The Ultra Lo
NEWS
Does Size Really Matter
By: Dino Monoxelos
I know this topic has been around the block more times than a NYC taxicab but I’m gonna give it one more go here.
So this topic recently came up on a Facebook users group called Bass Amplifiers Only. And I do believe it’s a great topic to be discussed. Not debated or scrutinized, just discussed. So grab your favorite beverage and snack and lets discuss.
It all comes down to what tool will work best for the job right? And more importantly, which tool(s) will inspire you to play and create the very best version of YOU!
Someone had mentioned how they use (another brand’s) 1×15″ combo amp and regardless of the size of the room, if you’re using a good DI or being mic’d, that’s all you’ll ever need. I feel while this is true in a “get the job” done sorta way, there are so many variables here that we should consider we might not be able to address them all in one blog or even cover in a conversation, but hopefully this blog gives some things to think about.
From a somewhat scientific approach, BAO’s moderator and founder, Hod Meehan, a gentleman whose technical knowledge and real-world use of this stuff surpasses most electrical and audio engineers I know, had this to say regarding sympathetic vibrations and the relation between large format amps and the instrument itself:
“Size matters significantly when you are using a microphone or DI and a cabinet capable of low B and a long throw aperture. A cabinet with let’s say, a JBL E-140’s will strongly interact with the body of the bass guitar, causing it to sympathetically resonate at several frequencies along the neck of a properly built instrument. And when you put a sextet of big power and preamp tubes on top of it, the harmonic richness is infinitely superior to any small amplifier not interacting with the physical resonance of the bass itself. It’s this interaction that takes a bass guitar sound from a simple bass sound to a physical resonant experience received by the skeleton of the listener.”
While I can’t comment about sympathetic vibrations, I can comment about that last sentence regarding the “skeleton of the listener”, namely… ME and my bandmates. It’s how “I” feel when I have my favorite amp behind me on stage. Either a V-4B or an SVT through either a 212 cab or an 810. Again, it all depends on a bunch of variables… the size of the stage, the venue, the load-in (if I’m the one lugging the gear), the other musicians I’m playing with and what they’re bringing to the gig, am I going through the PA and who’s running it? IEMs or not, it’s not always about being loud or being the loudest person on stage. Again, it’s all about how I feel, and how that vibration coming in from behind makes ME interact with how I’m playing. And to bring it even one step further, how it makes the people I’m playing with feel and interact with me. I’ve done plenty of IEM only gigs. And I know, in some cases they’re a necessity in today’s world. But make no mistake, I’ve yet to work with a drummer who hasn’t said… “man, I miss having a bass amp right beside me kicking me in the a**” on some of those ampless gigs.
Now, could I get away with doing some of these bigger gigs with a smaller combo amp? Yeah probably. Do the laws of diminishing returns apply? Yep… they do. In fact, in many cases, once you get into the “enormodome” or stadium-size arenas, a big amp becomes less and less important. Unless we harken back to the days of sub-standard PA systems where you would need a literal wall of 810 cabs on your side of the stage, most bass rigs just can’t cover a stadium-sized stage as well as a modern-day PA, especially if you’re on IEMs. But let’s face it, most of those gigs are far and very few between for most of us.
Most of what I’m talking about here are venues that range in size from your local sports bar down the street to medium to large festival style stages.
For me personally, this is why I have several different rigs. Yes I know, I’m lucky enough to work for an amp company that supports my amplifier addiction, but even before I worked for Ampeg I always had a selection of amps for different jobs on hand.
At the end of the day, it comes down to YOUR personal preference and like I said earlier, what brings out the best performance from YOU. Just be reasonable about your expectations and the gig you’re playing. I would no sooner bring an entire SVT stack to a coffee house gig, any quicker than I’d bring a small Rocket Bass combo to an outside festival sized stage. Again, the latter depending on who I’m playing with whether its loud rock trio or a quiet folk gig. And trust me, there have been plenty of gigs where I realized I may have under OR over-estimated the gig and the size of amp I brought. Hence why sometimes, I’ll actually bring both. (Yes… I have an over-infatuation about having the right rig on hand… Hey, its my job to be that way! LOL) That’s why Ampeg pretty much has an amp in every size and power rating for every situation. And it’s also why I can help other players decide on which amp would suit them best… Because I’ve played them all.
Anyways, play what makes you feel good, play what inspires you to play more, and most important of all… HAVE THE MOST FUN DOING IT!!!
Until next time… Play more bass!
Dino has spent over 25 years in the Ampeg world conducting seminars and clinics all over the globe. He’s also the author of four instructional bass books by Mel Bay and his own publishing company, MonoTunes Music. His favorite bass to play is his MTD 534-24.
NEWS
Celebrating Our Anniversary with Harmoni Kelley and Robert Scovill
By: Dino Monoxelos
Bassists, how many times have you shown up to a gig, lugging all your cool Ampeg gear, a couple of great basses, and a pedalboard into the venue, only to have the FOH person hand you a $20 DI and say, “Here you go”? Then, when it’s finally time for your line check (if you’re lucky), after sitting through a forty-minute drum sound check, you play three notes on your bass and the FOH “engineer” says, “All set, got you”?
At the very least, this should inspire us to carry our own high-quality DI—one we know sounds good—and maybe even encourage the ‘sound person’ to spend more than three notes on our sound check. If that’s not an option, try convincing them to take the DI out of the back of the amp. Let’s face it, we’ve all been there, and I have to say, that’s a hill I’m willing to die on every time.
Fast forward to “the big time”!!! Picture this, if you will… You’re Harmoni Kelley, a world-class, badass bassist, playing bass for Kenny Chesney on one of the summer’s biggest stadium tours there is and doing it every summer!!! Now, add to this that Kenny hires Robert Scovill, one of the most in-demand sound engineers out there, who’s engineered FOH for everyone from Tom Petty to Def Leppard and in between.
Imagine the conversation during pre-production rehearsals when Robert asks Harmoni if she trusts him with her sound…. Say goodbye to the $20 DI box and hello to the “War Wagon”—a multi-DI/mic/isolation rig built by Robert specifically for Harmoni’s FOH/IEM bass mix. This rig features a Portaflex PF-20T head and PF-115HE cabinet, all housed in an isolation box with multiple mics and some highly sought-after, long-discontinued Ampeg tube DIs. It’s a touring bassist’s dream, and having Robert mix it all back to you is a dream you never want to wake from.
I had the distinct privilege of witnessing all of this firsthand while sitting at the FOH position when they were in town this summer. I will say this… I’ve never seen a FOH engineer so dedicated to making sure you can hear every instrument crystal clear, like it was a recording. But also, so dedicated to making sure the bass is heard, felt AND articulated in both FOH and IEMs. Add to all of this having to do this in an outdoor football stadium, it just makes it even more dumbfounding. It of course also helps when your test subject is just a badass player like Harmoni too. Like I said, I had the joy of hanging out with both Harmoni and Robert when they were in town this past summer. Luckily our friend Mr. Daniel Liston Keller from “Get It In Writing” was able to capture the chemistry between these two even earlier in the summer when they were in his neck of the woods in LA. We hope you enjoy their exchange here talking about the 75th Anniversary of the Ampeg brand and for an even lengthier conversation about the war wagon, be sure to check out this episode of SVT Time:
Dino has spent over 25 years in the Ampeg world conducting seminars and clinics all over the globe. He’s also the author of four instructional bass books by Mel Bay and his own publishing company, MonoTunes Music. His favorite bass to play is his MTD 534-24.