Limited run

While most people will resort to a box of fireworks and grill some dogs to celebrate the USA turning the big two-fifty, Joe Knaggs had different ideas, and instead turned his peerless luthierie skills towards a super limited run of Kenai and Severn models that have F-18s and F-16s performing a fly-by on an ebony fingerboard. Spectacular. They're only making 25 of them. Order by the end of July.

For more: Knaggs Guitars

Two Notes Genome 2

This is a good week for updating your digital guitar eco-system, because Two Notes Engineering has just launched Genome 2.0, upgrading its fully integrated amp modeler, effects, and virtual cab engine with some serious new features. Its multi-parametric AmpNet capture tech could be a game-changer.

For more: Two Notes

Gibson Custom Historic Reissue 1959 ES-330 and 1962 ES-330

Playing a nice ES-330 is one of the greatest experiences you can have as a guitar player, and while that hollowbody gives some the fear – what about the feedback? – the P-90 mojo, the resonance, the musicality of the instrument... it's really something. And these two period-correct 1959 and 1962 Historic Reissues look truly exceptional.

For more: Gibson

Winzz WCG370 nylon-string

For $399, this new hybrid nylon-string guitar is a sweet deal. It has a thinline African mahogany body topped with spruce and a flame maple veneer. There's an undersaddle piezo with volume, bass, and treble, and some nice finish options, too.

For more: Winzz Guitars

Harley Benton BLOCK Series bass amps

Portable and configurable, Harley Benton's new BLOCK Series includes 200, 300, 600, and 800-watt Class D bass amp heads, plus a variety of matching cabinets. You don't need us to tell you these are affordable.

For more: Harley Benton

• What's your favorite new gear release of the week? Let us know in the comments below.

Mesa/Boogie has just expanded the Subway line with an all-singing, all-dancing sequel to its super high-end DI and bass preamp pedal.

There are many reasons to get excited about the launch of the Subway+ Bass DI‑Preamp II. For a start, this thing is compact. The picture up top gives you an idea of the scale – this comes in at some 40 per cent smaller than its predecessors.

Also, it’s stacked with features.

And we mean stacked. Fully kitted out for life on the road, everything you need to dial in a bass guitar sound in the studio. You know the drill; it is fundamentally the front end of a Mesa/Boogie Subway bass amp in a pedal format, complete with studio-quality DI and more EQ controls than the desk at Abbey Road.

Well, not really, of course, but you’ve got ample tone-sculpting capabilities with its 4‐band Baxandall EQ offering you plus or minus dB of Bass, Low‐mid, High‐mid, and Treble.

This being a Boogie design, you’ve got control over those battleground frequencies, with the low-mids adjustable between 150Hz and 1.8kHz, and the high-mids sweepable between 300Hz and 5kHz. You can really get forensic detail on this thing.

There’s also a Deep switch, so you can, y’know, get a deeper sound (but seriously, that ramps up the chonk considerably), and a Bright switch to tease out those high frequencies. A variable Hi-Pass filter (30Hz to 150Hz) can tighten up the low-end. There’s a footswitchable boost with level control, too, while the all-important mute switch allows you to tune your instrument silently – your audience, and bandmates, will thank you.

And it is designed to play equally well with active and passive bass guitar pickups. Under the hood, you’ve got an “extended-range” JFET preamp doing the heavy lifting.

Around the back you’ve got a cornucopia of connections, including the XLR with ground lift, power input (it runs on 9V to 18V from a pedalboard power supply drawing a minimum of 40mA), headphones output for silent practice and monitoring, preamp output, auxiliary input, and your 1/4” in for your bass guitar cable.

And last but not least, there’s a pre/post EQ switch that allows you to send either a wholly unprocessed signal straight to the desk – allowing you to easily reamp it later when recording, or to give the sound engineer full control over it – or to give you your settings through the PA. It’s a useful option to have.

And this is one useful bass pedal to have. The Subway+ Bass DI‑Preamp II is available now, it’s priced $199, and you can find out more over at Mesa/Boogie.

What is it?

Releasing a new bass amp head, especially in traditional amp-sized form, is a bold call in today's world of mini amps and powerful modeling units. Laney's Digbeth range, however, might be the amps to buck that trend - especially with a recent (and sizeable) boost in star power.

Nathan East has a firm reputation as one of the titans of the bass world – and one of its most-recorded players. You know his work - a constantly in-demand session player whose chops have graced hits from Easy Lover and Footloose to Get Lucky, via stints with Toto, Whitney Houston, Michael Jackson and (allegedly) even Judas Priest.

East has been heard through Laney amps over the last few years. Now, he and the storied British brand have worked together to develop his first ever signature amplifier - built in the UK as part of Laney's Black Country Customs line.

Specs

• Price: $1,499 | £999 | €1,499
• Type: Solid-state bass head
• Origin: UK
• Output: 2x 500 watts RMS
• Speaker: N/A
• Channels: 2
• Controls: Front panel: Input 1/2 selector, Trim, FET Volume, FET/Tube selector, Tube Drive, Tube Volume (with pull function for FET/Tube blend), Bass, Mid Mode selector, Mid Level, Treble, Tilt, Master Volume. Rear panel: Power on/off, DI 1 Mode selector, DI 1 Ground/Lift, DI 2 Mode selector, DI 2 Ground/Lift, Phones volume control, Aux In volume control, Effects Loop gain selector.
• Connectivity: Front panel: 2x ¼” instrument inputs. Rear panel: IEC input, USB-C socket, 2x ¼” Remote inputs, 2x XLR DI outputs, 3.5mm headphone output, 3.5mm aux input, FX loop send, FX loop return, ¼” Tuner out, 2x speakON/¼’ combination outputs.
• Footswitch: Not included
• Weight: 8.5kg/18.7lb
• Dimensions: 219 x 470 x 225mm
• Contact: Laney

Build quality

Build quality rating: ★★★★★

Visually, the Laney DB-EAST is cut from the same cloth as the rest of the Digbeth amps; a reasonably-sized head shell, neither micro nor massive, and with a retro aesthetic. A late-'60s Laney logo, and a classic grill-cloth faceplate - it's very stylish and well-executed. Unlike the other amps in the Digbeth range, it is also built in the UK.

The knobs are weighty and tactile, and the switches and jacks feel sturdy. It’s the amp that East tours with, after all, and it’s clearly been built with this in mind. It also has some very intelligent features to optimise it for his requirements.

Usability

Usability rating: ★★★★★

The headline? Two entirely separate inputs and outputs, so it can field two different, switchable signal chains with 500 watts of power each - in East's case, that means one for electric bass, and the other for upright bass.

The tone-shaping controls are shared by both inputs, but there's a Trim control so the two instruments’ volumes can be balanced. There's a three-band EQ, an additional four-way midrange contour selector, and a Tilt control for overall post-EQ shaping.

The DB-EAST has a two-channel preamp consisting of a clean FET channel, and the Tube emulation circuit. These can be selected with normal channel switching, or stacked for blended signals.

The rear panel is full of useful features too. We've dual XLR outputs, a pair of combination SpeakOn/1/4” outputs, 3.5mm headphone and aux jacks, a tuner output and an effects loop.

Those XLRs can provide an unprocessed DI, and processed signal with or without Laney's proprietary LA:IR cab emulation. LA:IR can be edited through the LA:IR software for Mac or PC, with many IRs available, although the factory-installed 4x10” and 2x12” presets could be perfectly sufficient for many.

Sounds

Sounds rating: ★★★★★

I chose to run the DB-EAST through my full-range Laney LFR-212 powered cab, to hear those IRs. I’m missing the Japanese-built signature Yamaha bass guitar that East favours, but I do have a passive, five-string Yamaha BB that gets me into the ballpark of some classic Fender Precision and Jazz Bass sounds, so that's a useful place to start.

Input and Output 1 is East's preferred electric bass signal path, with its 4x10” IR. With the EQ set flat and the Tube circuit disengaged, the FET sound is warm, smooth and very clean, with abundant low end. The Tube sound is a contrast; fatter mids and, with the Drive control up, a tasty retro growl. Heavier overdriven players will need a pedal to get the DB-EAST to truly roar, though.

Perhaps the best sound in the DB-EAST comes from pulling the Tube Volume control to blend the FET and Tube sounds, and then using the channel volumes to balance them; you feel the warm low-end punch of the clean tone, with some characterful midrange grit and compression. It’s a fabulous sound, and with abundant volume too.

The four-way Mid selector makes subtle but appreciable differences to the character of the sound, while Tilt is a good way of making more noticeable changes quickly - when switching between different basses, for example.

Speaking of which – given East's preference for active circuitry, I then switched to my five-string Warwick Thumb, and was impressed straight away. Powerfully mid-focused, the Thumb can sometimes feel wanting for low-end, but not a bit of it here – it sounds enormous. Meanwhile, the FET/Tube blend, with scooped mids – and a Sterling StingRay – provides a picture-perfect, aggressive modern rock tone.

Verdict

The DB-EAST, like East himself, is highly versatile and accomplished. It’s an amp that has clearly had a huge amount of thought put into making it as flexible and useful as possible, and considering its UK manufacture, it’s good value too.

Solidly-built, great-looking, has an intuitive feature set and, most importantly, it sounds fantastic with a variety of basses, for any number of different musical genres and approaches.

In this day and age, it’s easy to overlook the standard-sized amp head for your bass rig, but the DB-EAST is a compelling reminder of all that can be achieved with this form factor.

Guitar World verdict: The DB-EAST is hugely impressive – whether live or in the studio, it’s a flexible and great-sounding tone generator with lots of intelligent design features. It’s hard to believe that this is only Nathan East’s first signature amp in such a long and distinguished career, but it is certainly worthy of the name.

Also try

Hands-on videos

Guitar Center with Nathan East

Laney

Sweetwater

• “It may not have the same EQ options as other FRFRs, but the Laney LFR-110 amplifies your digital tone in a way that will easily get you heard on stage”: Laney LFR-110 review

[Update 10.08 – An earlier version of this story stated these amps were played by Geezer Butler at Back to the Beginning, Black Sabbath's final show. Butler has since posted on social media to say these amps were used in rehearsals and not during the show. Butler also says he is not involved in the sale of the amps.]

Ashdown and Reverb are teaming up to sell a collection of amps that Black Sabbath's Geezer Butler played during rehearsals for the band's epic finale, Back to the Beginning.

15 Head of Doom amps are available – which will be sold exclusively on Reverb – and each were hand-signed by Butler himself during those rehearsals. They also come with a certificate of authenticity from Ashdown’s Managing Director, Dan Gooday.

As of yesterday, fans can sign up to be notified as soon as the amps are available on Ashdown's Reverb Shop. The sale is set to go live on October 14 at 10:00 a.m. US Central Time.

“The end of an era. The sound of a legend,” says Reverb. “This is your chance to own the sound that defined heavy metal. Don’t wait, once they’re gone, they’re gone.”

Ashdown will also be rolling out made-to-order speaker cabinets that help channel the iconic bassist's sound.

The 2x15” and 2x12” cabinets, dubbed the COD-212-8 and COD-215-8, will be handcrafted in the UK to the same specs as those at the final show. Rated at 300 watts RMS at 8 Ohms, the custom cabs will also feature a custom medal grill screen-printed with Geezer's artwork.

Butler's Head of Doom is also available online as a made-to-order option – with a £1,499 ($2,009) price tag. Specs-wise, it features a 9-band EQ, Sub-Harmonic generator, and a “Doom” control – alongside dual inputs for passive/active basses, footswitchable EQ settings, and DI, FX loop, line in/out, and dual Speakon outputs.

For more information, head to Reverb.

Back in July and following Ozzy's death, the Black Sabbath bassist shared his fondest memories of the Prince of Darkness in an exclusive interview with Guitar World – from their unlikely first encounter to Back to the Beginning.

In an age where guitar rigs are getting smaller and the impracticalities of lugging around large equipment to shows are becoming all the more apparent, the need for finding a simple-yet-versatile bit of kit that can cater to all playing scenarios is fast becoming a necessity for bass guitar players.

Of course, it’s a busy market, so there are a few options out there – but with the PowerStage 700 Bass, Seymour Duncan managed to mastermind what could potentially be the most versatile and flexible amp head designed especially for bassists you could come across.

Because of its lineage, the PowerStage line needs no introduction. The firm’s catalog of electric guitar pedal amps has become widely revered by players, offering a grab-and-go solution for guitarists who need a suitable amp modeler power amp companion for any gig, rehearsal or studio session.

For its first foray into the bass world, though, Seymour Duncan upped the ante, and as such the PowerStage 700 Bass is so much more than just a partner for amp modelers.

With a lightweight build, built-in preamp section, onboard overdrive circuit and a comprehensive set of tone-tweaking parameters, the PowerStage 700 Bass functions as a fully standalone bass head, as well as an amp modeler addition, meaning it’s capable of any gig or playing session that could be thrown at it – and it's got a huge array of classic and contemporary low-end tones backing it up, too.

“Our PowerStage line of power amplifiers for guitarists has been hugely popular, and over the years, we’ve had many requests from bass players for their own version,” says Seymour Duncan’s Ryan Fitzsimmons. “Of course, the guitar PowerStage amps are only power sections, but for PowerStage Bass, we wanted to give bassists the added flexibility of a fully standalone bass amp head that could also be used as a power section only if they’re using a preamp or modeler.”

The concept, at least on paper, was simple. How could Seymour Duncan create an amplification solution that truly understands what a bassist needs and wants? When it came to it, the firm’s VP of Engineering Kevin Beller – and lifelong bass player – came up with an innovative design that more than fits the bill.

“The team wanted to craft something more than a mere power source,” Fitzsimmons goes on. “They envisioned a versatile platform that could adapt to everything from the nuanced tones of jazz to the aggressive growl of metal.”

The result is a bass amp head that offers a four-band EQ, the aforementioned preamp and overdrive tones, a presence button for dynamic tone shaping, an aux input, and a rack-friendly chassis for rig assimilation.

It also offers a -10dB pad for switching between active and passive basses and a boatload of connectivity options: XLR, ¼” jack, headphones out, and DI among them.

But it is the preamp and overdrive sections that really make the PowerStage 700 stand out from the rest of the PowerStage family – and from the rest of the bass amp head market.

As Fitzsimmons notes, “The inclusion of both a preamp and overdrive wasn’t a casual decision. We wanted to create a circuit that could provide everything from subtle tube-like warmth to full-throttle distortion without losing the fundamental character of the bass.

“The level control ensures that engaging the overdrive doesn’t compromise your carefully crafted volume settings, making it easy to incorporate live!”

Notably, the PowerStage 700 Bass also speaks to a wider trend emerging in the gear world, and the broader development of the PowerStage line has seemingly acted in tandem with the skyrocketing popularity of amp modelers. This, Fitzsimmons says, was crucial to the development of the latest PowerStage.

“We see the rise of amp modeling technology as a fundamental shift in how musicians approach sound,” Fitzsimmons goes on. “The PowerStage 700 Bass was deliberately engineered with this revolution in mind. Its transparent power section, comprehensive EQ, and versatile connectivity options make it the perfect companion for digital modeling technology or analog preamps as well.

“Musicians using devices like the Quad Cortex can now have studio-grade tone reproduction in a compact, road-ready package.”

But, in a quest to produce what has been described as “the ultimate solution for bass players seeking power, portability, and pristine sound quality”, Seymour Duncan knew it couldn’t stop there.

“For those times when you need a more traditional approach, the PowerStage 700 Bass also offers a fully featured preamp and EQ section. It’s an acknowledgment that modern musicians need flexibility, and they are comfortable combining analog and digital technologies to get their tone,” Fitzsimmons explains.

As mentioned, rigs are getting smaller, and for the bassists who are looking to revolutionize their current rig with a do-it-all device that leaves no stone unturned, they’d be hard pressed to find a better solution than the PowerStage.

As for how the PowerStage can cater to this demand and elevate their tonal performance, Fitzsimmons says, “Whether you're playing a cramped basement venue or a sprawling concert hall, this amp tackles the fundamental challenges bassists face.”

Not only that, its 700 watts of power will mean bassists will never be underpowered for larger gigs, yet won’t be required to lug around awkward and heavy kit. It is, in other words, a perfect all-round upgrade.

“Whether you're a session musician using complex modeler setups or a live performer who needs pure, transparent amplification, this unit can transform your entire sonic approach,” Fitzsimmons finishes.

“The 700 Bass represents a significant milestone for Seymour Duncan. It’s not just an expansion of our product range; it’s a statement about our commitment to understanding that bass players have their own unique requirements.

“Our goal is to stay at the forefront of amplification innovation and to continue introducing new and exciting PowerStage solutions!”

Head over to Seymour Duncan to find out more.

Laney Amps and Nathan East, one of the most recorded bass players in history, have come together for a new signature bass head, the DB-East.

Considering East's pedigree and experience, the British amp maker has been wise to tap into his tonal tastes, which have been combined with Laney's 60 years of air-pushing for this new 1,000-watt beast.

It would be quicker to list the artists East hasn't recorded with. Still, notable highlights on his resume include Eric Clapton, Joe Satriani, George Harrison, and Daft Punk, which should give a flavor of his versatility.

Released as part of Laney’s Digbeth range of amps, the powerhouse head puts “unprecedented flexibility” to the fore via two separate inputs and outputs – “I’ve waited 40 years for this,” beams East.

“Every amp only has one input. Why, I'll never know,” he goes on. Two-input amps are, of course, a thing, but clearly not in the manner that East has been searching for. “This has two and two separate outputs so that the front-of-house engineer or anyone mixing the room can have each instrument separately.”

The second input also has an additional gain trim matching control

Elsewhere, the amp packs switchable and blendable FET and tube preamp stages to mix the clarity of the former with the warmth of the latter. For East, it’s proven to be a best-of-both-worlds hybrid: “When I'm on stage playing, it doesn't feel like an electronic piece of gear or a set of tubes,” he notes.

In operation, FET gets its own Volume control, while there are dials for the tube's Volume and Drive, which sit alongside a three-band EQ, a Tilt function, and a Master Volume.

The Tilt function is one of the Digbeth collection's trump cards, allowing the player to adjust an amp's sound to cater to different room sizes and the acoustics they offer. Moving the control either way boosts the amp's brightness or bottom end.

Laney’s in-house Impulse Response tech has also been built in for players wanting to go sans cabinet, with two of East’s favorites – a 2x12 and 4x10 – on offer.

Of course, it would also be remiss not to mention the amp’s punchdrunk power – packing 1,000 watts and dual-500 watt Speakon outputs, the DB-East isn’t messing about.

“We now have twice the power, twice the inputs, twice the magic,” East says of the amp, which is built for small jazz clubs and stadiums in equal measure. "Every night, I feel good to know that after all these years, there's an amp that reproduces the sound that I love so much, simple as that. It's a game-changer for me.”

The Laney DB-East is available now. At the time of writing, Guitar World is seeking confirmation of its retail price.

Visit Laney for more.

In related news, East recently detailed how his bass fills were like “telegraphed messages” when working with Eric Clapton on Change the World. He’s also opened up on the emotional turbulence of recording Tears in Heaven, one of Clapton's most painfully heartfelt tracks.

Seymour Duncan’s PowerStage line has been bolstered with the arrival of the PowerStage 700 Bass.

Designed, unsurprisingly, specifically for bass guitar players, the 700-watt bass amp head continues Seymour Duncan’s PowerStage lineage, which particularly looks to maximize and optimize the rigs of amp modeler and multi-effects pedal players.

Dubbed “the ultimate solution for bass players seeking power, portability, and pristine sound quality”, the PowerStage 700 promises to be the ideal clean power platform to amplify amp modelers or preamps both on stage and in the studio.

But, in a bid to add extra functionality into the mix, this particular gadget also offers an onboard preamp apparently primed for a wide range of vintage and modern bass tones – if you decide to forego your modeler altogether and use this as a standalone head – as well as a built-in overdrive that can run the entire gamut of high-gain tones.

For seamless rig integration, there’s also an effects loop for post-preamp processing, a four-band EQ, sweepable mid controls, and a presence button for “dynamic shaping possibilities”, as well as an aux input and a durable, rack-friendly chassis for assimilation.

Other noteworthy appointments include a -10dB pad control for switching between active and passive basses, and a range of output connectivity options including XLR, 1/4” jack, Speakon, DI and headphones.

Indeed, the PowerStage 700 Bass looks to cover all (ahem) bases. It also looks to be a very well-equipped do-it-all bit of kit that is so much more than just a power amp companion for your modeler.

“Other PowerStages are designed to be used in conjunction with a pedaboard – they’re really a guitar power amp,” says Kevin Beller, VP Engineering and New Products at Seymour Duncan. “The bass amp is different, in that it is really a complete amplifier. It’s a culmination of years worth of work. I’m really proud to put this out there.”

The PowerStage 700 Bass is available now for $699.

Head over to Seymour Duncan to find out more.

Budget gear champion Harley Benton has released a pair of wildly affordable $42 desktop amps with the launch of its all-new JAMster series.

Available in guitar and bass amp formats, the two “tabletop titans” offer Bluetooth connectivity, a real estate-saving plastic design, and 5” speakers to project 10 watts of power.

The tiny amps can be powered by standard 9V adapters for impromptu home, office, and coffee shop jams, though AA battery compatibility means players can amplify their playing in a host of off-road venues – like in the middle of a forest, or at the top of a mountain, for example.

Harley Benton is promising a respectable four-and-a-half-hour playtime on a full set of batteries.

Each model has Clean and Overdrive channels, which are activated by a push button found on the amp’s top-mounted control panel. That sits alongside a streamlined parameter set comprising Volume, Tone, and Gain, as well as a button for engaging Bluetooth.

Further still, there’s an input jack – you’d be lost without one – and 3.5mm jacks for headphone operation (in case your neighbors or work colleagues find its output too much) and linking to other speaker outputs.

Such a low price is likely to generate questions over its quality. There are clear indicators that price-reducing measures have been put in place – the plastic housing and definitely-not-a-Celestion-speaker aren’t going to set the world alight, and the lack of a three-band EQ is a shame.

Still, its appeal as a little runaround amp is clear, and it's most certainly one of the cheapest desktop amps currently available on the market.

And for those raising their eyebrows at the prospect of an amp that gives you change from 50 bucks, Thomann’s in-house brand has been banging out affordable gear with solid specs for some time now.

It’s already released budget-friendly replicas of popular electric guitars, including $315 LPs, sub-$400 Strat-a-likes, ash-bodied T-types for $253, and $207 Fender-style basses.

These have been augmented by the likes of smart guitars, amp modelers, pedals, and accessories. It's an impressive stock, to say the least.

The JAMster Guitar and Bass amps are available for $42.75.

Head to Harley Benton to learn more.

Harley Benton launched a Reverb store earlier this year, meaning US players won't have to wait for their budget buys to be shipped over from Germany. “Our philosophy,” the firm said at the time, “is that you should not be limited to a budget to buy the instrument of your dreams.”

Aguilar has updated its Tone Hammer and AG series bass amp lineups in a move that introduces new designs and sought-after updates to the collections.

It’s been more than three years since Aguilar was acquired by Korg USA, and the company is clearly keen on keeping apace other modern amp manufacturers by updating two of its most iconic lines for the modern bassist.

As such, the new Tone Hammer and AG Series units – available in two variants per family – have been drastically overhauled to include 21st century tech that is starting to become commonplace among other amp models.

Namely, both ranges now support Aguilar Cabinet Suite software. That means the new amps can all host either custom-designed Aguilar SL/DB cabinet impulse responses or third-party IRs for cab simulation powers, accessible through XLR and headphone outputs.

Elsewhere, expanded connectivity through USB-C and dual XLR outputs make the TH and AG amps considerably more versatile. As the brand explains, bassists can now utilize those aforementioned IRs while sending a pre-EQ signal to FOH. 

There’s also an auxiliary input and headphone outputs for silent practice, with dedicated mix controls making the cut to “fine-tune” the listening experience, and updated power sections.

It’s a set of appointments that wouldn’t be out of place on an amp from, say, Darkglass – another bass amp brand that was acquired by Korg back in May 2022. 

Here, though, the Aguilar character is retained and bolstered, through the “transparent tone” of the AG amps and the “tube-like warmth” of the Tone Hammers.

As mentioned, there are two variations per family. The AG is available in 500 watt and 700 watt formats, both of which feature the brand’s “most comprehensive EQ set” comprising Bass, Low Mid, High Mid and Treble parameters. There are also Bright and Deep boost switches.

Similarly, the Tone Hammers are again available in 500 and 700 watt platforms. Here, the amps are adjustable by way of Gain, Drive, Mid Level, Mid Freq, Bass and Treble controls.

It’s a pretty comprehensive upgrade from Aguilar, who have carefully reconfigured the two ranges to “meet the exacting standards of today’s bassists”.

Price-wise, the Tone Hammer and AG 500 and 700 are available now for $999 and $1,099, respectively.

Head over to Aguilar for more.

The Boss Katana bass amp range has been on our radar for some time now, having already experienced the Katana-110 Bass combo, followed by the bass-friendly wireless Katana Air. Now it’s time to welcome the first-ever Katana bass head.

This feature-packed bass amp boasts 500-watts of Class D power, onboard memory, a USB connector and optional Bluetooth adaptor, plus a range of built-in effects and sounds, with the extra ability to tailor those sounds via a downloadable app.

However, according to Boss, the real ace up the Katana-500 Bass Head’s sleeve is the company’s ‘Cabinet Resonance’ technology, which calibrates the amp’s circuitry to match the impedance and frequency response of your connected speaker cabinet.

On paper, the Katana-500 Bass Head offers a truckload of features for a pretty attractive price, but it’s hard to know what kind of sounds to expect from this highly original mix. Let’s find out how special it really is.

Features

The real plus points for this amp lie in the extensive tone controls, which should provide enough tone-shaping tools for even the most anal Rush tribute band.

Alongside bass, lo-mid, hi-mid and treble EQ controls, you can select preset curves via the Shape button – perfect if you’re in need of a giggable bass guitar sound in a hurry or if you’re a little unsure about tweaking the EQ.

The Gain control should be set as high as possible without the signal clipping, which will allow the signal to run through the preamp at its highest point before distorting. There’s also a neighbouring Pad button should you need to lower the sensitivity of the input stage.

Next comes the FX section, which offers easy access to the amp's built-in effects. Three compression and limiter sounds are available via the Comp control, three drive effects of increasing intensity are available via the Drive control, and three modulation effects can be had via the FX control.

Each control has a corresponding button that allows you to toggle through the different effects you have stored on the amp. You can also change effect types with alternate selections via the Boss Tone Studio.

The businesslike feel of the controls, plus the colour changing indicators that change (from green to red to orange) as you toggle through each effect, create a really user-friendly feel.

There are emulations of three different mic settings on offer via the Line Out section, ranging from a distant mic’d sound or a close mic’d sound, or a blend of both. You can also create your own custom settings by downloading the Boss Tone Studio app.

Next up is a Bottom control that works as a low-frequency cut to eliminate any unwanted sub-bass rumble, and a Hi Cut button with three selectable frequencies. As if this weren’t enough, you can also select either Modern or Vintage – with distinct sounds in each – via an Amp Feel switch.

To engage the Cab Resonance feature, press and hold the Cab Resonance button until it blinks red, at which point the amp has measured the frequency response of your speaker cabinet. According to the manual, this feature uses “high-tech calibration to internally fine-tune the power output section for the user’s preferred speaker cabinet”. More on that later.

The Katana-500 Bass Head also allows for user-defined presets, which can be saved and recalled at the push of a button. Once you’ve set the front panel controls how you want them, press and hold the Memory button to store that setting. It really is that easy.

Check out the rear connection panel for even more options: there’s a balanced XLR output with direct, pre or post signals, left and right speaker-out sockets, a ground lift switch, a headphones/recording output, a USB connection, Bluetooth connection through an adaptor, and connections for footswitches and expression pedals.

Sounds

Now, the million dollar question: how does it sound? Thankfully, despite the sheer range of features, along with the scope with which you can shape your fundamental tone, you’d be hard-pushed to find a bass sound that you couldn’t gig with almost immediately.

There’s nothing fussy or complicated about the EQ. It works well and is perfect for bass. The more off-the-wall tone shaping options located either side may result in more tweaking than you might initially want to indulge in, but they're often too tempting to leave alone.

The sonic differences on offer from the Amp Feel switch can be quite subtle, yet each one has a very identifiable tonal character. The Modern setting offers a slightly scooped, punchy bass tone that’s great for funky fusion, though can sound a little too clinical for more traditional styles. In which case, switch to Vintage for a warmer, rounder Motown kind of bass sound.

The in-built effects work brilliantly, and the fact that you also get access to over 60 additional effects via the Boss Tone Studio software is a serious bonus.

The different effects are fun to trawl through in search of inspiration, and they make a good jumping-off point for fiddling around to create your own custom tones. There are some good distortions and compressors on offer, and the reverbs are excellent too.

Different cab and mic settings can also be selected, and there are different mic placement options, ranging from the middle to the edge of the speaker. Navigating the app takes a bit of practice, but it's great fun once you get the hang of it. We found the opportunities to experiment just too tempting to resist.

The last feature we want to touch on is the Cab Resonance technology. It’s fair to say that when it comes to speaker cabinets, it often comes down to personal preference, but either by accident or by design the slightly warm, vintage character of our in-house Ampeg cab became a great match for the clear and accurate nature of the Katana-500 Bass Head.

It's hard to know exactly what this electrical wizardry is doing most of the time – but it sounds good to us and we found it to be a welcome addition alongside the already pretty comprehensive feature set.

Verdict

The Katana 500 Bass Head lived in our home studio for a few days, and we enjoyed letting several bassists of different musical styles and abilities try it out. None of them were disappointed.

Creating new tones is a really enjoyable experience, and there’s always the feeling that the next sound you dial in will be better than the last. Coupled with the Boss Tone Studio effects, we found it really hard to stop checking out permutation after permutation.

There’s a lot to take in and we have to point out that there were times when we got a little lost when navigating all the options and, most importantly, finding that all-important killer tone on the fly. But for all its features, it remains functionally pretty straightforward, making for a great little amp that’s definitely punching above its weight.

At 500 watts, it may not be quite as powerful as its $799 price tag demands, but what it lacks in raw power, it makes up for in versatility. If you get a chance to audition one of these, hooked up to any speaker cabinet, you won’t be disappointed – though it doesn’t correct wrong notes!

Specs

PRICE: $799 / £734

MADE IN: Malaysia

TYPE: Class D bass amplifier

OUTPUT: (4 ohms) 500W (8 ohms) 250W

FEATURES: master volume, bass, lo mid, high mid & treble EQ controls, built-in compression, modulation and drive effects, 2 programmable amp models: modern & vintage, line out with emulated mic settings, cab resonance, programmable presets, XLR DI out, 2 x SpeakON outputs, ground-lift switch, USB port, Bluetooth adaptor connector, headphone & rec ouput

WEIGHT: 2.8 kg (6.3lbs)

DIMENSIONS: 29.8 (w) x 9.6 (h) x 21.2 (d) cm

CONTACT: Boss

Boss has expanded its amp family with the Katana-500 Bass Head and Katana Cabinet 112 Bass, which look to take bass amps to a new level thanks to some characteristic Boss innovations.

There are a few headlines here, but the main one is: this is Boss’ first-ever Katana bass head. Indeed, the company is still relatively green when it comes to Katana bass products, having only released its flagship bass combos in 2022.

A Boss Katana combo would no doubt have appealed to a large number of bassists, but a portable Katana head that can easily be transported between gigs, and that still supplies Boss Tone Studio powers? This is a very savvy move from Boss indeed.

But here’s the kicker: the Katana-500 Bass Head looks to one-up other bass heads by way of its innovative Cabinet Resonance calibration function.

In practice, the Cab Resonance uses “high-tech calibration to internally fine-tune the power output section for the user’s preferred speaker cabinet”. 

In other words, it can be paired with a cab of your choosing, and thanks to some electrical wizardry, will calibrate the amp’s reactive output stage circuitry to match the impedance and frequency response of its connected cab.

The process considers the lowest frequency a cab can produce, its high-end resonances and “many other factors”, before using advanced processing to “provide superior feel and response, powerful lows, and high-definition overall sound”.

It sounds very practical indeed. Active bassists, at least on paper, could haul the head to a gig and get a dead-on bass sound regardless of the provided backline.

Now, Cab Resonance can be found on some other Boss Katana guitar amps, but the function here is different. On the Katana-100 MkII, for example, the parameter is used to emulate Vintage, Modern, and Deep tones. Here, it aims to optimize the amp’s performance for any speaker cabinet.

Cab Resonance aside, the Katana-500 Bass Head is a well-spec’d amp. It boasts a four-band active EQ with three adjustable frequency options, three Hi Cut settings, a Bottom parameter for low-end sculpting and a Shape knob that can “instantly revoice the amp with mid-scoop, bright, and wide-range curves”.

There’s also an Amp Feel switch, which applies Modern or Vintage tones, and an FX section that offers room for three bass effects, including Comp and Drive types, and a Blend knob.

Elsewhere, the amp debuts a newly developed 500-watt Class D power amp and refined preamp circuitry. As for connectivity, there’s an XLR line output, two locking Speaker outs and a headphone jack, as well as a USB port.

Because let’s not forget, this is a Katana amp, which means it has access to the Boss Tone Studio. There, bassists can edit amp parameters, and access over 60 Boss effects that can be used in place of the stock Comp, Drive and FX sections.

It’s without doubt Boss’ most advanced Katana bass amp yet, and Boss seems keen to hammer home that point.

“The Katana-500 Bass Head raises professional bass amplification to the next level with advanced Boss technology,” the firm writes. “The compact Katana-500 Bass Head brings serious bassists a next-generation sound experience backed by decades of Boss R&D.”

The head is joined by the Katana Cabinet 112 Bass. This is Boss' first bass cab, and comes loaded with a 12” Eminence Neodymium woofer and high-frequency tweeter.

“It’s an ideal match for the Katana-500 Bass Head,” says Boss, “providing full support for the amp’s 500-watt output in a compact, space-saving footprint.”

Price-wise, the Katana-500 Bass Head weighs in at $799, while the Katana Cabinet 112 Bass will list for $699. Both will be available in May.

Head over to Boss for more info.

While it might not grab the spotlight like a whacky pedal reissue or a shiny new guitar, the cabinet is a crucial element in your bass rig that shouldn't be underestimated. Truth is, the best bass cabinets have the power to elevate your tone, setting you apart from the crowd. Moreover, owning your own cabinet ensures a totally consistent tone at every gig. It's high time to bid farewell to the worn-out, battered cabinets that lurk in the darkness at every local venue (we've all had our share of those, haven't we?).

Although your amplifier lays the groundwork for your electrified sound, it's the cabinet that channels and delivers all that tonal goodness to your ears. With this power comes a great responsibility – hence, selecting the right cabinet option is crucial. This prompts a few thoughts: What speaker set-up works best for me? What power handling do I need? And do I truly need yet another bass guitar? Well, maybe skip the last one – let's face it, you can never have too many guitars! But when it comes to your bass cabinet, it's no laughing matter.

So today, we’re going to help you out and bring you the best bass cabinets currently on the market. From Aguilar to Fender, and circling back to Ampeg, whether you're seeking an 8 x 10" powerhouse or craving the latest innovations, rest assured there's a bass cabinet here that will truly elevate your bass tone.

Best bass cabinets: Quick list

Best bass cabinets available today 

Best overall

If you’ve spent just 30 seconds searching for bass amplification online, chances are you’ll already be familiar with Ampeg. With over 75 years of bass amplification history, Ampeg is the real deal. Inspired by the infamous ‘60s Ampeg B-15 amplifier, the Portaflex PF-115HE emerges as our best overall choice for bass cabinets.

The PF-115HE delivers exactly what you need from a working musician’s bass cabinet; a commanding, tight low-end that gives you plenty of control. The 1” HF compression driver is equipped with 3-way attenuation for when you need to dial in a bit more sizzle or want to cut out particular frequencies. Capable of handling 450 watts of power, this thing will shake a few windows if need be and will manage medium-to-large venues with ease.

Ampeg’s B-15 is one of music’s most popular bass amplifiers, so it’s no surprise that the iconic silver grille cloth and its ‘flip-top’ design have been pinched for this cabinet. The flip-top is primarily designed to work in collaboration with a Portaflex head, however, it also opens up to reveal ideal storage space for any cables, pedals or other gigging paraphernalia you may need to hide.

Okay, this cab isn’t exactly dead weight, but it would have been more handy to have the carry handles mounted to the side as opposed to the top. However, this isn’t a dealbreaker as the built-in casters are lifesavers for moving it around.

Best for portability

Let’s face it, gigging can be an energy drain and the older you get, the less it agrees with your body. So, if you’re looking for a bass cabinet to make gigging easier on your back, check out the Traveler 102P from Markbass.

This rectangular little wonder may be small in stature, but don’t let that fool you. It’s capable of handling 400 watts of power with two 10-inch neodymium speakers that deliver punchy, articulate bass. The adjustable piezo tweeter allows you to fine-tune it to your liking, preventing the high-end from being overly dominant or too overwhelming in the mix.

Sometimes whilst gigging local venues, space can be a problem, so being able to use the Traveler both horizontally and vertically is a useful feature. Also handy for surviving local venues is this cab’s robustness. The cab's sturdy multi-ply poplar construction is shielded by a durable carpet-like covering, complete with thick plastic corner reinforcements. Trust us, it's built tough.

Weighing just under 15kg, your back will thank you, especially if you're used to lugging around an old 8 x 10" Ampeg. Although pleasingly portable, having only one side handle gives your bandmates an easy get-out-of-carrying card. So be prepared to shoulder this burden alone.

Best value

TC Electronic is king of budget musical equipment and the BC208 cab has rightfully earned the crown of best value bass cabinet on our list. Firstly, this thing is rugged. The hard plywood construction has been coated in an anti-skid material, keeping it firmly rooted in place while on the stage. Meanwhile, the stylish heavy-duty metal grille protects the two 8-inch custom drivers found underneath.

As expected with 8-inch speakers, this cab is going to give you a tight, focussed sound. It does a very impressive job of delivering every detail of your sound without distorting too quickly, even at higher volumes. Although there isn’t a tweeter present, mid and high-range frequencies are handled pretty well and the cab punches well above its speaker configuration and small price tag.

Hearing our bassist play through two of these, it's impressive how the BC208 projects sound. Pound for pound, there aren't many that match its performance. While it handles 200 watts, ideal for smaller venues, linking two for mid-size capacity places might be necessary. Robust, lightweight and affordable, there isn’t really much to dislike here.

Best for volume

There aren’t many bass cabinets as familiar with arena stages as the Ampeg SVT-810E. Used by bassists like Bill Wyman, Cliff Williams and Krist Novoselic, the SVT has had many famous advocates, and as the adage goes, if it’s good enough for them, it’s probably too good for us.

Ampeg’s SVT amplifier series debuted in '69 with much aplomb. This mammoth cabinet utilizes the same design techniques and speakers as its famous predecessor. You may be thinking that eight ten-inch speakers are overkill, and you possibly have a point, but when you stand in front of them and feel the air pushed into your face, you’ll immediately understand the excess. The low-end is absolutely massive and the volume this cabinet is capable of is insane.

With such powerful bass, the low and midrange frequencies need to cut through and we’re pleased to report the SVT-810E does this pleasingly well. The headroom and clarity on offer is next to none, even at incredibly high volumes the cabinet behaves impeccably well. Although it takes a bit of pushing, when naturally overdriven, the cabinet truly sings. However, this may only be achievable in larger venues.

If you sign up for a cabinet that’s affectionately known as ‘the fridge’, you’ll not be surprised to discover that it’s pretty darn heavy, 140lbs to be exact. However, the weight is intrinsic to the cabinet's soul; it's essential for embodying the true SVT tone and the combination of the aforementioned speakers and the birch wood cabinet cannot be substituted.

Best midrange punch

When people think of Darkglass, thoughts of heavy music usually follow. However, the DG212NE cabinet is proving that the Finnish company shouldn’t so easily be pigeonholed into one particular category.

This cabinet is capable of a plethora of very musical tones. This is largely thanks to its two 12-inch custom-designed Eminence neodymium speakers that utilize a bi-amp design with 500 watts per side. It provides a superb clean platform for your preferred head and the midrange punch is very pleasing. Rest assured, with 500 watts per speaker, this thing can blow your head off, so if you’re competing with a particularly rambunctious drummer you’ll have all the power you need.

Don’t get us wrong, the DG212NE will still provide you with Darkglass’ iconic distorted, chunky bass when you need it, but equally pleasing is the cabinet’s crystalline response and overall versatile performance. The 1” P Audio HF driver tweeter takes care of the high-range frequencies, freeing up the 12” Eminence speakers to do the heavy lifting of the low end. Therefore, the cabinet is very well balanced.

As well as versatility, this cabinet has been constructed with carbon fiber Tolex which sports the distinctive, sleek Darkglass look. Not only does it turn heads, but it's also pretty lightweight for a cabinet this size, weighing in at 19.7kg. Combine that versatility with its weight, and Darkglass has just aced the gigging cabinet game.

Best for beginners

The Fender Rumble series is the go-to option for fresh-faced bassists who are relatively new to the game. However, the series isn’t just home to 15-watt practice combos. Nowadays, the Californian giants are creating giggable bass cabinets for those after a straightforward and affordable option. Enter the Fender Rumble 210.

True to its name, you've got a pair of 10-inch Eminence ceramic magnet speakers handling the lows, while the switchable compression driver takes charge of the highs. The result is a powerfully articulate low end with Fender’s infamous transparent mids and pretty clear highs thanks to the compression driver. There is a slight vintage character which is low and thick, so this cab should please old-heads.

The ported plywood enclosure is as sturdy as it gets and this cab has been designed to stack others on top without flinching. At 16.8kg it’s one of the lightest cabinets on our list, so if you’re looking for a gigging buddy, there’s plenty of appeal here. Capable of handling 700 watts of bass power, this humble cab can shift plenty of air but its biggest appeal is the simple set-up and plug-in and play capabilities. No fuss, zero hassle.

More options...

Aguilar is slightly younger than heritage brands like Ampeg and Fender. However, don’t be deterred by its comparative youth as, since its inception in the mid-’90s, the New York company has risen to international acclaim in the bass community. With a well-earned pedigree, you can expect fantastic quality when it comes to its equipment – and the SL 112 bass cabinet is no exception.

The SL series is Aguilar’s lightweight cab range that packs a punch without compromising on tone. The SL 112 utilizes a 12-inch cast-frame neodymium driver and a phenolic tweeter with an integral phase plug. On offer is a beautiful woody, vintage bass tone with a silky low-end. It’s definitely not a neutral response, but the color it adds to your bass tone is incredibly musical with tasty vintage flavorings dripping all over.

Although 250 watts of handling power isn’t the juiciest on our list, the volume on offer here is surprising. These custom-designed crossovers work wonders, directing frequencies to the right speakers for a serious boost in sound projection. We’re not recommending this for huge capacity venues, but for those smaller pub gigs, the SL 112 will have you covered.

So, we know this is not the choice for purists or vintage tone seekers, but if you've committed to using a digital modeling floor unit live, then this FRFR (full range, flat response) cabinet could be the missing link in your rig.

Offering a respectable 140 watts of power, this cab will seriously improve the low-end capabilities of any Spark amplifier or multi-effects unit, but it's worth noting that this speaker will not work with a traditional amp head.

In our glowing 4-star review, we praised this cab's lightweight and sleek design, punchy sound and modest price tag.

Read our full Positive Grid Spark Cab review

Best bass cabinets: Buying advice

What do I need to know about bass cabinets? 

Just like a guitar cabinet, a bass cabinet is pivotal in any amplification set-up. Unlike a combination amp which houses both the amplifier and speakers in one contained unit, if you're using a separate amplifier head, you'll need a corresponding cabinet. Essentially, a cabinet is a box, often wooden, that houses the speakers. The amplifier head delivers the power while the cabinet serves as the speaker hub for your booming bass tone. Simple enough, right?

Matching the cabinet with your amp's power

Ensuring your cabinet's power matches that of your amplifier is critical. If your amp exceeds your cabinet's capacity, you risk damaging the speakers by overdriving them – an expensive mishap you'll want to avoid. Thankfully, it's a simple process to get it right. Amplifier load is expressed in impedance (ohms), usually 4, 8, or 16 ohms. Just match the amp's ohms to the cabinet's, and you'll be good to go without any worries. Although this sounds pretty straightforward, there is a cabinet graveyard out there with a number of fried speakers, so make sure you pay close attention.

How we choose products

Here at Guitar World, we are experts in our field, with many years of playing and product testing between us. We live and breathe everything guitar and bass related, and we draw on this knowledge and experience of using products in live, recording and rehearsal scenarios when selecting the products for our guides.

When choosing what we believe to be the best bass cabinets available right now, we combine our hands-on experience, user reviews and testimonies and engage in lengthy discussions with our editorial colleagues to reach a consensus about the top products in any given category.

First and foremost, we are guitarists, and we want other players to find the right product for them. So we take into careful consideration everything from budget to feature set, ease of use and durability to come up with a list of what we can safely say are the best bass cabinets on the market right now.

Read more about our rating system, how we choose the gear we feature, and exactly how we test each product.

Related buyer's guides

• Best bass guitars: long and short-scale options for beginners to pros
• Best bass amps for practice: top combos for chopping it up at home
• Best budget bass amps: punchy low-end for a low price
  

Vox has just launched the third generation of its nifty pocket-sized travel amp, the amPlug3. Smaller than your average pedal and sitting at the end of the 3/4" jack input, the latest version – announced ahead of NAMM 2024 – adds new features to its seven-strong range.

Each mini amp is designed specifically for use with headphones, much to the delight of your neighbours. The range sets out to authentically emulate a host of classic amps.

Every model comes with two channels and up to four effects including tremolo, chorus, reverb and delay. They too come with in-built rhythm patterns for solo practices, something which was exclusive to Gen two’s bass model.

Another new feature comes in the form of smartphone connectivity via AUX, making it easier than ever to jam along to your favourite songs. Although, in light of many modern phones being bereft of aux inputs, an adapter via your charging port may be needed. Alternatively, the Aux can be used for recording.

There are also tempo controls as Vox aims to create inspiring and dynamic practice sessions for all players. The compact, battery-powered amps can rotate 180 degrees, working around the positioning of your instrument’s control knobs and whether you’re sat or stood.

For Vox, this latest version is "not just an upgrade – it's a complete reinvention and your solution for practicing anytime, anywhere." Each comes with a two-year warranty and is expected to cost around $35, in line with previous generations.

The range is split between guitar (five) and bass (two) tailored amps and is made up of the AC30, UK Drive, US Silver, Boutique, High Gain, Bass, and Modern Bass. It’s worth noting there are some slight variances between the models in terms of effects and features, which we’ve detailed below.

The AC30 model replicates Vox's legendary amp through nuanced analog circuitry, with channel one offering a warm tone, which is greatly boosted on channel two. It features all four effects and a metronome and its rhythm options vary from rock, blues and pop to funk, metal and jazz.

Then there's the one-two of the UK Drive and US Silver, which, between them, aim to mimic British classic rock tones and American combo amps. The UK Drive's channels are split between Marshall-esque warmth and sharp distortion, whilst the US Silver, tailored for jazz and blues, offers a warm clean on and a rich drive with its two channels.

There is no tremolo effect with the UK Drive; the US Silver offers the full suite. While the former offers rock, metal and blues rhythms as your jam companions the US Silver offers jazz, disco and pop.

If you're after silky cleans and a "luminous" overdrive, then the modern/vintage blending Boutique will be your pocket-amp of choice. It has chorus, delay and reverb effects and a range of rhythm patterns which range from rock to funk.

Its guitar range is rounded out by the High Gain, for those who love a guitar tone that'd beat you up for your lunch money. Channel one dials in a pristine clean, with full-blooded and contemporary distortion on channel two. There's no tremolo effect, and its rhythms range from blues to metal, so unfortunately there will be no brutal disco jams with this model.

Over on the bass guitar side, it's a case of vintage versus modern. The Bass – and we wonder how long it took to come up with that name – is naturally built for lower frequencies and offers a built-in compressor and chorus, reverb and delay effects to add to a wide-range channel one and a punchy, overdriven channel two. Get your jazz, funk and rock on via its practice rhythms.

Alternatively, the Modern Bass is all about brightness and clarity with channel one, and modern and assertive high-gain distortion on its second channel. The rhythm options include fusion and metal and, while offering "integrated effects", these are not mentioned at this time.

The amPlug3 range has been launched alongside a new AC Hand-Wired series, which promises to be the ultimate recreation of the company's most iconic guitar amps.

To keep up to date with the latest gear news and releases, with NAMM 2024 coming fast, head over to our guide to the latest NAMM 2024 news.

For more information on all things Vox, head to VoxAmps.com .

GUITAR SHOWCASE 2023: In the world of bass amplification, the Ashdown LB 30 2.N. stands as a testament to the harmonious blend of classic valve amp warmth and cutting-edge dynamic response technology. For contemporary bassists seeking an all-encompassing solution, this amplifier is the ultimate choice.

With a power rating of 30 watts, the LB 30 2.N. strikes a harmonious balance between power and portability. It's ideal for small gigs, ensuring your audience enjoys the richness of your bass without being blown away. Plus, its design won't break your back during transportation. The LB 30 2.N. boasts a preamp stage equipped with ECC83 and ECC82 tubes, featuring both Active and Passive gain inputs for versatile performance.

Ashdown has ensured that the LB 30 2.N. offers unparalleled tonal sculpting capabilities. The front panel proudly showcases Effects Send and Return, along with rotary controls for Bass, Hi & Lo Middle, Treble, Volume, and Gain Trim. 

This comprehensive array of controls allows you to finely craft your bass tone to perfection. Additionally, the LB 30 2.N. features a balanced DI output, further enhancing its versatility.

The LB 30 2.N. relies on a selection of high-quality valves to deliver its signature sound. The preamp stage harnesses the power of 1 x ECC81, 1 x ECC82, and 2 x ECC83 tubes, while the power section boasts 4 x EL84 valves. These valves infuse your bass playing with the warmth and depth that only genuine valve technology can provide.

To ensure that the LB 30 2.N. offers realism and playing comfort, Ashdown has partnered with Two notes to incorporate groundbreaking Torpedo technology. This innovation is based on convolution techniques, commencing with the meticulous measurement of actual cabinets and microphone setups. The embedded Two notes Torpedo accurately reproduces this system, even replicating the microphone's precise position in space.

Ashdown's commitment to sonic diversity is evident in the selection of six emulated cabinets available, spanning from the renowned ABM range to the bespoke CL-310 cab designed for Guy Pratt. 

Whether you prefer the ABM-810H-EVO IV, ABM-410H-EVO IV, ABM-210H-EVO IV, ABM-115-EVO IV, RM-212-EVO II, or the CL-310 DH, you'll have the power to select your preferred cabinet sound with a simple six-way rotary knob. For added flexibility, four of these cabinets can be enjoyed with the inclusion of horns/tweeters, offering a total of ten cab options.

The LB 30 2.N. houses the Two Notes Torpedo, granting you access to IR cabinet emulators modeled on six distinct Ashdown Cabinets. Additionally, it functions as a load box, eliminating the need to connect the valve head to a cabinet while in the studio.

This amplifier caters to all your connectivity needs. It provides two inputs for active or passive instruments, ensuring compatibility with a wide range of bass guitars. USB input allows you to edit and update your on-board IR cabinets, while the USB CHARGE socket conveniently charges your devices. 

With a direct balanced Torpedo IR output, you can seamlessly connect to your studio interface or front-of-house system. MIDI in & Out ports enable control of your amp IR's and effects using a MIDI foot-switch (available separately). For speaker compatibility, the LB 30 2.N. offers both 4 and 8-ohm outputs. 

Furthermore, the direct DI output and headphone out options are included for added convenience. Finally, the Torpedo line in XLR allows you to re-amp recordings back into the Torpedo, making it an invaluable studio tool.

In conclusion, the Ashdown LB 30 2.N. Bass Amplifier is a game-changer for modern bassists. With its exquisite valve-driven sound, versatile tonal control, and innovative Torpedo technology, it provides the ideal solution for gigging, recording, and studio work. 

Whether you're a seasoned professional or an aspiring bassist, this amplifier is your gateway to achieving a rich, authentic bass sound that resonates with precision and power. With the LB 30 2.N., Ashdown once again demonstrates their dedication to crafting amplifiers that redefine the boundaries of bass performance.

• Discover more by visiting Ashdown's website, Facebook, Instagram and X (Twitter) accounts.

Ampeg has been well-established as a manufacturer of high-quality guitar and bass amplifiers since the early 1960s. Perhaps it’s down to the tube power of the company’s SVT, or maybe it was the instant success of the B-15 ‘flip-top’ bass guitar amp, which was introduced back in 1960.

Whatever the reason, the company’s characteristic all-tube tones have kept it at the top of many bass player’s wish lists, and Ampeg will hope that continues to be the case with its newly announced Venture Series.

The new Venture Series comprises V3, V7, and V12 Class D heads and VB-112, VB-115, VB-210, VB-212, and VB-410 cabinets. 

As well as an “array of tone-shaping tools” that include a 3-band EQ with sweepable mids, ultra hi and 3-way ultra lo switches, other amp features include Ampeg’s Super Grit Technology overdrive circuit with SVT and B-15 voicings. You also get an effects loop, XLR direct output, aux input, and phones output.

All this is unleashed through Ampeg’s newly designed Venture Series cabinets, which are available in a range of speaker configurations and come loaded with custom-voiced Lavoce neodymium woofers and high-frequency drivers. There’s also the option of a Portaflex-style grille should you want to recreate the classic Ampeg look.

“The Venture Series represents the next step in the evolution of the Ampeg brand,” said Dino Monoxelos, Ampeg Product Marketing Manager.

“We designed them to give gigging bassists playing all styles of music the capabilities they need to dial in both modern and classic sounds. We also know how important it is to them that their gear be rugged enough to perform reliably gig after gig, while at the same time being as light and portable as possible. Most importantly, of course, Ampeg amps have to deliver tone that lives up to our legacy.”

The new models are available now (except the V7, which lands in spring 2024). Prices are as follows:

• V3 Amp: $499 (Carry Bag $69)
• V7 Amp: $749 (Carry Bag $79)
• V12 Amp: $999.99 (Carry Bag $99)
• VB-112 Cab: $749 (Cover $69, Grille Assembly $69)
• VB-115 Cab: $849 (Cover $79, Grille Assembly $79)
• VB-210 Cab: $899 (Cover $79, Grille Assembly $84)
• VB-212 Cab: $1,099 (Cover $89, Grille Assembly $99)
• VB-410 Cab: $1,249 (Cover $99, Grille Assembly $129)

The Ampeg story began in the late 1940s, when bass player Everett Hull attempted to amplify his stand-up bass by inserting a microphone attached to a coat hanger through the instrument’s support-peg hole.

Encouraged by the results, Hull developed the idea and was soon building ‘amplified pegs’ for himself and his colleagues. The Ampeg – a contraction of ‘amplified peg’ coined by Hull’s wife, Gertrude – was born.

Ampeg is now owned by Yamaha Guitar Group. Visit Ampeg to view the current range, which includes Classic Series SVT models and the updated, reissued Portaflex bass combos.

Designed for both home and studio use, Ashdown’s new CTM-15 packs all the mojo of the company’s more substantial tube bass amps, but in a desktop version that weighs around 5kg.

What’s noteworthy with this re-release is that there’s no load required when using the DI and headphone output, which makes it ideal for the studio or for silent practice. Along with this unfettered performance potential, the low wattage means it should also be easier to get authentic overdriven tones – all without waking the neighbours. 

Delivering 15 watts of output using a dual EL84 power stage, with a single ECC83 tube in the preamp, the CTM-15 promises a punchy set of tube tones that are designed to sound great at low volumes. According to Ashdown, the low wattage makes it easier to get “red-blooded overdrive” when driving the amp hard.

As well as gain and master volume controls, there’s also a 3-band EQ and Ashdown’s analogue VU meter, which gives an instant display of your output. The distinctive Ashdown logo (which was inspired by the Austin Healey motor badge) is also proudly emblazoned across the front. 

More features can be found on the back panel. Here you get a DI and headphone output, while 4 and 8 ohm speaker outputs add extra versatility. 

Ashdown are seemingly very confident of the road-worthiness of this range, touting the CTM-15 as repairable down to a component level for the next 25 years. It also comes with a five-year manufacturer's warranty, and a custom gig bag, making it easy to safely transport to your next session.

Head over to ashdownmusic for more information.

Earlier this year, Fender launched its Adam Clayton signature bass amp, marking nine years since the company first got involved with U2’s stadium-rocking bassist with the Adam Clayton Jazz Bass.

The ACB 50 is the first all-tube bass combo amp Fender has produced in over four decades. “I know the fashion nowadays is to move away from valve amps, but I’ve always liked them,” said Clayton. “So I went to the team at Fender and asked if we could approach things a little differently.”

We love all sorts of amps here at Bass Player, but there’s something about a cranked-up tube combo that really tugs at our heart strings. As its name suggests, the ACB 50 is rated at 50 watts. As such, it should be well-equipped to handle rehearsal duties, smaller gigs and recording sessions. It’s styled on a tried-and-tested Fender recipe – an aged silver sparkle grille cloth, chickened knobs, and black textured vinyl, but does it have the tone to match its good looks? 

Features

The Fender ACB 50 is a dual-channel tube combo. The preamp section is driven by a 12AT7 tube and a trio of 12AX7 tubes – easily the most popular preamp tube for guitar amplification. Moving onto the power section, the amp’s signature tone is derived from two 6L6 tubes. The semi-open-backed cabinet has a steel grille to protect the vulnerable tubes from external objects (not to mention protecting sensitive fingers from hot glass).

Looking at the top-mounted chrome control panel, channel one has a volume control, and a conventional bass, middle and treble EQ section. Where things get a little interesting is with the mid-frequency rotary switch, which boosts three midrange frequency settings via the middle control.

The second channel has an identical setup, but with a bass and treble EQ section only. Both channels offer dual inputs, with the second input designed to offer less sensitivity (-10db) to compensate for active instruments. 

In general, the build quality and finishing are up to the usual standard you’d expect from Fender. The cabinet feels solidly built, with the hard-wearing textured covering and a chunky leather handle adding to its road-worthy appeal.

The internal speaker is a 15-inch Eminence Neo speaker. This should be more than adequate for most applications, but there’s also scope to attach an external speaker cab too. Round the back of the amp there’s a single speaker-out jack, a balanced XLR out with a ground lift switch, a quarter-inch line out for recording and PA connection options.

Sounds

We tested the ACB 50 using a range of bass guitars, including a Fender Precision, a Dingwall NG3, a Gretsch Electromatic Jr, and many more besides. Many more than usual, in fact – though we’re always thorough when reviewing gear, this amp sounded so good that we felt compelled to plug in and play every bass that we could lay our hands on!

With some bass amps, you’ll find that the amount of perceived break-up increases as you turn up the volume, and you only hit that full sweet spot once the walls are shaking and the amp’s really cooking. Not here, though – the ACB 50 slips smoothly into increasing levels of saturation – there’s loads of the stuff. Even with the volume kept back you can tell it’s just longing to break up. If you’re a fan of the rougher-edged tones of Adam Clayton, then you’re in for a treat here. Even in the cleaner range of the volume controls, there’s a wonderful sense of sustain and fatness.

According to Fender, Channel 1 has been voiced as a vintage Fender ‘black panel’ preamp tonality – in other words, it’s designed to offer a more vintage tone in keeping with Fender amps of the ‘60s. You can shape the airy mid frequencies via the mid-frequency control, adding more aggression to the upper midrange, though things can get a little edgy if you push it too far.

Channel two bypasses the mid boost and lets you enjoy the natural sound of the amp. It’s not quite as ‘hi-fi’ as some modern bass amps, instead sounding rather grittier, but for a flatter EQ tone you might prefer to stay here. Unfortunately, this channel’s ‘less is more’ approach doesn’t extend to background noise, though this is of course not noticeable until you stop playing.

We say this genuinely and without hyperbole, but on the first two gigs that we used this amp, seconds after plugging in, we were getting comments from other band members about how great it sounded, and if that doesn’t put a big smile on your face, then you should probably just pack it in and take up knitting.

Verdict

The fact that we’ve been so busy talking about the sound of the ACB 50 that we’ve mentioned only in passing how very cool it looks tells its own story. It might not be hugely powerful or particularly versatile in the accepted sense of tone-shaping niceties, but viewed purely as a low volume amp for low-key gigs and recordings, it will comfortably cut through, so long as you don’t overestimate its ability to cope cleanly with larger stages or louder bands. You could always mic it up if you’re not quite reaching the back of the room.

What about the price? $2,199 is a lot of money however you look at it, and a lot to pay for an amp that’s something of a specialist tool. The ACB 50 essentially does one thing very, very well, but if the sound of a vintage-style, all-tube circuit cranked up loud is the sound you want, this could be the amp for you.

Specs

• PRICE: $2,199
• MADE IN: Mexico
• TYPE: All-valve combo
• OUTPUT: 50 watts into 8 ohms
• VALVES: 2x 6L6 power tubes, 3x 12AX7 & 1x 12AT7 preamp tubes
• CHANNELS: Two, classic Fender sound & flatter frequency sound, each with high & low inputs.
• FEATURES: Channel one with volume, treble, bass, middle & mid frequency controls, channel two with volume, treble & bass controls. Balanced direct out, ground lift switch, balanced line out & external speaker out.
• SPEAKER: 1x 15-inch Eminence Special Design
• WEIGHT: 25 kg (55lbs)
• DIMENSIONS: 61.5 (w) x 58.4 (h) x 35.6 (d) cm
• CONTACT: Fender 

Texas amp firm Dynamo Amplification has taken its first stride into the bass amp market with the launch of the GT Bass.

A 300-watt all-tube head, the GT Bass is clearly designed for serious gigging bassists, and features four KT-150 power tubes and a trio of 12AX7 preamp tubes.

Dynamo is promising “unmatched clarity” from the design, owing to its construction with premium Mundorf and Takman Audiophile-grade components, toroidal transformers and Mil-Spec control pots.

Based on input from bass players in search of the “ultimate bass rig”, the amp is driven by a tube preamp inspired by the Alembic F-2B/1X with no-nonsense Treble, Mid, Bass EQ set.

Other controls include Depth, Presence, Volume and Gain, plus Hi-Cut and Bright switches.

The GT Bass is accompanied by a high-powered 2x12 speaker cab featuring an internal passive 12” bass radiator that increases the output by 6dB, and utilizes a pair of 600W FaitalPro 12” Neodymium drivers and a tweeter for a total output of 1200W.

With a price tag of $2,799 – the accompanying GT Bass 212 cab is $1,299 – the GT Bass is positioned at the upper echelons of the bass amp market, putting it in competition with top-of-the-line models from the likes of Ampeg, Ashdown and Aguilar. Dynamo’s audiophile components and hand-built credentials will hope to set the GT Bass apart from the pack.

The GT Bass is the first in a new line of bass guitar amps for the firm, with a medium-sized hybrid tube and solid-state offering and class D micro amp planned for later this year.

Dynamo launched its first amp, the Dynamo GTS, at the 2011 NAMM show, and last year launched a fundraising campaign to establish a US-based dealer network.

For more information, head to Dynamo Amplification.

Trickfish have now been around for almost a decade, making highly regarded heads and cabinets as well as preamps, and have built up an impressive list of pro players who swear by their range.

The Bullhead Mini 500 and Mini 112 are the newest additions to their line. Let’s see if they live up to the reputation of their larger, more powerful siblings.

Bullhead Mini 500

The Mini 500 is instantly recognisable as a Trickfish amp. The same in-line six-knob layout as the larger bass amp heads is present, and it sports the same Mike Pope-designed four-band preamp. Gone are the frequency selector switches for the EQ bands, but otherwise it’s what we’ve come to expect from Trickfish, balancing the versatility of two bands of mid control with the ease of use of a simple cut and boost EQ section. 

The headphone socket and line-in have been moved to the back panel, part of a series of adjustments that have made the Mini 500 significantly smaller and lighter than previous Trickfish units. The front panel is rounded out by a -10dB pad switch for hotter signals, and a mute switch. It’s clean and simple without lacking any essential features. 

On the back we have a DI out with ground lift and pre/post EQ selector, a combined jack/Speakon speaker out and an effects loop that’s placed handily before the level indicator, so any pedals can be factored into setting the optimum input signal. No surprises, but nothing missing. 

So what does it sound like? The first thing you notice is how usable every EQ band is across its whole range. The treble, set at 8Khz, adds air and sparkle without a hint of brittleness. This is particularly striking on slap sounds where the pops are way more present but not significantly louder than with the treble down. The bass control, at 80hz, offers fullness and body rather than mud. 

It really feels like a lot of time has been taken to get the Q (the width/slope of the EQ) right, so there are no surprising or disrupting edges to the sound when you cut or boost particular frequencies. The fixed frequency mid controls are broad enough to be highly usable in shaping your tone, or controlling how present your bass is in a mix without the sensation that the center frequency is off. 

However, the striking thing about the Mini 500 is how responsive it is to everything across the frequency spectrum, so if you wanted more EQ, adding one as a pedal works wonders. Both the superpower of the Trickfish sound, and potentially the thing that would make some players look elsewhere, is that it is incredibly transparent.

It’s as close to a ‘Full Range’ bass amp as I’ve come across. Even the gain control adds no noticeable harmonic enhancement: It just sets the level of the input signal, making it perfect for amplifying sounds that you’ve developed with pedals or an FX unit elsewhere. 

For pedalboard junkies, the Bullhead Mini 500 is a godsend. It also has the quietest fan I’ve ever encountered on a bass amp, making it perfect for low level at-home playing and recording. Nowhere is this transparency more apparent than when pairing it with the Mini 112...

Mini 112

Trickfish’s speaker range already includes a 112 cabinet, so the addition of the Mini 112 invites a bunch of questions, including ‘Why add a second one?’ Well, as the name suggests, it’s significantly narrower, width-wise, by approximately four inches, and consequently lighter. 

It’s one of the most compact 1x12 cabinets I’ve ever tried, although not the lightest: The birch construction and metal handles and corners leave it feeling robust, and therefore able to handle some volume without rattling off the edge of the stage. 

The back panel for the 8-ohm cabinet is simple, with a level control for the tweeter and two combi jack/Speakon connectors. The tweeter control is an attenuator, so fully up is just ‘on’ and anything else reduces the level. This would be useful for a more muted, vintage tone, but in most situations leaving it wide open makes the most sense. 

With everything set flat on the head, the notched zero positions on the EQ knobs making this particularly easy, the cab sounds present across the frequency spectrum with a slight mid boost, but no significant tonal bias either way. If you’re used to a more hyped low end, you’ll be reaching for the bass control on the head straight away. 

Thankfully the amp is more than capable of dealing with a ton of low end. While the ‘flat’ sound is more balanced, it’s quite possible to get a dub-heavy tone at the kind of volume you’d expect from a 1x12 cab.

This setup isn’t designed to keep up with a drummer in a metal band and definitely isn’t the best choice if you spend most of your time playing a five-string in drop-A. For situations where portability is a must and the volume requirements are more modest, though, such as rehearsals, recording sessions and folk or jazz gigs – especially paired with a second cabinet – it’s ideal.

What makes it such a perfect match for the Mini 500 head is the transparency: Its ability to amplify anything across the frequency spectrum. There’s none of the harshness that often comes with tweeters in bass cabs when you run a lot of treble into them, and none of the woolliness that can plague larger cabinets. 

With the bass boosted on the amp just a fraction, every nuance of my sound is apparent – whether it’s just a passive bass plugged straight in, or a full suite of pedals and effects running multiple loops and layers. 

Every aspect of the EQ in an active bass is pleasingly replicated in glorious detail. The slight mid-boost noted earlier can be easily compensated for with the on-board EQ, but in a live situation it can really help a bass sound shaped in isolation actually carry all the way to the audience.

Back in the ’90s, one American boutique builder used the slogan ‘the sound in your head is in this bass’, and while that may or may not have been entirely true, it’s certainly the case that the sound of your bass is in this amp. The Trickfish Mini 500 and Mini 112 do a sterling job of faithfully reproducing whatever you throw at it. 

If you’re looking for an amp with a signature sound of its own, you may be disappointed, but for clarity and versatility when handling a huge range of effected or clean bass tones, it’s tough to beat.

Specs

Mini 500 Amp

• PRICE: $799
• MADE IN: USA
• POWER OUTPUT: (4 ohms) 500W (8 ohms) 250W
• FEATURES: Class D amplifier, all-analog solid-state preamp, 1/4” phone input with switchable attenuation and rotary gain control, signal level and clip LEDs (green/red), four-band EQ with shelving bass and treble, Variable Gain Band Pass Low-Mid and Hi-Mid, master volume, line in, headphones out, mute switch, effects loop, balanced direct out, XLR, Pre/Post, Ground Lift, Neutrik speakON connectors, five-year limited warranty
• DIMENSIONS: H 2.77” x W 10.55” x D 7.87” 
• WEIGHT: 3.5 lbs

Specs

Mini TF 112 cab

• PRICE: $879
• MADE IN: UK
• POWER: 300 watts RMS, 600 watts peak handling
• SPEAKERS: 1 x 12” proprietary Neodymium speaker built by Eminence, HF driver (3500-20,000 Hz) 80° conical horn
• FREQUENCY RESPONSE: 35Hz-16kHz
• FEATURES: Custom crossover with peak protection and HF Attenuation, 2 x NL2 Combo connectors, 16 gauge steel grille, 22oz sharkskin vinyl
• DIMENSIONS: H 17” x W 15.25” x D 12.25”
• WEIGHT: 29 lbs
• CONTACT: Trickfish Amplification

This bass amp, one of the true greats in the world of bass amplification, was designed by Ampeg’s Jess Oliver back in 1958, but it wasn’t until 1960 that it was introduced. The B-15 Portaflex, or ‘Portable Reflex Baffle Bass System’ as it was originally known, seemed both illogical and ingenious at the same time, as the amplifier head was stored inside the cabinet for transportation. 

Four latches allowed the top of the B-15 speaker cabinet to be lifted off. With the amplifier secured to it with bolts, the whole assembly could be flipped over and dropped inside the cabinet, providing ample protection for its delicate tubes while in transit. Thus the B-15 was christened the ‘fliptop’.

Who used the B-15 Portaflex?

James Jamerson used one, as did Donald ‘Duck’ Dunn, Verdine White, John Paul Jones, Bob Glaub, Bob Babbitt, Marcus Miller, and many other bass stars, as it was a staple in recording studios throughout the ’60s. The B-15 amplifier itself is a 30-watt tube amp, of which there have been a few different revisions over the years: the sought-after 1964 and 1966 models were combined in Ampeg’s Heritage reissue unit a while back.

Should we all use this amp?

Well, some bassists say that the B-15 has a ‘tubby’ tone – and the ’66, although it’s much brighter than the ’64, doesn’t carry a huge amount of a bottom end through its single 15” speaker. By today’s standards, this 30-watt setup is a bit timid compared to the 800 watts-plus hard-hitters that power Ampeg’s own ‘fridge’ amp, the 810E. 

The little amp’s catches and cabinet fixtures often rattled while in use, too, so the B-15 might not be the amplifier you’d want to throw around on a tour stage, if you could even hear it over the other musicians, of course. Not only that, it doesn’t have any of the features you’ll see on a modern amplifier. 

You will not be installing Impulse Responses and digital effects on this unit, and you will not use it without a speaker cabinet or load attached – as tubes don’t like that – and you will not be slipping it into your bass gigbag like a Trace Elliot Elf head.

That’s a whole lot of reasons not to use a B-15, buddy.

Sure – but on the upside, you’re going to be graced with a glorious tone, full of richness and the sensitivity that only passive pickups, tubes, transformers, and speakers can offer. The B-15 graced all the famous studios, where incredible classic albums and film scores were recorded, so there are plenty of thudding Motown tones or Carol Kaye-style pick sounds in there. It even sounds like the main theme from the film Bullitt, which doesn’t get cooler.

Is this thing expensive? 

Older models can be, but if your pockets aren’t deep enough for an original vintage B-15, Ampeg still produces fliptop amps under the Portaflex name, from a super-cute 20-watt tube head to an 800-watt D-Class powerhouse. Each of these is capable of being housed inside its own cabinet, with 10”, 12”, or 15” speaker configurations. In addition, the revered B-15 sound has been digitally profiled and emulated in many top-tier processors. So try one out if you can! 

Trace Elliot has been synonymous with high-end bass amps for decades, used by bass luminaries such as Mark King and John Entwistle. My own first issue of
Bass Player had a glowing review of a Trace amp way back in 1996. 

Their resurgence in recent years has been thanks to their ELF micro series of ultra-light amps and cabinets, and with the TE-1200 they’ve made a return to concert-level power while staying focused on portablility.

The TE-1200 is impressive straight out of the box. The unit feels dense, and the rack handles on the face and unique side panels set it apart visually from many of the other amps in this category. The backlit knobs are evenly spaced and turn smoothly with center detents on the EQ controls, clearly designed to make hassle-free changes mid-gig, and the rear panel boasts all the output options you could ask for, including MIDI in and out and a USB out for recording. 

Small yet extremely solid, it won’t slide even at high volume, and the substantial feet are designed to interlock with the new line of Trace Pro cabinets. This isn’t a micro amp: At 11.5 pounds (5.2 kilos), it’s not meant to slide into your gigbag. What it is is a very compact, full-featured bass amplifier. 

The TE-1200 is rated at 1200 watts continuous RMS, meaning you’ll get consistent, high power output which, when coupled with the right cabinets, should cover any size venue you can play. 

An included footswitch lets you toggle several of the amp’s features (pre-shape, compressor, mute, effects loop), and Trace also includes both a bag and rack ears to fit your preferred amp setup.

The amp is dead silent, and even at high volume there’s no hiss. This also means you can play or practice at low volume with no issues. Small enough to easily fit on top of a 1x12, the TE-1200 is equally at home at a coffee shop gig as it is on a large stage—just be careful not to overpower your lower-wattage cabs.

The flat tone is beautiful: clean and articulate with enough warmth to keep it from sounding sterile or too hi-fi. The EQ section is simple but effective, with a four-band equalizer, a two-band compressor, and a pre-shape switch. 

The compressor works well: its effects are noticeable without being heavy-handed, and an optional button allows you to compress pre or post EQ. I generally don’t use compression live, but found myself really enjoying using a subtle to moderate amount of pre-EQ compression, as it stayed musical and didn’t alter the tone. 

The pre-shape engages an EQ curve designed to bring out some of the classic Trace sound, and does just that by boosting the lows and highs with a slight mid cut at particular frequencies to bring out a setting that sounds scooped but not hollow. It can be used to make a tight slap tone that should cut through any mix, but also works great when using a more aggressive fingerstyle for heavier music. 

While the simplified EQ is reminiscent of the concert heads of old, this could be a sticking point for knob-tweakers who want more detailed control of their EQ points or multiple channels to switch between.

This is an amp that you bring your tone to, rather than using it to completely color your tone. That’s not to say the controls are lacking, as the frequency points of the EQ boosts/cuts are great and you can dial in punchy slap tones to mid-focused fingerstyle, all with immediate responsiveness.

It should go without saying, but this amp gets loud. After all, 1200 watts into a 4-ohm load will be more than enough output for most, and the amp still pumps out a considerable amount of power into a single 8-ohm speaker at over 800 watts. The amp stays clean throughout at any volume setting, never breaking up or faltering.

The gain knob is meant to adjust for your instrument’s output alone, not double as an overdrive. There’s no attempt at tube emulation or settings for a gritty sound, so if these are features that you need in an amp, you’re better off elsewhere. What the clarity does, however, is allow you to get the most out of any effects you put in front of it. Everything from distortion to multitap delay pedals sound great through it, without having to repeatedly adjust the amp to resolve EQ conflicts. 

The TE-1200 is a welcome addition to the new Trace Elliot lineup. They’ve taken the advances in lightweight tech they first applied to the ELF line and used them to make a compact yet impressively powerful new amp. We recommend it. 

Specs

• PRICE: $999.99
• MADE IN: China
• POWER: 1200 watts RMS
• FEATURES: 4-ohm minimum load, worldwide AC voltage selector
• FRONT PANEL: Built-in Lo/Hi-Band compressors with defeat switch (footswitchable), pre-shape switch (footswitchable), 4-band equalization, EQ Pre/Post compressor switch, mute/tune switch (footswitchable) input gain and output level controls, headphone jack
• REAR PANEL: Pre and post balanced XLR outputs with ground lift, noiseless buffered effects loop with level switch (footswitchable), preamp output/power amp input 1V RMS master/slave loop, buffered tuner/dry feed jack, MIDI In and Out, USB recording output interface, dual Neutrik combination Speakon/phone speaker output jacks. A four-button MIDI footswitch with 25-foot cable, padded gigbag, and optional 1.5U rackmount kit included
• WEIGHT: 11.5 lbs
• CONTACT: Trace Elliot

In the eternal struggle of getting killer tone versus breaking your back to make the gig, hybrid bass amps have been turning the tides of war. 

One of Gallien-Krueger’s latest pieces of artillery is the Fusion 800S head, which brings together the best of both worlds with a preamp featuring three 12AX7 tubes matched to an 800-watt Class D power section. We checked out the Fusion 800S and their NEO IV 410 cabinet.

Build Quality

The head is built with an all-aluminum body that is anodized with laser-etched graphics. The cab, while looking like a tank with its tough coating and metal grille, weighs a mere 63 pounds (29 kilos). Its form and spring-loaded handles make it about as easy to lift as can be expected. 

With 10 knobs that all have secondary push functions, this amp might seem a little daunting for some players. It is just a little beyond “plug and play” status, but the control set is much more intuitive than it lets on. 

Firstly, an important distinction from most bass amps is the Trim knob, which is not to be confused with gain. Many amps have a -10db pad in order to match up hot or active basses with the amp’s input: Trim lets you set the input level to precisely match the output level from your bass.

As such, this knob is to be set fully clockwise and then dialled back only when it blinks red to indicate clipping. This is extremely important, as it will affect how your signal hits the rest of the gain staging.

From there, the rotary function of each knob is fairly straightforward. Normal is the normal channel’s volume level, Overdrive sets the amount of overdrive, Edge is the high-frequency response of the overdrive channel, Level sets the overdrive channel’s volume. After that there’s a four-band EQ followed by the master volume. 

The push-button functions of each knob engage settings, rather than a whole other parameter to adjust. This begins with pushing the Trim knob to activate the Voice filter, which revoices the amp’s sound for a more aggressive tone.

As such, I found this to be the “instant G-K tone” button. Pushing the Normal or Overdrive buttons switches to that channel, while the next two pushbuttons, Cut and Body, are filters to sculpt the drive channel highs and lows. 

Next are Bump (a low-end enhancement), Contour (a mid-scoop), Hi-Cut (uh... a high cut), and Presence (a high boost). Finally, the Master volume doubles as a mute switch. Each setting is displayed by a white light on the knob, turning to a pleasant hue of blue for a quick visual check of your settings. 

The rear of the Fusion 800S is similarly loaded with all the features you’d expect: a DI, a headphone output, an auxiliary input, a footswitch jack, a tuner out, an effects loop, and dual twist lock speaker outs. There’s also a handy switch for setting the impedance to match your cab setup between 2 ohms, 2.7, 4, or 8 ohms. Each setting dishes out 800 watts, but connecting a single 8 ohm cab will reduce it to 400 watts. 

Sounds

The head and cab may be lightweight, but the sound is not: this rig delivers the huge, clear tone for which G-K is known. Engaging the Bump filter adds gut-rumbling lows: An extra-girthy sound that will fill out even the deadest of rooms. 

Although the G-K sound is easily had, the Fusion 800S has so much more to offer. Whatever my basses wanted to do, this rig was there for it.

Testing it with a Sire Marcus Miller V7, the amp quickly fell into a round jazz tone. The contour filter puts you into prime slap territory by cutting the mids, but also boosting the highs and lows to keep an even volume level.

Similarly, I could quickly dial in some old-school sounds with a short-scale Reverend Wattplower by pulling back the already beefy lows and dialling in the mids. The presence filter easily accentuated the singing high register of a Marleaux Consat for gorgeous chords.

The overdrive section, as Bob Gallien states in his own demo, is not meant to replace the colors of a overdrive or distortion pedal, but to “give you the feel of an amplifier at its limit”. 

I found that to be true, with a warmer, more organic drive. The intelligent flexibility of the Cut and Body switches helps to sculpt it more than just driving an amp would. The top end helps to cut through a dense mix, but if it’s too harsh for your liking, the filters quickly tame the highs. 

After you get the hang of how the knobs and buttons interact, this rig is a total blast. It has its own character – several, actually – but it’s so versatile that it will reinforce whatever sound you’re going for.

Specs

Gallien-Krueger Fusion 800S

• PRICE: $1249
• MADE IN: USA
• POWER: 800 watts
• FEATURES: Tube preamp with three 12AX7s, four-band EQ, footswitchable tube overdrive with tone control (footswitch included), Voicing filters (Voice, Bump, Contour, Presence), balanced XLR output with Pre and Post EQ, unbalanced 1/4” send and return, Aux input, headphones output, twist-lock speaker outputs, switchable impedance (2, 2.7, 4, 8 ohms)
• WEIGHT: 5.5 lbs 

Specs

Gallien-Krueger NEO-IV 410

• PRICE: $1399
• MADE IN: USA
• POWER: 1000 watts
• FEATURES: 4 x G-K-manufactured neodymium 10” woofers, Paragon horn, 1” P-Audio high-frequency compression driver, response 40 Hz to 18 kHz
• WEIGHT: 63 lbs
• CONTACT: Gallien-Krueger

Boss has debuted the latest entries to its acclaimed lineup of Cube practice amps – the Dual Cube LX and Dual Cube Bass LX.

As the names imply, there is a variation for both electric guitar and bass guitar, with each unit aiming to improve the Cube range by offering evolved Boss technological advancements.

Described as the ultimate guitar amp for home practice and jam sessions, the two Dual Cube LX units reinvent the Cube template, and come equipped with a healthy array of connectivity options and onboard effects that are compatible with the Dual Cube LX editor app.

In terms of universal features, both boast a range of amp types, custom-designed stereo speakers, stereo line outputs for connecting to PA systems, onboard loopers, and both USB and i-Cube-Link connectors for recording straight into music software on computers and mobile devices.

Each amp also has wireless capabilities, meaning music and audio can be streamed via Bluetooth – or via the Aux port if preferred – while cable-free operation of wah and volume can be achieved through Boss's EV-1-WL pedal.

As for unit-specific specs, the Dual Cube LX promises to deliver a versatile span of sizable guitar tones that belie the amp’s humble dimensions, offering eight different amp types. 

These include Acoustic Sim, JC Clean, US Combo, Brit Combo, In-Gain Stack, Metal Stack, Extreme and Stereo In for connecting stereo devices – a slightly more diverse range in comparison to 2021's Cube Street II.

Impressively, the Dual Cube LX’s Stereo In mode means the humble desktop amp can harness advanced spatial processing thanks to its compatibility with amp and effects processors, such as – but certainly not limited to – the GT-1000, GX-100, GT-1 and IR-200.

Each amp type is controlled by Gain and Volume parameters, as well as a three-band EQ. The control layout is completed by a Master output, a Delay/Reverb knob that offers a spring reverb and the five-strong Effects controller.

Available effects include Chorus, Flanger, Phaser, Tremolo and Heavy Octave, all of which can be either deep-edited or changed out via the Dual Cube LX editor app. In addition, each amp type also includes room for three presets, which can quickly recall specific knob settings.

Meanwhile, the Dual Cube Bass LX promises an equally impressive range of tones via five amp types – Rock, Modern, Vintage, Flat and Super Flat – five onboard effects, a Gain control and a Comp/Drive parameter.

The effect catalog is slightly smaller here, but still has room for Chorus, Flanger, T-Wah, Delay and Reverb. Again, these can be further tweaked in the corresponding app and there are 15 in-amp memories that can store specific sounds.

What it lacks in tonal options – relative to the Dual Cube LX – the Bass unit makes up for elsewhere. The built-in Rhythm Guide cements this unit as a practice amp, delivering nine types of drum grooves that deliver three different variations each.

When partnered with the editor software, bassists can tap into a total of 91 rhythm variations and save particular favorites to the amp. It’s been labeled Boss's “most advanced Cube bass amp yet”, and it’s clear to see why.

Basic specs include two five-inch speakers and a 10-watt stereo power amp, as well as Stereo XLR balanced line output and control jack for up to two external footswitches.

The Dual Cube LX and Dual Cube Bass LX will be available in September for $299 and $359, respectively.

To find out more, head over to Boss.

Although the Fender Rumble Stage 800 has been available for a few years now, it’s still right at the forefront of bass amp technology. You might think that the popularity of these amps is due purely to the name on the front – but after using this Stage 800 for a few weeks, I’d have to disagree

Admittedly, if you judged this amp by its appearance, you might be a little underwhelmed. The plain black tolex and dark grille cloth are very much of the ‘black box’ school of bass amp design, despite the large chrome logo on the front. Still, the sobriety of the appearance belies the tech inside. 

This amp has both Bluetooth and Wi-Fi capability, meaning you can use your phone, tablet or laptop for a whole range of editing and extra features using the free Fender tone app.

Although the Rumble has an 800-watt – into 4 ohms – digital power module, the 10” baffle-mounted pressed-steel speakers made by Eminence, and the sturdy cabinet made from dense birch ply, means that at 39 pounds (17.7 kilos) it’s not as lightweight as some, although it’s still a single-handed carry.

Still, it needs to be tough, and the twin ports and huge ceramic magnets on the drivers mean that the amp will easily handle powerful low frequencies from the power amp. Taking care of the high end is a switchable compression driver rather than the cheaper option of a piezo unit, which should ensure a smooth response right across the upper range of your bass.

In fact, the Rumble is extremely well constructed from quality components and materials. A good example of this is the neat internal lining of the cabinet with white acoustic wadding – it’s nice to know that such care has been taken, even in areas you wouldn’t normally get to see.

The top control panel is deceptively simple, with just five control knobs – Gain, a three-band EQ and Master, all of which are programmable. In addition there are three ‘layer’ buttons, four ‘utility’ buttons, an encoder wheel with ‘press to switch’ function and the jack input, aux in and headphone out.

On the back of the amp, the XLR outputs are stereo, as are the FX send and return. There’s also a Speakon output for an extension cab, a USB output port for recording to computer and an input for the included MGT-4 footswitch.

In terms of technology, Fender have thrown everything at the Rumble. Bluetooth connectivity has been with us for a while now – but I haven’t seen an amp that you can connect to Wi-Fi before. Setting this up is straightforward, and once you’re hooked up, you can download new effects and artist-created patches, and update the firmware to make sure you have the latest version.

Next, it’s time to download the Fender Tone App to your Android phone or iPhone. Connect to the amp via Bluetooth, and here’s where things get interesting. All of the settings for the Rumble Stage 800 are on the app.

It’s so convenient to select and edit from your phone rather than peering at the screen on the amp and fiddling with multi-function controls, although if you do choose to use the amp interface, it’s logical and quick once you’re used to it. Even while using the controls via your phone, you can still make adjustments to the EQ and amp volume.

All of the great Fender bass amplifiers are available as models on the app, as well as versions of legendary backline such as Ampeg’s B15 and SVT, the mighty Marshall stack and many more. Effects-wise, there’s everything you could possibly want, with over 40 available, including some killer synth and envelope filters: I recommend the Funk Envelope effect with a little reverb.

The overdrives and distortions are impressive too, and if they’re not quite what you’re looking for, they can easily be edited, stored and recalled using the footswitch. This also allows you to access the impressive 60-second looper feature in real time. Mastering all the features of the amp is a bit of a learning curve, but accessing all the effects and amp models is easy – especially when using the app.

Of course, the most important question is ‘How does this amp sound and perform?’ Fortunately, even without all the tech this would still be a great bass combo. Its sound is clear and full and if needed, very, very loud. In fact, the smaller 40-watt Rumble studio amp will be a better fit for players who don’t need this much volume.

It’s no wonder that this amp has become so popular with bass players of all levels. It’s just so versatile – and given its quality, digital spec and superb sound, I think that the Rumble Stage 800 is already a classic.

Specs

• Price: $999.99 / £869
• Made in: China
• Power: 400w RMS at 8 ohms or 800w RMS at 4 ohms
• Speakers: 2 x 10” Eminence plus switchable compression driver
• Features: Wi-Fi and Bluetooth-enabled 800w at 4ohm Class D power amp, Gain, Bass, Middle, Treble, Master controls, 15 amp models and 40 effects, Speakon connector, stereo effects and loop XLR line out, Aux input, headphones out, USB out, MGT4 footswitch included
• Weight: 39 lbs / 17.7 kg
• Dimensions: H 23.7” x W 19” x D 14” / H 602 x W 483 x D 356mm
• Contact: Fender

Ashdown Engineering has teamed up with Two Notes for a modern update on its Little Bastard bass amp head, the LB-30 2.N. The 30-watt head complements its all-tube preamp and power amp with Two Notes’ Torpedo technology, offering players flexible routing options and the choice of six pre-loaded emulated cabinets from a rotary dial.

Adequately powered for small gigs, and plenty when sending your signal direct to the desk, LB-30 2.N has a ECC81, ECC82, and a pair of ECC83 tubes in the preamp, and a quartet of EL84 power tubes. 

The front panel has dual inputs for active or passive bass guitars, an effects loop, and controls for Gain Trim, Volume, Treble, Hi Mid, Lo Mid, and Bass, with the six-way emulation pre-set dial accompanied by an Output Volume knob and clipping LED.

Around the back of the amp you will find 4-ohm and 8-ohm speaker outputs, a 1/4” headphones output, USB connection, Torpedo emulated output with ground lift, MIDI I/O, a line in for the the Torpedo feature and direct DI output with DI link button.

If the tones and aesthetic – complete with Ashdown’s signature VU meter – are old-school, the Two Notes Torpedo tech and abundance of outputs makes the LB-30 2.N very much a 21st-century design.

When playing live, you can send the signal straight to the mixing desk, or send one output to the desk while driving one or a pair of speaker cabinets. And it is similarly useful for recording, allowing you to send the signal direct to your DAW, or for reamping.

You can perform deep edits of your IR cabinets via USB, while the MIDI connections allow you to control the amp and your effects via footswitch (sold separately).

The amp ships with Two Notes DynIR (Dynamic Impulse Response) virtual cabinet emulations of Ashdown’s ABM-810H-EVO IV, ABM-410H-EVO IV, ABM-210H-EVO IV, ABM-115-EVO IV, RM-212-EVO II and CL-310 DH cabinets.

Mic options include the Neumann U47,  Royer 121 Ribbon, AKG D112, Shure SM57, Sennheiser 421, Aston Element, Audix D6 and Electrovoice RE20 micro.

The Little Bastard LB-30 2.N is available now, priced $1,799 / £1,399. See Ashdown Engineering for more details.

Amp designer and mad scientist Phil Jones has built a reputation for getting a big sound out of small speakers, but there’s usually more than one of them in his products. His latest creation is the multi-instrumental X4 Nanobass, which his company calls the most compact and portable combo he’s ever designed. 

The unit features a single four-inch driver in an enclosure that measures 6.3” by 7.9” by 7.8” and weighs just 5.3 pounds. Billed as the perfect bass amp for your desktop or on the go, it has a headphone jack for silent practice and, crucially, two options for playback from external sources.

A 1/8” jack lets you manually plug in, while Bluetooth capabilities let you stream from  the mobile device of your choice. An independent level knob allows for setting the output from either external source you choose. Last in its control set is a three-band EQ for tone shaping.

Even at its diminutive size, the X4 feels very sturdy. The AC input, which accepts worldwide voltage, is situated on the bottom right side of the amp, leaving the right-angled plug to stick out about one inch.

This must be a factor of fitting so much into a tiny space, but it does make it more awkward when sitting on a tight desk. All of the controls are very straightforward, and connecting to the Bluetooth is as simple as one push of the aux-in level knob.

Sound and performance

As is evidenced in the owner’s manual, Jones and his team of wizards have spent lots of time and resources to design the X4. I’m here to tell you that it worked. The sound is clean and clear, even articulating a low B-string very nicely. 

Its low end reflects your instrument’s voice, but goosing the bass knob adds a surprising amount of heft and warmth. At 35 watts, it won’t compete with drums, but it certainly hangs with acoustic jams.

Mostly I found myself using it as a quick tool to jam with music and drum apps. I may be greedy, but I would have liked to see it have a direct output, seeing as it sits right at your workstation.

Ultimately, the X4 is a convenient practice tool that sounds great, and having a great sound is a key to inspiration in your practice sessions. At $360, there’s a price for convenience, but it’s an investment to have your tone in a combo you can bring anywhere.

Specs

• Price: $359.99
• MADE IN: China
• POWER: 35 watts
• SPEAKER: 1 x N52 Neo-Power 4” speaker driver
• FEATURES: Digital power amp with DSP-based active crossover and dynamic range control, three-band EQ, 1/8” stereo Aux input, Bluetooth 5.0 (aptX HD), Aux/ Bluetooth level control, headphone output, worldwide AC voltage input (100-240V) 
• WEIGHT: 5.3 lbs
• CONTACT: Phil Jones Bass

MarkBass has lifted the lid on a huge new line of bass amp heads, combos and cabinets, dubbed the MB58R range.

In total the range compromises of 20 new cabinets, eight combo amps and two heads that the Italian firm says will all offer “next-level power-to-weight ratio”.

The MB58R head and combos all share the same core amp circuit, the Little Mark 58R. The MB58R is a 500-watt solid-state build, which features a four-band EQ, a bi-band limiter, plus a handy option for preset EQs, including Flat, Scooped and FSW (footswitchable) settings. 

There’s also an effects loop and DI line-out, with all the controls/connections mounted on the front plate, except the speaker outputs which are located on the rear of the amp. What’s more, it’s packaged in a unit that weighs just 4.41lbs/2kg. A 300-watt option is also available.

Available combos in the range will include 2x10”, 1x12” (both standard and mini) and 1x15” speaker builds, each is available in a choice of Pure or P specs.

These designations refer to the tweeters included in the enclosures, with Pure variants offering a one-inch driver that is voiced to deliver “focused, crisp highs”, while the P speakers offer a piezo tweeter and ceramic speaker, which creates a more aggressive response. 

Finally, MB58R cabinet options offer 2x10”, 3x10”, 4x10”, 1x12”, 2x12” and 1x15” setups, again with a choice of tweeter types, including the Pure and P series options mentioned above. 

In addition, the cab-only range offers the choice of the Energy series, which features MarkBass’ own tweeter design, which is intended to offer a very smooth response. There 2x10” cabs are also available in XL configurations, which position the two woofers diagonally. 

It’s a considerable offering and one that will turn the heads of any players that are committed to putting their bass guitars through rigs with real speakers, but done with the back-breaking weight. MarkBass boasts, for instance, that MB58R 104 P comes in at half the weight of a traditional 4x10” cabinet (45.53 lbs as opposed to 90lbs).

We’re still not sure we’ll be skipping up a hillside with a cab (as in the promo above), but it’s nice to have the option…

There’s no word yet on final US prices, so head to MarkBass for more information.

Mesa/Boogie has unveiled the Subway D-350, a compact but powerful unit that the Gibson-owned company says is the lightest, smallest and most affordable bass amp it's ever produced.

Given that the Subway D-350 weighs just over 3 pounds, and measures at just 3" high and 9" wide, we have no reason to quarrel with any of those claims (more about the price later).

Small as it is though, the amp packs quite a punch, with 350 watts of Class D power. It's built with a solid-state preamp coupled with a lightweight Class D power amp and switch-mode power supply.

Mesa/Boogie also fit plenty of controls onto that tiny frame, gracing the Subway D-350 with a four-band (Bass, Low Mid, High Mid, Treble) Baxandall EQ, separate Gain and Master Volume controls, Active/Passive and Input Mute switches, and a Bright switch, for adding some top-end sparkle.

The amp is also outfitted with a built-in fixed high-pass filter, and a Variable Voicing control, which adjusts the amp’s response from a flatter curve to a more vintage-voiced curve.

'Round the back, meanwhile, you'll find Aux Input and headphone output jacks, a USB power port, two speakON jacks – for connecting to one or two speaker cabinets – and a balanced XLR direct output with pre/post EQ source, ground lift and Mic/Line level switches.

The Mesa/Boogie Subway D-350 bass amp is available now – with a handy gig bag included – for $699. 

For more info, visit Mesa/Boogie.

With an ever-growing market, securing the best bass amplifier for your needs can be a challenge. As the glue for any great band – be that when gigging or in the studio – the bassist and their trusty rig have long been the backbone of the greatest records, so ensuring your amp can deliver is of paramount importance.

Our list of the best bass amplifiers features something for everyone, from top-end, all-tube behemoths, to feisty micro heads you can easily throw in your rucksack. While these units may cover all aspects of the bass amp spectrum, at various prices, the one thing they all have in common is their ability to deliver bucketloads of low-down tone.

We can safely say, whatever you want from your tone – be it an elastic bounce for funk or pure bass-heavy thunder – there’s an amplifier in this guide that will make it happen.

Best head overall

The Tone Hammer is an exceptional solid-state head that offers you phenomenal control over your tone. There are so many usable tones to be found here that you're sure to find a sweet spot no matter what bass you’re using – a street lamp with a fridge magnet pickup would sound usable through this.

The treble control allows for a healthy 14dB of boost or cut at 4kHz, the bass a hefty 17dB at 40Hz, while you can park your mids anywhere between 180Hz and 1kHz and boost or cut by 16dB either way.

The drive control interacts with the gain structure and EQ, offering a vintage-sounding EQ that rounds out the bottom end as you turn up the gain and takes off some highs. Aguilar encourages you to use those drive, gain and mids controls as base camp for tone exploration.

Best on a budget

To give you an idea of scale, the ELF is just 0.4” wider than the iPhone 14 Pro Max and is less than one-and-a-half inches tall. You could fit it in your pocket and you might want to because you won’t want to be without it.

The performance is exceptional, with a respectable 200-watts at 4 ohms and all the essential features you need. The 3-band EQ plays the percentages and parks the lows at 80Hz, mids at 500Hz, and highs at 4.2kHz, all very sensible and all very usable. There’s also an XLR out for going straight to the PA.

But don’t let the portability aspect seem like a gimmick. This will work just as well in the studio and ships with REAPER DAW, and Peavey ReValver amp modeling software - plus there’s a headphones jack for silent practice.

Best hybrid head

Markbass is well known for cramming bags of tone into tiny packages but getting fully-fledged tube warmth in a unit that’s only 11” wide is one of their biggest successes yet.

With a vacuum tube preamp section and class D power section, the Little Mark Vintage combines the best of bass amp technology to deliver a warm, classic tone, with bags of volume in a compact and modern head.

A 4-band EQ gives plenty of tonal shaping options, particularly in the midrange, where the split controls mean you can easily adjust those tricky mid-frequencies to your needs, whilst a separate ‘FLAT’, ‘CUT’ and ‘OLD’ knob, gives ready-tuned options for super-fast switching.

The built-in limiter is a nice touch and can be balanced with the gain control to produce warm, vintage drive, or slammed to produce more modern tones. With an effects loop and a switchable pre/post-EQ DI output, this is a pretty complete option for the gigging bassist.

Best for modern tones

Where to start with the bass amp that can do everything except drive the tour bus? Let’s start with the 6-band EQ: set it flat and report a wholly transparent performance, not unlike a top-line acoustic amplifier. A small adjustment of any one of the six EQ parameters delivers a profound effect to your tone. With this, allied to an onboard compression that has its own control (a simple clockwise turn for more, anticlockwise for less), you’ve got everything you need.

Then you’ve got the Microtubes Engine section of the 900, and that really spoils you with controls for drive, level, tone and blend to further eek out the full range of your instrument’s voice.

The overdrive on this amplifier is exceptional too, with two voicings – the modern, pugilistic B3K and the vintage VMT – selectable via a switch, with a coloured LED to let you know which is engaged. This is a top-line, professional bass head with all mod-cons in the back making it ideal for stage or studio.

Best for rock tones

The Orange Little Bass Thing is an excellent example of a fine Orange bass head. It has a tonal power that could give you a black eye and has a stage-ready voice that's perfectly attuned to the needs of the contemporary rocker.

Sure, there is a tendency for it to show a little teeth and that might be too much for some players, but as long as you’re not looking for pristine cleans at block-leveling volume, there's a lot to love here. Besides, the -6dB pad does a reasonable job of cleaning things up otherwise.

Once you decipher the controls, you’ll find this a very intuitive, plug-in-and-play head. There are no great mysteries but plenty of sweep in a 3-band EQ that can apply 15dB of cut and boost to the bass, middle and treble, and the onboard compressor is excellent at tightening your tone up.

Read the full Orange Little Bass Thing review

Best for effects

As has come to be expected from the Katana name, Boss has delivered a bass amplifier packed to the brim with features, including three different amp settings – Vintage, Flat and Modern – giving you tonal options from jazzy to metal at the flick of a switch.

Drive and compression are always nice additions to a bass amp, but Boss has gone two steps further giving the user the ability to add another pair of effects of your choice from their superb library. Expect to find vintage choruses, swelling flangers, and gut-busting octave effects among many more.

The two 10” speakers shift plenty of air but retain enough pop to cut through a mix nicely, making this a serious option for gigging. As with all Katana amps, it’s more than capable of working as a home practice amp too, with a switch taking it all the way down from 160-watts to 1-watt, allowing you to comfortably use this in the bedroom, without aggravating the neighbours.

Best bass amps: Buying advice

Which is the best bass amp for me?

With countless options under $500 that can provide gig-worthy volumes, become trusted studio companions, or in many cases both, the bass amplifier market has arguably never been better. But in a saturated market, finding the right one for you can be difficult.

Choosing an amp to fit your needs now and for the future is a smart way to buy. Are you just starting out playing small basement venues and need something that can compete with the drummer, but dream of making the walls shake at bigger gigs? Or are you already touring medium-large sized venues and need to find a reliable partner as you set off on the road?

Setting clear benchmarks for what you need in terms of features, wattage and tone is key to choosing an amp that is going to deliver.

How we choose products

Here at Guitar World, we are experts in our field, with many years of playing and product testing between us. We live and breathe everything guitar and bass-related, and we draw on this knowledge and experience of using products in live, recording and rehearsal scenarios when selecting the products for our guides.

When choosing what we believe to be the best bass amps available right now, we combine our hands-on experience, user reviews and engage in lengthy discussions with our editorial colleagues to reach a consensus about the top products in any given category.

First and foremost, we are musicians, and we want other players to find the right product for them. So, we carefully consider everything from budget to feature set, ease of use, and durability to come up with a list of what we can proudly say are the best bass amps on the market right now.

Read more about our rating system and exactly how we test each product.

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Boss’s Katana amp range has given guitarists the ability to combine impressive amplification with some of their favorite Boss effects and sounds, and with the extra ability to tailor those sounds via downloadable software, all at an affordable price. A bass-specific version has been long awaited by lovers of the low-end, and we’ve got the 1x10” version of the new combos for review.

The Katana-110 Bass is a 60W combo bass amp with a 10-inch woofer and a tweeter, which deliver a wealth of tones via three preamp types – Vintage, Flat and Modern – and a bevy of onboard effects. A 160W 2x10 version, the Katana-210 Bass, is also available.

Build Quality

In terms of looks and construction, black is certainly the order of the day: this unit is covered in a solid, rippled finish and comes fitted with moulded plastic corner protectors, a solid plastic carry handle on the top of the unit and a cloth grille to protect the speaker and tweeter. The black plastic controls are set against a silver control panel and the controls are recessed so they’re unlikely to be damaged on gigs.

As a 1x10-equipped combo, this particular unit is aimed at home, studio and rehearsal use, although it will be usable on small gigs if it isn’t battling a wall of sound, if there is suitable PA and monitor reinforcement, and if you’re using in-ear monitors, of course.

Check out the rear connection panel for the extensive options available to bassists: there’s a balanced XLR output with direct, pre or post signals, a headphones/recording output with mic'd cab emulation, Bluetooth connection for device playback through an adaptor (sold separately), and a 3.5mm aux In socket. 

There’s also a USB connection for tailoring of effects and tones, as well as downloading new patches and effects as they’re developed, and also connections for footswitches and expression pedals. A GA-FC footswitch was provided for the purpose of this review.

Sounds

Armed with a selection of basses, I found that the flat EQ-ed combo has a strong delivery. The EQ is extensive, with low and high-mid frequency selections available, while bringing the tweeter into play also extends the available array of tones.

Setting up a basic sound and tone for any bass is relatively easy, so if you choose to audition the KTN-110 as a working amp and use the effects sparingly, you’ll be impressed with its basic operation as a bass combo. Its dimensions and weight mean that it’s portable and easily transportable.

The FX list includes several types of compression, distortion and overdrive –accessible via the Input EFX controls on the left of the control panel – followed by delay, reverb and echo, T-wah, octaver, chorus, phaser and bass synth among others, courtesy of the Effects section on the right.

Using green, red and orange LEDs to indicate your selections, the effects parameters are selected using a pair of dial controls. Each LED color represents a pair of effect banks, which can be selected independently.

Once you have the combinations you require, these can be saved to one of three channels for easy call-up at the press of a button. I found using and storing the effects very intuitive, so if you like a minimum of fuss in this area, you will be a happy bassist.

The effects list is certainly representative of the most popular sounds that most bassists might call upon, and the Dry/Blend control is a godsend when applying them.

Of course, your ability to tailor each effect is less wide-ranging than it would be with individual pedals, but that’s the obvious compromise of having all of these options packaged into one unit. The upside is that you only have to transport one box – so if you’re new to effects, this combo may just be the perfect introduction.

As the combo isn’t aimed at players of a specific musical genre, its appeal across the musical spectrum is apparent. The future-proofing possibilities provided by the Boss Tone Central software, and the recording possibilities courtesy of the USB connection, would suggest that it’s unlikely to become redundant.

Conclusion

I’m impressed by the combo’s ease of use and the quick response of the controls, which allow many different sounds to be created quickly and effectively.

The quality of the unit is impressive for the price: I can see many bass players looking at this combo, and its 160-watt sibling, as a very useful means to an end.

Specs

• Price: $399
• Made in: Malaysia
• Power: 60 watts @ 8 ohms
• Speakers: 1x10” driver , tweeter
• Features: Input EFX (comp/drive controls and switches), amp type (vintage/flat/modern), pad switch, gain, shape switch, volume, dry level, blend switch, bass, low mid + frequency switch, high mid + frequency switch, treble, FX1/FX2 controls and switches, tap switch, master volume, tweeter on/off switch, CH1/CH2/CH3/Panel switches, power control (standby/1W/max), power switch
• Connections: 1/4” input, balanced DI XLR out with ground lift switch and post/pre/direct switch, FX loop, power amp input, headphone/record out, footswitch/expression pedal inputs, 3.5mm auxiliary in socket, USB port, Bluetooth Audio MIDI Dual adaptor socket
• Dimensions: 19.48” (H) x 18.50” (W) x 11.81” (D)
• Weight: 48 lbs
• More info: Boss

• Save cash with one of the best budget bass amps

From the outset, Trace Elliot’s Elf range was not designed to recreate the leviathan bass tones that we all remember from the ’80s and ’90s – that would be impossible. 

What the range does offer are lightweight solutions to bassists of all levels, with bass amp heads, lightweight cabinets, and now two combos, one of which we have here. The 1x10 Elf may look diminutive – but looks can be deceiving. So how does it perform?

Build Quality

The unit itself is suitably well-dimensioned and lightweight, with the amp housed towards the rear of the combo so that the controls are well out of the way, creating a very tidy package.

It comes with a durable dust cover, is ruggedly constructed, and sports a heavy-duty leather handle on the top and a metal grille on the front of the unit.

Strangely, there are no corner protectors, although the unit appears capable of handling scuffs and knocks without affecting its appearance too much.

The amp section is simple to operate and clearly laid out, with controls for Gain, a three-band EQ and volume: simplicity is truly the name of the game here. The amp is fitted with a level indicator that indicates compression when it flashes red; on this note, the compressor monitors changes made to the EQ, so take this into account when pushing the EQ controls to their limits. Turning the Gain control to full brings an overdrive/distortion circuit into play, for some colorful, gritty tones.

A quick glance at the rear of the combo shows fan venting, a speaker/headphone selector switch, an additional jack speaker output and a balanced XLR DI output with an earth lift switch.

Its only downside as a home practice unit is the lack of an auxiliary input connection in the form of a 3.5mm audio socket or a USB connection, enabling the player to attach an external music source. An additional tweeter might also have improved things for bassists of the tapping persuasion, although that would have pushed the price up.

Sounds

You may be looking at the power ratings and thinking ‘How can I use this on a gig? It won’t be loud enough.’ Allow me to assure you that, having tested the amp with a selection of different basses, it’s no shrinking violet in any sense. 

The combo packs a solid punch, and is capable of projecting solid bottom-end, midrange character and biting clarity in the upper frequencies. I accept that it lacks the tonal control we all associate with Trace gear of the past, but then again, bass players’ needs have changed over the years.

Testing a couple of five-string basses showed a strong fundamental tone delivery and, although the 10” speaker can only project so much, I found that the tones didn’t suffer in a home practice or rehearsal environment. 

The EQ frequencies have been sensibly selected and will address the needs of bassists who need a strong, robust bass tone that can be adjusted as required in a wide variety of performance settings.

In a live setting, the combo stood up well to a certain point – but inevitably there came a point where the physical limitations of the unit were holding it back. At this point, you should consider an extra cabinet to spread the overall load.

Conclusion

I’ve heard many of the ‘fors’ and ‘againsts’ when it comes to the Elf range – but I think this unit is a fine solution to the perennial requirement of a great-sounding, portable combo that delivers without costing a fortune, or needing two people to carry it. 

Thankfully, technology has come a long way since the ’80s and, although the Trace company as we once knew it is no more, the brand lives on.

Specs

• PRICE: $599 / £509 street
• MADE IN: China
• POWER: 130 watts @ 8 ohms, 200 watts @4 ohms (with an additional 8 ohm cabinet)
• FEATURES: Gain, level indicator, bass (center @ 80Hz), middle (center @ 400Hz), treble (center @ 4.2kHz), power indicator, volume, speaker/headphone selector switch, ground lift switch)
• SPEAKERS: 1x10” Neo 8-ohm driver 
• DIMENSIONS: 324mm (H) x 305mm (W) x 355mm (D)
• CONNECTIONS: Input, headphone/line out,  speaker output, balanced DI XLR (direct out)
• WEIGHT: 18.5 lbs
• CONTACT: Trace Elliot

In bass world, there has been a clear and steady move for some years now away from amplifiers, in the sense of hefty, tube-, or solid state-powered boxes that you lug to the studio or stage and plug your instrument into. 

Here at Bass Player, we’ve witnessed the rise of Class D heads, then pedal-sized bass amps, then amp-modeling units such as the Kemper, and of course amp-simulating software in a digital audio workstation or laptop. There have been a few attempts at iOS or Android-based amp apps on phones and tablets, too, with varying degrees of efficiency and take-up by the bass community.

The Waza-Air Bass system combines a lot of this backstory, as a new variant of the electric guitar version that Boss launched a couple of years ago: it’s been eagerly awaited by bassists impressed by the original product.

It comes in two parts: a chunky set of headphones, and a matchbox-sized transmitter that plugs into your bass guitar. Charge them up for three hours each via the supplied USB cable, and you’ll get five hours of use out of the headphones and 12 from the transmitter, we’re told.

The third component isn’t mandatory but it would be self-defeating not to use it: your phone or tablet, and the app that controls the system. As the Waza-Air Bass setup has multiple functions, controlling them all via the buttons on the headset would be impossible for the average sausage-fingered bassist, so you should really download the app and spend a few minutes getting to know it.

Once the phones are on your ’head, the transmitter is plugged into your jack socket and you have the app open – like you needed another reason to stare at your phone all day – you’re ready to go.

First up, the headphones feel great. This isn’t a hi-fi site, so I can’t tell you how they compare in technical terms with whatever headphones the kids are all wearing these days, but I can confirm that they feel comfortable, solid, and high-quality – as they should for their significant price tag, which we’ll come to in a moment.

The other important first impression is that it feels so, so great to walk around your practice space with no cables trailing after you, and no traditional wireless setup to worry about if you move too far away from your amp. It’s also fantastic to have nothing but your bass tones in your ears, as the headphones do a great job of blocking out extraneous noise. 

In fact, the idea of walking around and playing brings me to one of the Waza system’s key features, something that Boss call “advanced spatial technology and integrated gyro sensor delivering a deeply immersive playing experience with 3D ambience and dynamic sound localization”. 

In other words, your bass sound can appear to be coming from a fixed point, if you select that mode. No matter where you turn your head, it comes from the same spot ‘over there’, just like it would if you were using a real amp in a practice space or on stage. There’s a surround-sound option, too.

You can switch this feature off if you want, and in fact I didn’t really see the point of it, although I did like the room-sized reverb that can accompany this function if you wish: on the app it’s referred to as ‘Ambience’ and is quickly and effectively controllable. I suppose the idea is to emulate reality as closely as possible without having to actually plug into an amp.

Still, others may find this function more useful than I did, and anyway, I get that a lot of younger bassists are digital natives and are home studio-based.

The other big deal about this system, and the real reason to buy as I see it, is that you get to choose between five amp types and 30 customisable bass-specific effects. You get these from Tone Central, the section of the app that allows you to add single or multiple tones at a single tap. 

You can then edit them with a bunch of simple virtual rotary controls for Gain, Volume, a three-band EQ, and the five amps mentioned above. In fact, the most fun I had with this system was when I went deep into the Effects screen and fooled around with the parameters of a ton of effects. 

Not only that, the system allows you to play along with 10 acoustic drum grooves or a metronome that has 32 time signatures – quite an uptick on the three signatures that the average band needs you to know. You can operate these from the headphones if you wish, although the tiny selector you use to do this is a bit tricky to find and use. Finally, there’s a tuner, which operates more or less intuitively. 

You can control all this stuff at the app, the Boss Tone Studio, or go fully down the rabbit-hole with an optional wireless MIDI pedal. The app permits you to edit, collate and download your tones, giving the user a sense of having a full-featured bass effects and practice unit at your fingertips. 

As far as I can ascertain, you can’t save or export recordings, but then that’s not what this system is about – and anyway, if it sounds as if the Waza-Air will have a place in your life, you no doubt already have some form of digital recording setup. 

On a practical note, the phones and transmitter are perfectly portable, storing in a compact case that will cost you an extra $30 or so. The power in both units switches off automatically, which will be a godsend when, not if, you forget to turn them off.

Now, the cost. If your intention is to use this system professionally, taking advantage of the tone and practice options and sticking with the gear for the long term, it will be a great investment. If you’re thinking of giving it as a gift to a novice who may or may not stick with it, you’re risking them giving up and being left with a high-quality set of wireless headphones for the usual everyday applications. 

Will the user really prefer this gear over an amp and a pedalboard? Will they really want to sit around in front of a computer, or will they want to go out and jam with real humans? The Waza-Air isn’t for everyone in that sense, so consider that before you buy.

Specs

• PRICE: $449 / £299 street
• MADE IN: China
• FEATURES: 50mm speaker drivers, power/volume/channel/function controls, charge/power/Bluetooth indicators, separate transmitter unit
• POWER: Micro USB, cable supplied
• WEIGHT: Headphones 12 oz, transmitter 2 oz
• CONTACT: Boss

Boss has significantly expanded its celebrated range of Katana guitar amps by introducing the lineup’s first-ever bass amps, the Katana-110 Bass and Katana-210 Bass.

The premiere bass-dedicated offerings join the Katana family of modeling amps, and promise to deliver a sound set that will cater to everyone from "home hobbyists to pro stage performers".

Arriving in two iterations, the amps share a number of universal features, including custom-designed speakers, a bi-amp design that’s backed by class AB power and a variable Power Control that promises to ensure top-notch tones at any volume level.

Both amps also come equipped with Vintage, Flat and Modern preamp types, all of which work alongside a versatile Shape switch, used to fine-tune the tone’s overall character.

The top panel is the same across both the 110 Bass and 210 Bass, too, and features a four-band EQ – comprising Bass, Low Mid, High Mid and Treble parameters – as well as an FX1/FX2 switch that is said to tap into a “treasure trove” of effects.

Like the rest of the Katana range, these effects include standard choruses, delays and flangers, as well as bass-specific octaves and synths lifted from the Boss bass effects library.

In addition, both amps can partner with the Boss Tone Studio editor, which grants access to over 60 total effects types that can be loaded into the amp.

Other standard appointments include the Blend knob – used to mix the dry and wet signals – and the six Tone Setting preset slots, which can be used to store and recall curated sound setups made up of preamp type, EQ settings, Blend position and effects.

The only differences between the models is the wattage, as well as the speaker and chassis size. While the Katana-110 Bass comes loaded with a 10-inch woofer, a tweeter and 60 watts of power, its larger sibling provides 160 watts of power, two 10-inch woofers and a tweeter.

In both cases, the tweeter has been utilized to access high-frequencies that will accentuate slap playing, though it can also be turned off for a more traditional low-end tone if desired.

As for connectivity, the amps feature a balanced XLR output with a switch to determine between direct, pre or post signals, a headphones/recording output that provides effects and mic’d cab emulation, and a USB port for audio interface compatibility.

External footswitches – such as expression pedals and the Boss GA-FC Foot Controller – are also supported, and can be used to operate the amp.

The KTN-110B and KTN-210B will both be available in April for $399 and $649, respectively.

To find out more, head over to Boss.

• Save cash with one of the best budget bass amps

Trace Elliot’s new bass amp head the TE-1200 is being hailed by the brand as its “first big product release of the new decade”. 

The amp features 1200 watts of RMS power, four-band EQ and the ability to split the signal between two built-in high and low-band compressors, with individually adjustable threshold controls. 

There are also separate gain and output controls and a pre/post compressor switch for the EQ circuit. What’s more, all the connections and controls on the front panel are handily illuminated – great for dark stages.

The most notable thing about the TE-1200, though, becomes apparent with a glance at the back panel. Turn it around and you’ll see a pretty astonishing amount of connectivity on offer, including a tuner output, balanced XLR direct out, effects loop, preamp out and power amp in, plus Speakon/phone speaker output jacks, MIDI in/out and a USB connection for recording. 

In addition, the Direct Out has a switchable ground lift and pre-/post-EQ switch, while the effects loop also has a hi/low option. There’s also a headphone output on the front panel, while the included four-button footswitch offers effects loop, compression and mute switches, along with Trace Elliot’s Pre-Shape (a sort of short-cut switch for a classic TE EQ profile).

On the surface then, the TE-1200 appears to pair its enormous power with the functionality to match. It also packs it all into a footprint the size of a vinyl record (12” square), with a travel-friendly weight of 11.5lbs, and comes supplied with a padded gigbag.

You can expect to find it for a street price around $999. For more information on the TE-1200, head to Trace Elliot.

Kustom’s new KXB series of bass amp combos begins with 6” and 10” speaker-equipped 10-watt home practice units, and moves up to 20 and 100-watt alternatives, geared towards rehearsal and small-sized gigs. 

These units are sensibly priced and shouldn’t blow too large a hole in your finances. Looking at the two combos here, simplicity and ease of use are common factors in their design, but do they pack enough of a punch where it counts?

Build Quality

Fitted with metal corner protectors, metal grilles, and rubber carry handles on the top of both units, the KXB100 and KXB10 follow a clean and simple design principle: This is carried over onto the control panel and selection of controls on both units. 

Simplicity is very much the order of the day here, with familiar EQ sections, so finding usable tones should be relatively simple. Both come with headphones and auxiliary connections.

Despite their relatively compact dimensions, both combos are seriously heavy, at 53lbs and 23lbs respectively: Neither of them makes use of lightweight timber construction or neodymium speakers, so we’re talking old-school lifting effort here.

Some bassists may accept this, but I suspect many of us may prefer lighter units that do similar jobs. However, if getting physical with your amplification doesn’t dampen your enthusiasm, the rugged nature of both combos will serve them well on the road.

The KXB100 features venting on the rear of the amp for consistent airflow across the electronics, although the KXB10, due to its size and potential application as a home practice amp, doesn’t have any ventilation as such. 

Both units are hard-wired, so there are no separate power cables, and the external jack output on the KXB100 is wired in series. This allows another speaker cab to be used without a minimum impedance load, while the combo speaker continues to function with the additional cabinet attached.

Sounds

Tested with a selection of active and passive bass guitars, both combos do a reasonable job at conveying accurate tones. The KXB100’s general tone, with the amp EQ set flat, is best described as solid, with the voicing warm and rounded. The 15” speaker conveys the warm tones of the passive basses and boosts the low EQ of the active basses, but upper mids and top-end details are lacking.

Even if you boost the EQ on the amp, you may struggle to coax any sort of glassy highs from this amp. Still, rock players looking for power and brute force from their bass signal will find plenty to enjoy. Slap and tap players may argue that without a tweeter or horn, the tonal options are restricted, but then including this would push the price up: you get what you pay for.

The KXB10 has limited output for obvious reasons: it’s been designed primarily for home use, and in that context, it performs very well. The smaller speaker offers a faster response, so the level of tonal detail is more refined than the hefty performance offered by the bigger combo.

Playing with the EQ settings opens up some useful tonal variations but again, the tone remains generally chunky. Considering its intended use, its portable dimensions make it well suited for home practice, although it’s still on the heavy side.

Conclusion

These combos do the jobs they were designed to do with a minimum of fuss. However, many modern bassists will look for a more lightweight alternative, or build a setup using smaller, lighter speaker enclosures. 

With cheaper combos on the market offering more functions and greater flexibility, these Kustom combos face stiff competition, but if a simply laid-out combo is for you and weight isn’t an issue, both of these amps might just fit the bill. 

Specs

Kustom KXB100 Combo

• PRICE: $429
• MADE IN: China
• POWER: 100 watts @ 4 ohms
• FEATURES: Gain, clip LED, master volume, bass (+/-14dB @ 60Hz), lo-mid (+/-12dB @ 340Hz), hi-mid (+/-10dB @ 2kHz), treble (+/-15dB @ 10kHz), direct out volume, ground/lift switch
• SPEAKERS: 1 x 15” speaker, custom designed
• DIMENSIONS: 23.5” (H) x 18.75” (W) x 15” (D) 
• CONNECTIONS: 1/4” jack inputs x 2 (0/-6dB), 3.5mm Auxiliary input, 3.5mm headphones output, 1/4” jack external output socket, balanced XLR DI output (post EQ and post FX loop), 1/4” jack FX Send/Return sockets
• WEIGHT: 53 lbs

Specs

Kustom KXB10 Combo

• PRICE: $200 approx
• MADE IN: China
• POWER: 10 watts @ 4 ohms
• FEATURES: Volume, bass (+/-15dB @ 60Hz), mid (+/-15dB @ 500Hz), treble (+/-15dB @ 10kHz)
• SPEAKERS: 1 x 10” speaker, custom designed
• DIMENSIONS: 17.5” (H) x 13.8” (W) x 10.4” (D)
• CONNECTIONS: 1/4” jack input, 3.5mm Auxiliary input, 3.5mm headphones output
• WEIGHT: 23 lbs
• CONTACT: Kustom

Darkglass Electronics has announced the Exponent 500, a classy bass amp head design that features five assignable control dials to control your choice of parameters across a range of 22 effects, available via an app.

On the surface, the Exponent 500 (or e500, for short) is a smart-looking 500-watt bass head. Round the back, it has an effects send/return, XLR direct out, headphone socket, ground lift, plus USB and MIDI connections.

Head to the front and there are seven dials mounted on the front panel, five of which are assignable ‘Quick-Pots’ with LED level indicators. By default, the control knobs relate to four-band EQ controls and a preset control, and there are five presets already onboard. There’s also a nifty little mute switch which simultaneously fires up a built-in tuner when engaged.

The head will function in isolation from its accompanying tech, but things get more interesting when using the partner app, Darkglass Suite, which connects to the amp via Bluetooth.

According to Darkglass, this offers an array of 22 effects (with more to come), including overdrive, compression, octave, delay, noise gate, flanger, EQ, chorus, reverb, cab sims and more.

Users can then build effects patches, route outputs (eg, the position of headphones or effects send/return within the signal chain) and map any control – from any effect in the chain – to one of the five dials on the front panel.

The USB connection also allows the e500 to function as an audio interface.

Much will depend on the final tones and the usability of the app but taking it at face value, the e500 looks like a nice take on the quest for that sweet spot between the hands-on functionality and digital convenience.

We can see this suiting a lot of players who face a variety of gigging demands but want (simple) control at their fingertips – particularly those deterred by the price and complexity of high-end modellers. 

The Darkglass Electronics e500 retails for $999. Head to Darkglass Electronics for more information.

It’s always a treat to be sent a new Ashdown bass amp, and this particular one comes with high expectations. The EVO name has been used on Ashdown’s amps right from the early days, and the RM-800-EVO ll has a pedigree that stretches back decades, so this little amp has a lot to live up to.

Happily, there’s one area in which the RM-800-EVO ll differs completely from its ancestors – and that’s obvious when you lift it from the box.

Even by modern class-D standards, for an amp of this power it’s remarkably light at just 5.5 pounds (2.5 kilos). The smart silver-grey anodized alloy case wraps around the chassis with slotted cut-outs on the right hand side for cooling, and the Rootmaster logo is laser-etched on top. First impressions are of a well-built, compact and good-looking amp.

The front panel is logically laid out, with well-spaced controls and clear, white graphics which show up well against the new matt black finish. Previous amps had a polished stainless front panel and although they looked great, they were very reflective, which made the controls and printing difficult to see under bright stage lights. 

There are separate active and passive inputs, next to which is the VU meter – it is an Ashdown amp, after all – which allows you to visually set your input level using the input control. Next to this are three buttons for EQ in/out, ‘shape’ – which fast-tracks you to that classic Ashdown ABM amp sound – and a mute button, which also changes the light behind the VU meter to blue so you can instantly see when you’re muted: a really neat idea.

The EQ consists of three main controls: Bass, Middle and Treble. However, there are two further controls set at 240Hz and 1.6kHz. These carefully chosen frequencies sit between those of the main controls and allow for fine-tuning your EQ. It’s an elegant and simple way of turning the basic three-band EQ into something really versatile, while being simple to understand and operate.

Talking of which, there’s also a one-knob compressor and a Sub control, which adds frequencies an octave below those of the notes you’re playing – a great addition to your sound. The Drive control is an impressive and authentic-sounding tube overdrive/distortion. It’s a really usable, valuable addition to the amp. Both this and the Sub can be switched in or out via a FS/2 footswitch.

A quick look at the back panel confirms that all the routing options and connectivity needed are present. As well as two Speakon combi jacks, there’s an effects loop and an XLR DI output. A real bonus with this amp is the built-in headphone preamp and Line In, with its own separate level on the front panel, making the RM 800 a perfect silent practice tool as well as a great gigging amp.   

Plug in, and the huge headroom of the RM 800 is immediately obvious. Even with the front-end gain cranked up and the EQ a little bass-heavy, it’s hard to bully the preamp into clipping or distortion. With everything set flat, the clear and neutral sound means that your bass’s individual voice shines through. That may or may not be a good thing! 

The new Spector bass I plugged in sounded bright and full, the amp accurately reproducing every nuance of the exotic timbres and powerfully active EQ on this high-end bass. Even my old Precision sounded awesome, although the 60-year-old pickup and antique flatwounds meant the poor thing needed a bit of a leg-up in the tone department. 

Still, the added versatility of the two extra EQ controls made it easy to fine-tune the tone and boost those frequencies under-represented in the wheezy old pickup, and I was quickly able to dial in a familiar, contemporary and aggressive Precision sound. Adding a touch of overdrive, a hint of compression and a little of the sub effect further enhanced the tone, and in no time I was working with a perfect bass sound, no matter what genre of music I was playing. 

We’ve come to expect great bass gear from Ashdown, and the RM-800 EVO ll amp continues this tradition of affordable, pro-quality amplification from this family-run business. The addition of the headphone preamp and adjustable line in give it a bit of a competitive edge when compared to many other bass amps in this class, and allied to the renowned reliability, light weight and comprehensive features, they make this quite a bargain. This amp is certainly worth checking out. 

Specs

• PRICE: $1,079 / £599
• MADE IN: China
• POWER: 800W @ 4 ohms
• FEATURES: VU meter, Active/Passive Inputs, EQ in/out, Shape, Mute, Compressor, Drive (with in/out buttons) Sub filter, EQ: Low, mid and Treble, plus two further tone controls at 240Hz and 1.5kHz, Headphone input with on/off, Line in with mix control, Send/Return, XLR DI Output, 2 x Speakon, two-year warranty
• DIMENSIONS: 12” x 9” x 3.5” 
• WEIGHT: 5.5 lbs
• CONTACT: Ashdown Engineering

Orange and Glenn Hughes have been a match made in heaven for over 10 years – and this new GH signature bass amp combo gives the Orange Crush Bass 50 a purple makeover, with an improved speaker in the rear-ported cabinet and a simple but versatile front end. 

It’s said to deliver smooth clean lows and biting mid-range, alongside a spiky top end... let’s find out.

Build Quality

Built in China, the Purple Crush bears all the hallmarks that you might expect of an Orange bass combo. The well-built chassis is covered with the obligatory vinyl – in purple, tipping the hat to Hughes’s time with Deep Purple, in case that needs explaining – with black piping trim. 

The cabinet corners are fitted with metal corner covers for added protection, while the rear of the cabinet features a rear port for an improved spread of the bass frequencies.

Although it’s not the lightest combo around, the well-placed top handle makes carrying the unit around fairly easy, while the unit’s dimensions are such that transporting it isn’t a problem. The cloth speaker cover gives the unit a vintage vibe, while the metal ‘Limited Edition’ plate, sporting Glenn’s signature, is a slick touch.

The control panel is quick and easy to get to grips with. Bells and whistles aren’t required to coax immense bass tones out of this combo.

For those wishing to use a bass with active electronics, a -6dB pad can be called into play; after that, we’re presented with Gain – used to control the level of clean or dirt in your signal – and Blend, for adding in the Gain level and upper harmonic range to the clean signal.

There’s a three-band EQ with mid-frequency selection and overall volume, and a chromatic tuner, making on-the-fly tuning simple.

The combo comes with headphone and aux-in sockets, both essential for home practice, while the rear sports Send/Return FX sockets and a footswitchable Blend socket, allowing the player to switch the Blend control in and out as required. 

There is no facility for adding extra cabinets to this combo, so at 50 watts, its full capabilities are clear for all to hear. Although an XLR DI connection isn’t provided, should you wish to send a signal to a mixer or interface, you can obtain a feed via the headphone out or the Send FX socket. The headphone socket also utilizes a cabinet simulator to create a warmer bass signal. When this socket is in use, the speaker is muted.

Sounds

Orange amplifiers have a reputation for a distinctive tonal character, and the Purple Crush combo maintains that reputation, delivering a warm, rounded clean tone, no matter what type of bass you present it with. The 12” speaker suits this unit extremely well, providing a powerful but warm delivery, with plenty of punch in the mid-range where it matters, and detailed clarity that doesn’t grate on the ears.

Let’s be honest, though: you wouldn’t buy this amp just for its clean tone – the fun and games are saved for the abrasive distortion. This combo delivers on that promise in spades, and accessing the colorfully distorted tones couldn’t be any simpler.

Experimenting with the Gain and Blend controls will highlight the tones on offer, and then it’s merely a case of finding the sweet spot that suits your bass and your playing style. Add your output volume to the recipe, and the Purple Crush delivers. Rock players will find much to enjoy with the tones on offer and how the amp delivers them.

Conclusion

Considering the dimensions of this combo, it puts in a storming performance: loud, punchy, and formidable. The EQ section offers a usable array of tones, so if a clanky sound isn’t what you want but a smooth drive is, that can be delivered. 

At this price, it won’t break the bank, and although you can’t add additional cabinets to this setup, it’s more than capable of putting in a stellar performance when mic’ed up or with a feed sent to the PA system.

Specs

• PRICE: $299
• MADE IN: China
• POWER: 50 watts RMS
• FEATURES: Pad (-6dB) switch, gain, blend, bass (+/-15dB), mid-frequency (300Hz 2.7kHz), middle (+/-15dB), treble (+/-20dB), volume
• SPEAKERS: 1 x 12” speaker and reflex port
• DIMENSIONS: | 490 (H) x 425 (W) x 275mm (D)
• CONNECTIONS: 1/4” input (0/-6dB), 3.5mm auxiliary input, 1/4” headphones output, 1/4” Send/Return FX loop, 1/4” jack Blend input (footswitchable)
• WEIGHT: 32 lbs
• CONTACT: Orange Amps

Nowadays, most of us have realized that bassists don’t really need to be carrying around huge bass amps in order to pack a punch, when so many lightweight Class D alternatives are available.  

As a reminder, Class D amps use a high-frequency oscillator carrier at 400 KHz with pulse width modulation techniques to amplify the audio signal, only drawing current when the audio signal is present. 

This makes the amplifier extremely efficient, at 90 percent or higher. Filtering is then required to remove the non-musical harmonics generated as by-products present on the output, which need to be removed and can be costly.  

Competition is fierce in the Class D amplifier market, with quality varying widely between manufacturers. As for the product cost, design expenses can be cut while still maintaining the output power – but the pay-off is whether the amp’s musicality is retained.

This brings us to Warwick, who released three Gnome series bass heads earlier this year: These Class D units focus on affordability, power and quality, with optional USB interfaces for digital applications. Let’s give them a spin.

Build Quality

The first two units are the Gnome and Gnome i, both offering 200 watts at 4 ohms or 130 watts at 8 ohms; the latter comes with a USB socket. These two amps share the same gain, three-band EQ, limiter/compressor and master controls. The third amp is the Gnome iPro, which supplies 280 watts at 4 ohms or 180 watts at 8 ohms.

The amplifiers can only be described as robust with a capital R, each with a smart black steel chassis, using a brushed steel effect at base and top, plus four rubber feet. The units feel as solid as a tank and should be able to withstand a fair amount of abuse. Everything is simple and well laid out.

The front control panel has a 1/4” jack input for active or passive basses, and the LED next to it lights up green when a signal is present and red when the compression/limiter is active, preventing clipping.

There are rotary controls for Gain, Bass, Middle, Treble, and Master, plus a green power LED and a headphone socket. The back panel has a power switch, IEC power connector, a 1/4” speaker jack, XLR DI line out and ground lift button and (aside from the entry-level unit) a USB digital output.

We tested the amps with a fair selection of basses: a Squier Precision, a Wal, a Jaydee fretless and a Stingray five-string, coupled to a pair of Aguilar SL112 cabs.

Using the EQ set at noon and slowly winding up the Gain and Master volumes, the Gnome produces a strong but well-balanced natural sound which retains the characters of all four basses. The musicality of the three-band EQ is impressive, accentuating the tonal qualities with 15dB cut and boost for bass, mids, and treble (80 Hz, 400 Hz, 4.2 KHz) providing numerous possibilities.

Sound Quality

The beauty of these amplifiers lies in their simplicity: five knobs on the front does it all. Using the Gain control in conjunction with the EQ is when things start to get interesting. A range of tones from old-school Motown and funk to metal is available at any volume, kept in check with the on-board compressor/limiter.

Power is adequate from the Gnome i, making it suitable for small sound stages, but the Gnome iPro is recommended for larger venues. You could also pair up a Gnome i with a basic Gnome for a stereo setup or for larger events.

A unique selling point of both the Gnome i and iPro variants is the basic USB audio interface, which allows for digital connectivity with PC, Macs and other compatible devices. Bass-lines can easily be recorded and distributed, while the interface also opens the door for editing your tones and parts in the DAW of your choice.

Conclusion

These are straightforward, easy-to-use amplifiers, available at a very bassist-friendly price. The sonic possibilities, especially via software when connected to a DAW, are extensive – and as for the ease of transport? Priceless.

Specs

• PRICE: $199 / £129; $249 / £169; $299 / £199
• MADE IN: China
• OUTPUT: Gnome/Gnome i 200 watts at 4 ohms, 130 watts at 8 ohms; Gnome iPro 280 watts at 4 ohms, 180 watts at 8 ohms
• FEATURES: Gain, Bass, Middle, Treble, Master, signal level/compressor LED indicator, LED power indicator, automatic limiter/compressor, Class D power amp section with clip, thermal, DC, over current and short circuit protection
• CONNECTIONS: Front panel .25” jack input on front for active and passive basses, .25” jack output headphones; Rear panel Post EQ balanced XLR DI output with ground lift switch, .25” jack speaker output, USB type B Digital audio output, IEC power connector, power switch
• DIMENSIONS (LxWxH): Gnome/Gnome i 6.7 x 4.6 x 1.8” Gnome iPro 7.9 x 5.4 x 1.9”
• WEIGHT: Gnome/Gnome i 2.2lbs Gnome iPro 3 lbs
• CONTACT: Warwick

Ashdown Music is well known all over the world as an industry standard in bass amps, with a huge user-list that reads like a who’s who of the world’s greatest bass players. It’s such a strong reputation that Ashdown’s equally impressive guitar products sometimes tend to be a little unfairly overshadowed.  

Launched back in 2020, Ashdown’s Guitar Magnifier heads and combos take their inspiration from the best-selling Bass Magnifier range. Designed by amp guru Dave Green and made in the UK at Ashdown’s Essex Custom Shop, the AGM collection promises great tone and real-world versatility at affordable prices. 

We previously looked at the AGM-5C combo back in February, now it’s time to zero in on the AGM-484H head. Ashdown’s ultra-compact AGM-484H isn’t that much bigger than a box of cornflakes, but it’s considerably heftier, of course, thanks to a pair of generously sized mains and output transformers feeding four JJ 12AX7 preamp valves and a quartet of JJ EL84s inside.

The 484H is presented in typical Ashdown fashion, with a satin-black steel cabinet and smart brushed gold control panel featuring the company’s trademark illuminated VU meter at the far right.

A heavy-duty leather strap handle is bolted to one end of the cabinet and enables easier carrying. The electronics live on two high-quality printed circuit boards: a large one near the front holds the preamp components, while a second board in the middle of the chassis accommodates the power stage components, including the valves, which sit horizontally in a gap between the AGM-484H’s transformers.

The wiring is all neatly routed and the soldering is clean and bright, with short flying leads to the front-panel controls and switches for improved reliability and ease of servicing. There’s generous ventilation to keep things cool thanks to the large slotted grilles on the top and bottom of the cabinet and a small permanently-on fan on the rear panel.

The AGM-484H is essentially a single-channel head, with a switchable boost stage that has its own gain and master volume. There’s a non-boosted gain and master volume as well, together with bass, mid, treble and presence EQ controls.

The gain stages are cascaded, so with the boost engaged both gain controls are active. The boost can be activated remotely with a footswitch or from the front panel. Meanwhile, a second toggle called Clip changes the gain structure for more tonal variation.

Near the VU meter, there’s a pair of sockets for the amp’s series effects loop, which is valve-driven and valve-recovered. Rear-panel features include a pair of 16-ohm and eight-ohm speaker outlets and a footswitch jack on the far right, plus an integrated mains socket, fuse tray and power switch at the other end.

Overall, the AGM-484H exudes the typical Ashdown vibe of solid reliability and classy styling, with military-spec components and tough construction ready to handle the rough and tumble of regular gigging and touring. Having said that, paint finishes on steel cabinets are easily scratched and we’d recommend investing in a padded cover to keep your AGM-484H looking pristine.

Feel & Sounds

The Ashdown purrs into life with a gentle whirring from the rear-mounted cooling fan. We tried out the AGM-484H with our usual Les Paul and Strat test guitars, which are fitted with regular output pickups: a pair of PAFs and a trio of Duncan Alnico Pro single coils.

The AGM’s Brit-flavoured voice is a heady blend of Vox and early Marshall, with a hint of Fender Tweed, for versatile lead and rhythm sounds that work well across a wide range of genres.

Used unboosted, you can go from spanky funk and reggae cleans to chiming AC-inspired jangle and a slightly gnarlier pushed crunch, which sounds great for blues and country. There’s no favouritism for guitars; humbuckers and single coils both sound great thanks to a smooth, predictable passive EQ. With a little practice, it’s easy to dial in any instrument; there are no annoying midrange peaks or treble fizz.

Flipping the Boost switch adds a significant chunk of filth, going from crunch up to screaming leads with both gain controls maxed out.

Engaging Boost mode keeps both gain knobs active as the signal cascades from one stage into the next, generating subtle shifts in colour and dynamic response as the controls are tweaked relative to each other. Meanwhile, the Clip switch alters the gain structure for more versatility, tightening up the low-end and adding upper-mid harmonics.

With a respectable 30 watts of power behind it and a pair of heavy duty transformers to deliver it, there’s no shortage of headroom, making the AGM-484H a great platform for pedal users. That said, it’s particularly rewarding to use with just a guitar and a lead, where the dual master volume arrangement makes it easy to balance overdrive and clean sounds.

To deliver the decibels, we hooked the AGM-484H up to one of Ashdown’s AGM-112 cabinets, which is loaded with Celestion’s excellent G12M-65 Creamback driver. This proved to be an ideal partner, with a resonant woody midrange and sweet treble combined with a tight bass, emphasised by the semi-open-back lightweight ply construction.

Verdict

As live music makes a tentative return, so does the need for amplification that delivers great tone at proper gig volume levels. Ashdown’s AGM-484H is an ideal choice for the working guitar player, with compact dimensions that make it easy to transport and fit on the smallest of stages.

There’s plenty of volume to handle the average un-mic’d pub gig with ease. However, the slightly elevated background noise levels mean this head is perhaps less well-suited to home use and recording.

An on/off switch for the fan might be useful, too, although in fairness the 484H is clearly designed to be turned up, at which point all you’ll hear are great guitar sounds that flatter any style – with the punch and dynamic response that only comes from a premium all-valve circuit.

Specs

• PRICE: £999
• ORIGIN: UK
• TYPE: Valve preamp and valve power amp
• OUTPUT: 30W
• VALVES: 4x 12AX7, 4x EL84
• DIMENSIONS: 80 (h) x 400 (w) x 220mm (d)
• WEIGHT (kg/lb): 12/26
• CABINET: Steel
• CHANNELS: 1, with footswitchable boost
• CONTROLS: Boost, gain, bass, mid, treble, presence, volume, boost volume. Boost on/off switch, clip switch
• FOOTSWITCH: Single-button latching footswitch toggles boost function, not supplied
• ADDITIONAL FEATURES: Series effects loop, footswitchable boost
• OPTIONS: None
• RANGE OPTIONS: Ashdown’s Guitar Magnifier collection includes: AGM-5C combo (£749), AGM-30 Offset head (£1,099), 45W AGM-684C combo (£1,599) and 15W AGM-284C combo (£999). Matching speaker cabinets include the AGM-112 featured here (£349), AGM-210 and AGM-212 (both £599)
• CONTACT: Ashdown Engineering

Ashdown has unveiled a new signature bass amp head for Guy Pratt, the Interstellar-600.

The esteemed British bassist, who has played with everyone from Pink Floyd to Madonna and Gary Moore, has long favored customized Ashdown’s ABM 900 heads, and the new signature model is based on that amp.

That said, there are some extensive modifications packaged with the Interstellar-600. The face of the amp contains two VU meters, for both input and output levels, then there’s a nine-band EQ section and, on the rear, an input for Pratt’s Moog Taurus pedal.

In addition, Ashdown says the amp can be used with an optional footswitch to engage “the compression and the sub harmonics at fixed values to Guy's exacting specifications when required”.

The large Tube Drive knob on the front of the amp allows players to blend Dual Triode Tube amplification/overdrive section into the signal, allowing you to tweak it from valve-based warmth, to full on distortion.

Pratt also specified a more vintage '60s aesthetic, so the amp comes with a custom wooden sleeve, which can be removed to place it in a rack unit.

“I can’t tell you how proud it makes me to have a signature amp with my Ashdown family, who’ve been with me every step of the way of my 40 year career,” says Pratt. 

“We’ve been tinkering with bits and pieces for years, and this combines our shared passion for great traditional British amps with everything I know and trust about my ABMs. It’s not about bells and whistles, well apart from the dedicated Taurus input, it’s about solid, shapeable, deliverable power. Along with my 3x10s this is my ultimate dream rig. Turn on and trip out!”

The Ashdown Interstellar-600 is handmade in the UK and available for pre-order now. Head to Ashdown’s official site for more information. 

The new Rocket range of bass amp combos from Ampeg has five models of varying specifications, and all share a vintage, old-school vibe. With a simple but effective control layout, cool styling and all the connections you would expect to see, these combos can be used in a variety of settings and applications. 

We’re looking at the 1x8” and 1x10” models which focus on home, rehearsal, and small acoustic gig situations. Let’s see what they can do.  

Build Quality

Rated at 30 and 50 watts respectively, both combos are lightweight and portable, aided by their speaker sizes, and both are finished in the ‘black diamond’ material seen on previous Ampeg combos. 

Metal corners protect the units from bumps and scrapes, while cloth speaker grilles, a recessed control panel, and a tough carry-handle situated on the upper facing feature on both units. Clearly, these combos have been designed with practicality and simplicity in mind. 

Utilizing the Ampeg Legacy preamp, these combos have been additionally furnished with the company’s trademarked SGT (Super Grit Technology) overdrive circuitry, which provides both units with the signature Ampeg grit and drive that we have come to expect, without resorting to tube technology – and thus pushing the price up.

Thankfully, the control panel is well laid out and easy to use, with a simple volume and three-band EQ setup, although the other combos in the range have additional Ultra-Hi and Lo selector switches.

All of the controls are securely attached and turn smoothly with little fuss. The SGT option is accessed via a switch on the control panel, although it can be footswitchable on some of the larger combos; the 1x8 combo is purely ‘effect on/off’, whereas the 110 unit has additional Grit and Level controls to give the player a degree of control.

Both combos feature 3.5mm aux in and headphone output sockets, a prerequisite for any home-use combo these days, while the 10” speaker-equipped 110 model also incorporates a balanced XLR DI output for sending a feed to a mixer or audio interface.

Sounds

It’s very apparent that these combos are only going to produce so much low end – and rated at 30 and 50 watts respectively, you won’t be blowing any drum kits away with one of these.

However, placed in the corner of a room or against a wall, you will get the impression that they can produce a fuller and more rounded bass tone than if you were to place either of them in the middle of a room. 

With 8” and 10” speakers, the bass signals from each combo are going to have a mid bias. You can’t escape this, because you can’t rewrite physics – a small speaker in a small enclosure just can’t pump out tones that shift air.

Nevertheless, both of these combos put in a respectable performance, with the three-band EQ proving to be impressively flexible. Even without a horn or tweeter, the top end is clear and biting, without creating too much clank, especially from the passive basses I used to test the units with.

Calling on several active basses, both combos managed to keep up with the additional power afforded by the active EQ, but as expected, the 110 combo just had the edge with its larger speaker and enclosure, allowing the signal and tones of each bass to bloom and be slightly more effective in terms of their delivery.

So, onto the SGT circuitry. For a company whose reputation has been firmly built on valve technology, some may see this solid-state ‘valve-flavor’ as a gimmick – but in use, it’s far from that.

With the smaller combo, you may decide never to turn it off, as it gives the tone some added color and character, creating a lively edge that isn’t there otherwise. With the 110 combo, the additional SGT controls mean you can dial in some grit without it taking over the whole tone, instead simply adding some warmth to the overall sound.

Returning both combos to their clean state, turning the volume up gradually, and pushing each unit to its limits, you may be surprised that the pushed delivery won’t take the plaster off the walls – which may or may not be a good thing, depending on your intended use of either combo.

Specs

Ampeg Rocket Bass RB-108

• PRICE: $209 / £139
• MADE IN: China
• POWER: 30 watts @ 4 ohms
• FEATURES: SGT (Super Grit Technology) switch, volume, bass (+13/-21dB@40Hz), midrange (+16/-10dB@500Hz), treble (+12/-16dB@4kHz)
• SPEAKERS: 1 x 8” speaker
• DIMENSIONS: 433mm (H) x 411mm (W) x 306mm (D) / 17.04” (H) x 16.18” (W) x 12.04” (D)
• CONNECTIONS: 1/4” jack inputs x 2 (0/-15dB), 3.5mm Auxiliary input, 3.5mm headphones output
• WEIGHT: 23 lbs

Ampeg Rocket Bass RB-110

• PRICE: $321
• MADE IN: China
• POWER: 50 watts @ 4 ohms
• FEATURES: SGT (Super Grit Technology) switch, grit, level, volume, bass (+14/-20dB@40Hz), midrange (+15/-10dB@500Hz), treble(+12/- 16dB@4kHz), ground/lift switch
• SPEAKERS: 1 x 10” speaker
• DIMENSIONS: 481mm (H) x 411mm (W) x 330mm (D) / 18.93” (H) x 16.18” (W) x 12.99” (D)
• CONNECTIONS: 1/4” jack inputs x 2 (0/-15dB), 3.5mm Auxiliary input, 3.5mm headphones output, balanced XLR DI output
• WEIGHT: 22.5 lbs
• CONTACT: Ampeg

• Save cash with one of the best budget bass amps

We've previously looked at ensuring that the impedance load of your cabinets is matched to your bass amp. This month, we delve into the all-important speaker cabinet power handling, and deal with a few associated myths. 

What are watts?

A watt is a unit of electrical or thermal power.

A lightbulb’s power is measured in watts, right? 

Yes, indeed, and we tend to think that the brighter the bulb is the more powerful it is – but in reality, it doesn’t entirely work that way with amplification. Power doesn’t exactly equal how loud a system is, due to the complicated relationship between the amplifier, the power supply, and the attached speaker loads.

Why do those words make my heart sink...

Don’t worry – the more you dig into the relevant theory, the harder it gets. It doesn’t help that the marketing department of a given amp manufacturer may well have exerted some influence over the published figures, too. You can ignore terms such as ‘Watts PMPO’, ‘MPO’, ‘Total Power’, and other ‘creative’ naming standards. Ignore the watts label close to the power socket on your amp, too. That’s obviously not the output, it is simply the mains power consumption.

Noted. Is there any reliable standard that I can trust? 

Yes. Cabinet power handling is often quoted in watts RMS, which stands for Root Mean Square. This measurement tells you what a speaker is capable of handling over a long period, as opposed to taking a peak reading, which will be much higher – but which will risk damage to your speaker coil after a shorter period of time.

Have decibels got anything to do with all this? 

They do indeed. Sound pressure level (or SPL) is measured in decibels (dBs). This is a good way to measure how loud something is. Power handling in watts is more commonly cited, though.

So how many watts do I need to be heard? 

That’s a great question. I tell bassists to head for around 500W RMS if they’re in a standard rock band. This is because you may happen to plug into an inefficient cabinet, in which case 500W should be enough power to get you heard on most gigs. However, don’t expect a 500W amp to be able to see off your two guitarists’ 4x12 rigs if you’re only using a single 12” speaker. 

In that case, try more cones. You’ll be able to move more air, which is a good way of getting heard over your bandmates’ noise. If I were offered a choice of doubling my available woofers or using an amp with an extra 100W of power, I’d choose the former every time.

You mentioned inefficiency – what is that? 

A speaker cabinet’s efficiency is its ability to turn incoming electrical signals into outgoing sound. This efficiency is measured in dB. If this figure is supplied, you may see something like ‘1w/1m’ next to it, meaning that the signal was measured from one meter’s distance while the speaker was fed one watt. Beware, though – manufacturers test with different types of signals, and there doesn’t appear to be an agreed system in place that everyone admits to using for readings. 

So what do you suggest when I want to pair amplifier and cabinet power? 

Listen carefully. Is the speaker distorting when you’re expecting a clean sound? In that case, you could be pushing it towards its limits. Turn it down! Another bit of useful advice, as RMS is an average figure, is to ensure that you match the amp to the cab equally when it comes to impedance and wattage, or simply check that the cab’s power handling is higher. Finally, if you don’t know exactly what you’re doing, always seek qualified assistance.

With bass amps becoming ever lighter and smaller, the lines of separation between a home practice combo and a functional live amp are becoming increasingly irrelevant. In-ear monitors and minimal backline requirements on gigs are blurring those lines even further. 

This unit from the Marcus Miller range of amplification from Markbass is small, portable, and compact, and although its output rating is limited at 45 watts – or 60 watts with an extension cabinet – it comes equipped with all the necessary features required of a home practice combo. So... is it up to the job?

Build Quality

Finished in a black felt covering and furnished with plastic protective corners, metal grille, and a top-mounted carry handle, the Micro 60 bears all the hallmarks of a Markbass combo, and can easily be stacked atop other similarly sized Markbass cabinets.

The familiar yellow 10” speaker is supported by a piezo tweeter, with the obvious intention being that clarity and definition are not compromised. To ensure a solid low-end response, the rear of the cab has extensive rear reflex porting.

In terms of features, the control set is limited but gives you everything most of us will need: Gain and Master volume controls, a three-band EQ, an auxiliary input for adding a music source, headphone and XLR DI outputs, and an additional speaker out enabling the addition of an extra cabinet. A clip indicator LED shows the player when the bass signal is a little too hot, safeguarding the speaker’s performance.

As it weighs in at 25 pounds, portability has been addressed, assisted by some effective unit dimensions. Not only can the unit be carried with ease, it will take up very little room at home or on stage – very useful for those small club gigs where space is at a premium.

Sounds

We tested the combo with a variety of bass guitars, concluding that the Micro 60 is capable of delivering a surprisingly full low-end performance. Whether presented with a passive, active, four-string, five-string, fretless or acoustic instrument, the individual tonal characteristics are conveyed with a fair degree of power and finesse. 

Slapped and tapped passages benefit greatly from the addition of the tweeter, making subtle playing stand out without getting lost. Obviously, as the unit is fitted with a 10” speaker, the probability of concocting a truly bass-drenched signal is fairly low.

The simple but effective control layout makes dialing in your tonal requirements easy. It may lack frills, but on a unit such as this, which has been designed to do a simple thing well, why would you want frills? A great, usable tone is the order of the day and the Micro 60 certainly delivers that. 

Fingerstyle and pick applications are conveyed with authority, although once you start digging in and pushing the unit, you may find that its limitations start to become obvious. This is where attaching an additional cabinet comes into play, and shows sensible forethought from the Markbass team.

60 watts may not sound like much, but with an additional 8-ohm cabinet attached, the low end is further reinforced, making the setup more efficient when it comes to conveying the spread of frequencies. This will definitely appeal to five-string bassists, who want the notes to jump off  the B string, not merely make a thud.

In use, the tweeter makes a lot of difference to the overall performance and gives the combo versatility, creating a full tonal display with articulation and detail. Thankfully, increasing the Treble control doesn’t result in a thin response, but rather a sweeter high end. Using the combo with basses equipped with active EQ showed no limitations as such; adjusting the onboard preamps merely highlighted how capable this combo actually is.

Conclusion

Markbass combos are popular for their portable nature and useful control set, and this example certainly carries on in that tradition. Its simplicity is apparent, but that is the ace up its sleeve. Sure, it has limitations, but I can see many players making full use of it at home, at rehearsals and live. 

Specs

• PRICE: $449 + sales tax
• MADE IN: Indonesia
• POWER: 60 watts at 4 ohms, 45 watts at 8 ohms
• FEATURES: Gain, master volume, low, middle, high, dual voltage switch, internal speaker on/off switch, ground/lift selector Speakers | 1 x 10” Markbass custom speaker, piezo tweeter
• DIMENSIONS: 366mm (H) x 370mm (W) x 334mm (D) 
• CONNECTIONS: 1/4-inch jack input, 3.5mm auxiliary input, balanced XLR DI output, 1/4-inch jack speaker output, 3.5mm headphone output
• WEIGHT: 25.35 lbs
• CONTACT: Markbass

British amp company Laney has launched an all-new line of bass amps, the Digbeth series, as well as three new additions to its Black Country Customs pedal lineup.

Named after the location of Laney's original factory in Digbeth, Birmingham, the new range comprises 500W and 200W compact bass heads, each of which offer a choice of FET and tube preamp tones, as well as three matching cabs and a dedicated preamp pedal.

New additions to the Black Country Customs pedal series include a compressor (The Custard Factory), interval/pitch-shifter (The 85) and distortion pedal (Blackheath).

Laney Digbeth series

Both DB200H and DB500H heads boast switchable FET and tube-driven preamps for vintage tones, and modern functionality comes by way of XLR outputs, effects loop, mini-jack input and headphones out.

While the 200W head packs a two-band EQ and tilt control, the 500W ups the ante considerably, with a three-band EQ and selectable mid pre-shape EQ curve.

Rounding off the Digbeth range is the DB-PRE, an ultra-portable preamp pedal that features both FET and tube-based signal paths, as well as a comprehensive range of ins and outs.

Cab-wise, there's a choice of the 8x10" DBV810-4, 2x12" DBV212-4, and 4x10" DBV410. All three designs feature HH Black Label ceramic speakers, while the 4x10" and 2x12" formats add a a 1” LaVoce Compression driver for extra upper-frequency response.

In-depth reviews of both the DB200H and DB500H amp heads will appear in the June 2021 issue of Bass Player magazine.

New Black Country Customs pedals

First up in the trio of new BCC pedals is The Custard Factory. Offering “studio-quality compression”, this stompbox is designed to be transparent, and won't mess with basses' fundamental tone. Features include three modes of compression – Fast, Medium and Slow – and silent switching.

The 85, meanwhile, delivers three bass-focused intervals – +1 octave up, -2 octaves down and a Perfect 5th up – as well as a Focus control, which allows players to further fine-tune the tone, creating everything from “classic funky subs to massive synth-like chords”.

Lastly, the Blackheath sets its sights on distortion, with a central toggle switch that allows players to choose between two Distortion modes and one Overdrive, while further controls include Gain, Volume, Range and Colour.

For more information on the Digbeth series and new Black Country Customs pedals, head to Laney.

British amplification heavyweight Laney has vastly expanded its bass gear offering for 2021, announcing the all-new Digbeth series – which seeks to combine vintage tone and looks with modern functionality – as well as three new additions to its Black Country Customs pedal lineup.

Named after the location of Laney's original factory in Digbeth, Birmingham, the new range comprises two compact bass heads – the 500W DB500H and 200W DB200H, each offering a range of FET and tube tones – three matching cabs – the DBV810-4, DBV212-4 and DBV410 – and a dedicated preamp pedal, the DB-PRE.

New additions to the Black Country Customs series include a compressor (The Custard Factory), Interval pedal (The 85) and a distortion pedal (Blackheath).

The Digbeth series

The largest of the cabs on offer, the DBV810-4 is described as a “stage-ready cabinet”, packing eight 10-inch custom-designed, vintage-voiced HH Black Label series ceramic drivers. This cab matches perfectly with the DB500H head.

At the other end of the spectrum size-wise lies the DBV212-4 – a “powerful, dynamic, compact mid-sized cabinet” loaded with a pair of vertically aligned 12-inch HH Black Label series ceramic drivers. Delivering “masses of punchy warm vintage tone”, this cab matches with either the DB200H or DB500H heads.

The DBV410 is designed for bass players who require a powerful, dynamic and compact single-cab setup. Equipped with four 10-inch vintage-voiced HH Black Label series ceramic drivers – and a 1-inch LaVoce Compression Driver for refined top-end, this cab is designed to accentuate mid-range punch, and pairs brilliantly with either the DB200H or DB500H heads.

Rounding off the Digbeth range is the DB-PRE, an ultra-portable preamp pedal which offers bass players the Digbeth tone in a “fly-ready format”. Featuring both FET and tube-based signal paths, the pedal is loaded with a comprehensive range of ins and outs, meaning it works perfectly either as a bassist's main standalone tone or as an addition to an existing rig.

In-depth reviews of both the DB200H and DB500H amp heads will appear in the June 2021 issue of Bass Player magazine.

New Black Country Customs pedals

First up in the trio of new BCC pedals is The Custard Factory. Offering “studio-quality compression”, this stompbox is designed to be transparent, simple to use and to deliver a consistent musical sound without impairing any of the fundamental quality of a bass player's tone. Features include three modes of compression – Fast, Medium and Slow – and silent switching. 

Interestingly, this pedal is named after the original Laney factory's predecessor, Bird's Custard.

Named after Laney founder Lyndon Laney's bus route to work at the original Digbeth premises, The 85 offers three interval modes – +1 octave up, -2 octaves down and a Perfect 5th up – as well as a Focus control, which allows the player to further fine-tune tone, creating everything from “classic funky subs to massive synth-like chords”.

And lastly, the Blackheath seeks to offer “all the tonal distortion you're looking for in a single pedal”. Its central toggle switch allows the player to choose between two Distortion modes and one Overdrive, while further controls include Gain, Volume, Range and Colour.

For more information on either the Digbeth series or new Black Country Customs pedals, head to Laney.

Now, here’s a subject that causes a lot of confusion – the dreaded impedance. Relax while we break the idea down to its simplest terms in order to help you understand what it means, and why it’s important to understand when you’re hooking up speaker cabinets to your bass amp.  

Go on then. 

Impedance, measured in units called ohms, is the electrical load that the speakers place on an amplifier. Think of it  as resistance to the flow of current through a component or circuit. Check out the speaker output on your solid state amplifier. You’ll probably see a warning next to it that says something like ‘4 ohms minimum’.  

My speaker cabinet refers to ‘nominal’ rated impedances. What does that mean? 

‘Nominal’ means that the impedance tends to change with frequency.  All right, so what? Your amplifier operates within certain margins. We hear about its power output in watts, and how we need to match our amplifier and cabinets in that sense, but we also need to pay attention to the impedance load on an amp. Too low an impedance from cabinets is actually worse than when it’s too high.  

What do I need to do? 

A good guide is to match the total impedance of your speaker cabinets to that of the minimum rating of the amplifier. That said, with a solid-state head, you can have a higher impedance, say 8 ohms load on a 4 ohm minimum amp, and you’ll still be fine. All-valve amps are a little different in that the output impedance specified on the amp is actually the maximum impedance. You’re advised to match valve amps and their cabinets impedance exactly.

Is that all?

I think I can match two identical numbers, buddy. Yes, but when you want to connect multiple bass or guitar cabinets, the impedance changes.

Ohm my God. 

Exactly. Here’s some important things to note. In modern solid-state heads and cabs, the speaker connectors you will find on each are wired in parallel. I’m referring to the sockets themselves, and not how the individual speakers inside a cabinet are wired. It doesn’t matter if you run two cables from the head to each cabinet, or ‘daisy-chain’ (link in a row) from the head to cab 1 and then from cab 1 to cab 2. The impedance load will be the same.

I’ve heard there’s some mathematics involved? 

You heard right, but I’ve saved you some effort with these practical examples: 

• Two 4 ohm cabs connected to your amp will present a 2 ohm load
• Two 8 ohm cabs connected to your amp will present a 4 ohm load 
• Four 8 ohm cabs connected to your amp will present a 2 ohm load 
• An 8 ohm and a 4 ohm cabs connected to your amp will present a 2.6 ohm load.
• Three 8 ohm cabs connected to your amp will present a 2.6 ohm load.

Like anyone uses three cabs. 

You’d be surprised. You can see that in some cases, the load presented can be lower than that of the minimum rating of the amp, and you will rightly be advised against such configurations in the manual.

I’ve been told things like, ‘This amp needs to see 4 ohms to get the maximum power out of it.’

Using an 8 ohm cab with an amp that specifies, say, 500W RMS at 4 ohms makes less of a difference than you might think. In theory, the amp may then only produce 250W to 350W with the doubling of the load, which might seem like a bad thing. However, for the same amp to be twice as loud, it will need to produce 10 times the power. Losing 150W probably isn’t a big deal. 

This is all too difficult. Is there an easier solution that doesn’t hurt my brain? 

Yep. This is exactly why combo amps were invented! 

Combos for home and studio use have seen some refinements in recent times, just as gig amplification has done. As dimensions and weights have decreased, the demands of the home player have grown – tone, features, and flexibility are all paramount considerations. 

This affordable Ampeg is the second version of their popular BA-108 combo: At this price, can it transcend the limits of its dimensions?  

Build Quality

Fitted with a custom Ampeg-designed eight- inch speaker, this combo is covered in a rugged double-thickness Tolex covering with impact-resistant metal corners, and a mesh-style speaker grille. 

Rubber feet have been fitted to two sides of the unit; one side for standard positioning and the other to allow the combo to be tilted like a monitor. A handle sits on top of the combo, which makes carrying it very easy indeed. The front control panel is simple to navigate, offering everything the home player could need – aside from a built-in tuner, perhaps. 

Both active and passive basses are accommodated, with a -15dB pad switch, followed by a single Volume control, a three-band EQ, an Aux-In pot to control the volume mix of an external sound source, 3.5mm and 1/4-inch jack inputs, and finally a 3.5mm headphones out. Simple but neat.

Sounds

Small it may be, but the BA-108 is a powerful beast, and its EQ permits considerable tonal variation. With the EQ set flat at the center point, the delivery is strong and clear, but with no obvious bias. Thankfully, the bottom-end is rounded and smooth, the midrange avoids grit, and the treble response is clear without any indication that boosting it will simply result in unwanted clank.

A pair of passive basses with split and single-coil pickups sound just as they should with the EQ flat. Warming the signal up with the Bass control results in more power, as you might expect – but as this combo has an eight-inch speaker, the low end isn’t exactly booming.

Place the combo in the corner of a room, or against a wall if you want to increase that effect. The Mid and Treble controls give both basses an expected dose of extra presence and projection, with the overall delivery remaining focused and tight. The EQ is geared towards the familiar Ampeg thud, so high-definition glassiness when slapping will almost certainly elude you.

Switch to an active instrument, and the pad selector effectively tames the input signal, which is a relief. Again, with a cabinet and speaker of these dimensions, keeping a tight grasp on the input is necessary if you want to look after your speaker.

As for the tones, it quickly becomes apparent that the combo’s EQ requires a little less tweaking than with a passive bass: The combo basically reinforces what is already being sent to it by the instrument. Full low-end EQ on both the bass and the combo will be overkill, as this amp hasn’t been designed with live performance in mind, although it would certainly perform well in an acoustic-style band.

Slappers and pick players may find they want some extra clarity, and boosting the treble EQ will offer the extra bite they require. Again, there are obvious limitations in the high and low frequencies due to the physical nature of the unit.

Having said that, some of the slap tones are ideal, and pushing the combo hard doesn’t degrade the signal too much. If you want gritty, slightly distorted tones, you can find them by pushing the volume, but use the EQ in moderation so the speaker doesn’t leave the combo’s housing.

Conclusion

Considering its pricetag and dimensions, this is an impressive home-use combo. Expect too much of it live, and you’ll obviously push it beyond its intended parameters. Used correctly, though, I can’t see many players being disappointed with it, and with plenty of warmth and clarity on offer, it does exactly what it needs to do. 

Specs

• PRICE: $99 / £112
• MADE IN: China
• POWER: 20 watts @ 4 ohms
• FEATURES: -15dB pad switch, volume, bass, middle, treble, Aux level
• SPEAKERS: 1 x 8” Ampeg Custom8 speaker
• DIMENSIONS: 427mm (H) x 381mm (W) x 305mm (D) / 16.8” (H) x 15.0” (W) x 12.0” (D)
• CONNECTIONS: 1/4” jack input, 3.5mm auxiliary input, 1/4” jack auxiliary input, 3.5mm headphone out
• WEIGHT: 10.7 kg / 23.5 lbs
• CONTACT: Ampeg

Looking for a versatile bass amp powerhouse suitable for practice, rehearsing and recording? Look no further than the Nux Mighty Bass 50BT.

The new amp is loaded with a premium 6.5-inch loudspeaker and driven by 50 watts of class D power. What’s more, Nux's TSAC modeling technology adds in amp models and effects (wah, Uni Vibe, phaser, boost, fuzz and more), and there’s cab IRs, a drum function and a 60-second phrase loop, to boot.

Other features include a free app controller for preset access, management and editing, a USB recording interface and a DI out for balanced signal to interface or PA system.

The Mighty Bass 50BT sports three channels, and all parameters can be stored as presets in each channel. The amp models, bass cab IRs and effects are available via the free MightyAmp app, and parameters can be saved to each channel for future use.

Furthermore, the MightyAmp app (for mobile devices) and MightyBass50BT (PC) edit software offer deep tone editing possibilities, and you can also control the amp via the app.

What else is on tap with the Mighty Bass? A white-box compressor effect that offers analog touch and response; independent IR toggle switches for Amp and DI out, Bluetooth capability and much, much more.

And it’s all there in a compact, highly portable and great-sounding design.

To find out more about the Mighty Bass 50BT, head to Nux EFX.

Live performance environments continue to evolve, and with them, so have the tools that working bassists require. Ashdown Engineering has stepped up to confront our changing circumstances with the introduction of two lightweight innovations, the Ant and Tone Pocket. 

The Ant essentially replaces the position of a DI box in your signal chain, but offers more versatility than a rudimentary 600-ohm balanced DI output. Its robust aluminum housing is elegant in design, prioritizing durability, and the controls appear simple, unassuming, and straightforward to interpret. 

Input is through a standard 6.35mm mono jack, which feeds a -10dB front-end pad to help tame high-output basses. From here on, the user interface comprises two dipswitches and four rotary controls.  

The first dipswitch alternates between flat and pre-shaped EQs, allowing immediate access to Ashdown’s scooped tonality. The second dipswitch is a mute, which works in conjunction with the unit’s LED indicator. The three-band EQ is utilitarian but practical: Bass frequencies are set at 100hz, midrange is 660hz, and treble is 7khz, all with a +/- 15dB capability.

Although fairly standard, these controls are articulate and dynamic, especially when used in conjunction with the pre-shape dipswitch.

The final control knob is responsible for the output signal, which is where the Ant reveals its true prowess. On the side of the unit is the aforementioned DI output and also, curiously, a combination 6.35mm jack/Speakon connection.

Why? Well, beneath the unassuming aluminum skin of the Ant is housed a 4 ohm, 200 watt Class D power amp – all at a weight of a mere 915g, or just over two pounds. As the mains power connection is auto-voltage, it automatically runs on either 120 or 240 volts: Place this unit at the end of your pedalboard and you’re pretty much set to perform on any stage, worldwide.

One downside is that the controls appear a little vulnerable for a floor unit that’s supposedly built to last, and could perhaps benefit from some sort of protection bar. The mute switch could also be more accessible for foot use, but otherwise, the concept and design is excellent.

Ashdown Tone Pocket

Ashdown has also sent us its new headphone amp, the Tone Pocket. This handy little unit is intended to enhance home practice scenarios, but as with the Ant, the innovation extends further than that.

It weighs only 272g, or just over half a pound, and connection to the device is supplied via a 6.35mm mono jack for instruments, and an additional 3.5mm line in to accommodate MP3 players. The frequencies of the three-band EQ mirror those found on the Ant.

The versatility of the Tone Pocket becomes evident when you flip the unit around and consult the rear panel. I was pleased to see not only a balanced line out, but also a USB/DAW output, meaning that this headphone amp can be used as an independent preamp or digital interface, which can be integrated with recording software. A Bluetooth-equipped version was also recently announced.

You can charge the device via a mains socket, or simply plug it into the car socket en route to your next show or rehearsal. As a backstage headphone amp, a digital interface for recording, or as an independent multi-purpose preamp, this is a very well-designed product.

Specs

Ashdown Tone Pocket

• PRICE: £139 / $219 (black) , £149 (white), £169 / (w/Bluetooth)
• MADE IN: China
• OUTPUT: Line Out, Headphone Out, USB and DAW
• FEATURES: Three-band EQ, DAW connection (zero latency, 48K / 44.1KHz sampling rate), Soft Mute function, high-performance 16-bit audio DAC, compatible with multiple platforms, 10v power supply or USB power, five-year warranty
• WEIGHT: 272g / 0.6 lbs

Ashdown The Ant

• PRICE: £299 / $419
• MADE IN: China
• POWER OUTPUT: 4 Ohms: 196 watts RMS / 8 Ohms: 140 watts RMS
• FEATURES: Three-band EQ, Preshape, Mute, headphone out, lightweight Class D power amp, balanced XLR DI, five-year warranty
• WEIGHT: 915g / 2.1 lbs
• CONTACT: Ashdown