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Valve Amplifiers (eBook)
A bass amplifier or "bass amp" is a musical instrument electronic device that uses electrical power to make lower-pitched instruments such as the bass guitar or double bass loud enough to be heard by the performers and audience. Bass amps typically consist of a preamplifier , tone controls , a power amplifier and one or more loudspeakers "drivers" in a cabinet. While bass amps share many features with the guitar amplifiers used for electric guitar , they are distinct from other types of amplification systems , due to the particular challenges associated with low-frequency sound reproduction.
This distinction affects the design of the loudspeakers , the size and design of the speaker cabinet and the design of the preamplifier and amplifier. Speaker cabinets for bass amps usually incorporate larger loudspeakers e. The loudspeakers themselves must also be sturdier to handle the higher power levels and they must be capable of reproducing very low pitches at high sound pressure levels. The bassists who first sought methods to make their instruments louder were upright bass players.
While the upright bass is a large instrument, standing about six feet tall with its endpin extended , due to its low register it is not a loud instrument when played acoustically and because human hearing is less sensitive at low frequencies.
In the s and early s, upright bass players performing in bars and brothels often found it difficult to be heard by the audience over louder instruments such as trumpet. A partial solution was playing slap bass style, slapping the strings against the fingerboard to make a relatively loud percussive sound. In , the Audiovox Manufacturing Company was founded by Paul Tutmarc , subsequently the inventor of the first electric bass , the fretted and solid-body Audiovox Model Bass Fiddle, in , which was designed to be played in a guitar-like horizontal manner.
The instrument was sold with the first purpose-built bass amplifier, the Audiovox Model Seen largely as a novelty, the few that were sold remained in the Seattle area. The Ampeg Bassamp Company, founded in by Everett Hull, responded to the growing demand for electric bass equipment by producing a line of bass amplifiers.
The first model offered was the Super , an watt model with a single 12" speaker and a rear ventilation port. In , Ampeg introduced a watt version with a inch speaker.
In , they introduced the B Portaflex , a flip-top watt tube bass amplifier with a single 15" speaker. While the Portaflex had a pleasing bass tone, and was used by studio bassists such as James Jamerson and Carol Kaye , it was not powerful enough to be used in a stadium or arena concert.
Leo Fender resurrected the solid-body "bass guitar" in with the Fender Precision bass. Unlike the upright bass, a solid-body electric bass does not produce acoustic sound from a hollow body; while an upright bass player often benefits from using a bass amp, a bass amp is a necessity for an electric bass player. By the late s, as electric guitarists in rock bands began using powerful amplifiers to play large venues, bassists needed to keep up.
Another s-era amp and speaker that was used for loud, large venue performances was the Ampeg SVT Super Vacuum Tube , a watt amplifier head "powered by fourteen [vacuum] tubes" designed to be used with an 8x10" speaker cabinet.
The Gallien-Krueger RB was a solid state bass amplifier head introduced in that was liked by bassists for its loud, clean sound and durable construction. It introduced the concept of bi-amplification, as it sent watts of low register sound to the bass speakers and watts to the tweeter. Fender developed a bass amplifier, the Fender Bassman , first produced in This was a watt tube amplifier with a single 15" speaker.
In , the Bassman was redesigned to use four 10" speakers. This speaker cabinet was an open-back design; as such, it had poor low-frequency efficiency and was prone to blowing speakers when used for bass because of the lack of damping.
The Bassman became very popular as an electric guitar amplifier. The circuit design also underwent repeated modifications. The "5F6A" circuit introduced in is regarded as a classic amplifier design and was copied by many other manufacturers, such as Marshall.
The early rock bands of the s used the PA system only for vocals. The electric guitarist and electric bassist had to produce their sound for the hall, club or other venue with their own amplifiers and speaker cabinets.
As a result, bass players from the s often used large, powerful amplifiers and large speaker cabinets. Some bass players would even use multiple bass amplifiers, with the signal from one bass amp being sent to one or more "slave" amps.
In the mids John Entwistle The Who was one of the first major players to make use of Marshall stacks. At a time when most bands used to watt amplifiers with single cabinets, Entwistle used twin stacks with new experimental prototype watt amplifiers. This, in turn, also had a strong influence on the band's contemporaries at the time, with Jack Bruce of Cream and Noel Redding of the Jimi Hendrix Experience both following suit.
Entwistle also experimented throughout his career with "bi-amplification," where the higher frequencies of the bass sound are divided from the lower frequencies, with each frequency range sent to separate amplifiers and speakers. This allows for more control over the tone, because each portion of the frequency range can then be modified e.
The Versatone Pan-O-Flex amplifier used a different approach to bi-amplification, with separate amplifier sections for bass and treble but a single inch speaker.
In the s the role of bass in popular and rock music evolved to become more melodic rather than simply providing a rhythmic function. The amplifier brand strongly identified with this new, 'scooped' sound with strong bass and treble boost and mid-cut was Trace Elliot. There were several features which made their amplifiers unique: the GP11 pre-amp featured 11 graphic EQ bands which were very broad bands, overlapping each other, thereby enabling massive amounts of frequency cut or boost when adjacent bands were boosted or cut.
Secondly, the frequency bands were spaced closer together towards the bass end allowing even more variation for bass guitarists to alter their sound like no other amp had previously allowed. Added to this were MOSFET poweramps of or watts and the option of bi-amplified systems where bass and upper frequencies are filtered before being separately amplified and fed to dedicated high frequency and low frequency speaker cabinets.
Mark King of Level 42 was also an early adopter of the brand. As PA systems improved, horn-loaded "bass bins" and subwoofers were added and were often well-equipped to amplify directly-fed bass guitar and keyboard frequencies. As well, in the s and s, monitor systems were substantially improved, which allowed sound engineers to provide on-stage musicians with a loud, clear, and full-range reproduction of their instruments' sound.
As a result of the improvements to PA systems and monitor systems, bass players in the s no longer need to have huge, powerful bass amplifier systems to play stadiums and arenas. Instead of playing with two 8x10" bass stacks and one or more huge, powerful bass heads, in the s, many bass players perform at large live venues with relatively small and less powerful bass amplifiers.
The reason they can do so is that most higher-priced s-era bass amplifiers usually have DI output jacks that can be patched into the audio snake cable, and then plugged into the mainstage mixing board and amplified through the PA system or sound reinforcement system.
In the s, virtually all of the sound reaching the audience in large venues comes from the PA system or sound reinforcement system, the huge speaker systems pointed at the audience. As well, in the s on-stage instrument amplifiers are more likely to be kept at a low volume, because when band members have their onstage amps "cranked" to high volume levels on stage, this makes it harder for the audio engineer to control the sound mix and blend.
For example, if a heavy metal bassist had two 8x10" cabinets and several 1x18" subwoofer cabinets and several thousand watts of bass amplifier heads, and these amps are set to a very high volume level, this bass player will be creating very significant onstage bass volume.
For example, if a bassist was driving his bass amp speaker stacks into clipping to create a fuzz bass tone, if the audio engineer wished to have a "clean" bass sound, this could pose a challenge.
As a result of requests by audio engineers to reduce onstage volume, in the s, in many large venues. Stacks of huge speaker cabinets and amplifiers are still used in concerts in some genres of music, especially heavy metal, but they tend to be used more for the visual effect than for sound reproduction.
In some small to mid-size venues, such as bars and nightclubs, the PA system may not have the capacity to provide the bass sound for the venue, and the PA system may be used mainly for vocals. Bass players in bands that play at a variety of venues, including these types of small to mid-size venues, may need to be able to provide the bass sound for the venue, and so they will require a large combo amp or bass stack with this capability.
Different types of equipment are used to amplify the electric bass and other bass instruments, depending on the performance setting, style of music, the sound desired by the bassist, the size of the venue and other factors, such as whether a bassist is an amateur or professional musician.
Professional bassists are more likely to have expensive "boutique" amps and cabinets. All types of bass amps and cabinets are designed to be transportable to shows and recording studios, and as such, most have various features to protect the cabinet e. Amplifier "heads" may be sold mounted in a wooden cabinet with a carrying handle, or they may be sold as rackmount -able components, which can be screw-mounted in a 19" road case for protection.
The speaker enclosures for combo amps and speaker cabinets are typically covered in stiff vinyl, carpet, felt or other sturdy fabric, or painted.
The smallest bass amps amplify the instrument enough for individual practice in a small room. Practice amps do not typically produce enough volume or low-frequency sound reproduction to be used in a band rehearsal or show. As such, they are mostly used by beginners or, when used by professionals, for warm-up or individual practice. They are more likely than full-size combo amp cabinets to have an open-back design, like an electric guitar combo amp.
Some buskers playing on the street for tips may use battery-powered practice amps, a feature available on some models. Practice amps may have an auxiliary line-in jack, allowing a CD player or electronic metronome to be mixed into the output for practice purposes. As well, there is often a headphone output jack. Higher-priced practice amps may have a DI out jack , so that the preamplifier signal can be connected directly to a mixing board for a live show's sound reinforcement system or for a sound recording session.
DI out-equipped units effectively turn the practice amp into a preamplifier unit. For rehearsals, studio recording sessions, or small club performances, electric and upright bass players typically use a "combo" amplifier, which combines a preamplifier, tone controls, a power amplifier and a speaker or multiple speakers in a single cabinet. Smaller combo amps may be easier to transport and set up than using separate amplifier and speaker units, and as such, they are a popular choice for many bass players.
Bass players in quieter, more acoustic genres may be able to use smaller, more modestly powered combo amps. Bassists who play in genres more associated with a high stage volume e. For larger venues such as stadiums and outdoor music festivals, or for music genres that use bass instruments with an extended lower range and high stage volumes, bass players often use a more powerful amplifier to watts or more and one or more separate speaker cabinets or "cabs" in various combinations, called a "bass stack".
An example of the powerful, loud bass amplifier systems used in grunge is Alice in Chains bassist Mike Inez 's setup. He uses four Ampeg SVT -2PRO amplifier heads, two of them plugged into four 1x18" subwoofer cabinets for the low register, and the other two plugged into two 8x10" cabinets. A bass stack may use a single speaker cabinet, e. Smaller speaker cabinets with one, two, or four speakers are more commonly used, because while the 8x10" cabinet is able to produce huge volume and powerful bass tone, the cabinets are very heavy and difficult to transport.
Some single cabinets use mixed speaker sizes. Large cabinets with speaker sizes other than 10", 12" or 15" are less commonly used. Examples include the 6x8" and 8x8" cab configurations. One reason that some bass players choose to use a "bass stack" rather than a combo is that the separate component approach enables bassists to use different speaker cabinets for different shows or activities. For example, a bassist playing a stadium may use an 8x10" cab for this show, but then bring a 4x10" cab for a nightclub show the next day, or a 1x12" cab for a studio recording.
Large speaker cabinets may have attached lifting handles and dolly wheels to facilitate transportation. Cabinets with horn-loaded tweeters often have an attenuator knob for controlling the tweeter. Bass cabinets have thicker wood panels than electric guitar amps, and often have stronger internal bracing. This reduces the likelihood of unwanted cabinet buzzes or rattles, which are more likely with bass cabinets due to the lower sound frequencies output.
Separate bass amplifiers which do not contain speakers, often called "heads" or "amp heads", are usually integrated units, with a preamplifier , equalizer bass and treble controls and a power amplifier combined in a single unit. In the latter example, a bass player can use a bass-specific power amplifier or use a sound reinforcement system power amp. Bass amp heads are available in high-wattage power ratings that are not available in combo units.
For example, the Ampeg SVT8-PRO amp head puts out 2, watts RMS at 2 ohms, a power level that is high enough for the largest 8x10" cabinets and the largest venues stadiums, outdoor festivals, etc. If a player uses a separate preamplifier and power amplifier, she or he can buy a power amplifier intended for a sound reinforcement system or PA system or pick a power amplifier designed specifically for bass instruments.
These preamps and power amps come in two formats: 19 inch rack-mountable units and units with their own wood or metal case. If a player uses a rackmountable preamp and power amp, these units and any effect units , such as an audio compressors , can be mounted in 19" rack mount road cases.
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Even the simplest life form known to man is mind-bogglingly complex, having an elegance and complexity far beyond anything mankind has ever engineered. The more information rich our world becomes, the more we realize that simple is never as simple as it seems, all the same when it comes to electronics. Keeping it simple in terms of ease of use and elevated performance usually costs a lot and takes a lot of design and installation work. From concept to completion, superior products that are easy to use typically have been well engineered. Laughter would ensue as unpracticed friends struggled to repeat the feat.
Amp Settings for Adam Jones of Tool
If you require any assistance regarding Bass Combos, feel free to call us on Alternatively, email us at [email protected] and we will aim to respond to your enquiry within 24 hours. Cranking an Ampeg Classic stack is a truly awe inspiring experience. But let's face it, a classic Ampeg stack in your living room is probably a bit mu Super lightweight, loud and versatile combo suitable for practice, rehearsals and small gigs. Super lightweight, very loud and versatile combo suitable for not just practice and rehearsals but also small - medium gigs. A super lightweight, very loud and versatile combo suitable all bassists who want great tone on the move. Lightweight, portable and stripped back bass amp head takes Ashdown back to the Origin of their Tone. Powerful watt bass combo, loaded with a twin Ashdown White Line 10in speakers. The EBS Session Classic 30 is a great little combo that is the ideal choice for practice and small gigs.
Phil Jones Bass BG100-Red
Download image. Phil Jones is a professional audio engineer and bass player who has been in business for over 4 decades now. He noticed that traditional bass amplifiers were built on old principles but these were not really effective. Being a world class HiFi speaker designer himself, he started PJB with the intention of applying the same technology and design that was used in that exclusive HiFi speaker world to produce bass amps that would be effective, affordable and reliable. From the beginning, PJB's most innovative feature was the use of small speakers proving that, if done right, these are far more effective than larger ones.
Phil Jones Bass Double Four BG-75 RED
For many years, Phil Jones bass has been creating small solutions to one of the bigger problems we bassists face: amplification. With Class D power amps, switch-mode power supplies, and micro-size drivers in impossibly tiny enclosures, PJB has built a miniature bass amp kingdom. While marketed as practice amps , could either of these tiny powerhouses make it in the outside world? Roughly the size of a tissue box, the Double Four wins the award for cutest amp on the block, but underneath the industrial-strength powder-coated finish hides pretty cool technology. It augments the output of the loudspeakers at frequencies from 30Hz to Hz.
Phil Jones Double 4 Combo Bass Amp Red
JavaScript seems to be disabled in your browser. For the best experience on our site, be sure to turn on Javascript in your browser. Credit offered by. Get pre-approved at the checkout! Out of Stock Reserve your unit now! With new driver design, acoustic loading and the latest digital ampli er technology, this tiny bass combo may be designed as a practice amp but continues to amaze everyone with the great PJB signature bass tone.
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phil jones DOUBLE 4 70W MICRO COMBO 2X4" NEO RED
RELATED VIDEO: Red Jones Amps RJ1530 Combo w/Les Paul - William YatesSchool Band Instrument Question? Click Here. School Rentals Click Here. More: Phil Jones Amplifier. Sold Someone fell in love with this one right before you did! New stuff arrives everyday so check back often.
A heavy-duty cast frame Eminence driver is mounted in Sold Out - Contact Us. Easy to carry but packing a mighty punch. The DB 's small size and classic look make it perfect the perfect compliment for smaller stag Based on the same sonic footprint as the DB , the DB is a great mid sized cabinet for medium to large venues. Punch, frequency response, and efficiency, the DB is a sonic powerhouse! DB, watts of unadulterated power.
You can checkout a graphic of everything on our rig diagram page for Adam Jones. Interested in putting your Adam Jones amp settings and Tool riffs to work? Guitar Tricks has a library of over licensed songs including tracks from Tool, Godsmack, Korn, Metallica, and many others. You can try it all for FREE.
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