Bridgehouse

2 minutes ago, discreet said:

It would. I also have a little fantasy about producing a blue Peterbuilt-alike using a Dark Star or one of its clones...

I've just moved the Oil City pickup into my surf green partscaster.. and it sure looks purty!

One of these HB’s would be a great candidate for the Oil City single coil Ric-o-pic I just got hold of... 

My original point is kinda being borne out by all the suggestions - large, pricey amps at the more “boutique” end of the market.

My original question was around the lack of low end valve offerings for bass - where’s the vox night train and other lunchbox style no-effects less-than-50-watt offerings from mainstream manufacturers?

Ashdown seem to have had a go - but discontinued theirs - is it just that bassists today just don’t want that sort of sound for recording any more? 

There’s a big thread on them that’s been going for some time as well - they can be quite an emotive topic

29 minutes ago, BreadBin said:

I usually keep mine in the living room for in front of the TV noodling - it's quite unobtrusive compared to a normal bass. 

That would make the missus really happy....

I suspect that might count as a negative 😂

Lol, I'm not sure that Traynor meets the small wattage or price criteria

6/6 is mighty light weight!

Interesting... I may have to have an eBay trawl!

I’ve never played a Hohner headless (or any steinbergers for that matter) - are they worth investigating?

Given the cult like status of the b15 and the fact it’s alleged to be on a lot of recordings from back in the day, you’d have thought that the modern trend for small simple no bells and whistles amps would have produced a few bass offerings at least. 

If I want a real 60’s or early 70’s b15 I would have to pay over £2k - and a stand-alone head would cost well under £500 to produce and give a pretty good equivalent tone. 

I guess I’m quite surprised there aren’t more b15 clones about - or heads based on or like it, or relatively similar at least..

To be fair, I’m not so bothered about DI - for a low wattage head it would be in the studio anyway and a decent engineer will be so used to mic’ing guitar amps that a small wattage bass amp and cab should be no issue at all..

1 minute ago, scrumpymike said:

B15?  Thought that was a WW2 American bomber!

Sounded like it (although slightly quieter though)

56 minutes ago, Cat Burrito said:

I use the Ampeg PF-50t which if the retro stylings are to your tastes is great for a not too heavy and more controllable volume setting. I've had bigger in the past, I've used Class D stuff but this really ticks the boxes for me. I find it puzzling that it isn't a more popular head. I guess a few people are put off by the look.

That are nice - I’ve heard a couple and they sound good too - as does the 20w version - however, they don’t quite meet my original question brief, as they are still a lot of cash compared to a guitar equivalent

I’d have it. Would be handy as a travel bass..

To keep in the trunk......

Just now, EBS_freak said:

It was there, it's just that you missed it. It's operating on a different level to you can comprehend, clearly

😛

That is not difficult.

1 minute ago, barkin said:

FWIW I've an old (70's?) Carlsbro 60W head. I doubt it was designed as a bass amp, but I used it as my main amp for bass through most of the '80's. Still sounds nice, and more than loud enough for most pub-type gigs.

Interesting.. I wonder how many guitar heads could be used as good sounding bass amps. Hmmm. 

It's pretty clear that the nitromors he used on the body is still affecting his ability to take a photograph in focus

Given how iconic the B15 is.. and I think I know the answer to this already, but hey..

How come there aren't many cheaper smaller wattage all valve heads out there?

A quick eBay trawl will list many many guitar valve heads under £300 or so - but for Bass.. nope.

Now I know that for live use those 30-100w will be, er, less than ideal, but I don't get why more valve heads weren't made in the 70's, 80's 90's and up to today to fit into that "at home or in the studio" brief..

1 minute ago, EBS_freak said:

Helix covers much the same. Of course, the advantage of the Helix is that I can download profiles til the cows come home. But sometimes too much choice can be bad!

I've got 3 profiles that are doing it for me at the moment. A focusrite pre, a neve pre and a SSL pre. Also have a brilliant Chandler channel strip through a neve channel that I profiled on a recording session I was at cos I loved the sound so much.

It's all very addictive! 😛

I thought I had it bad looking at preamp pedals with a real valve in them..... 

Just now, EBS_freak said:

Ha, well, you know that XLR wouldn't belong to the singer.

Yeah, I'm with you - I think that's one of the reasons I went with the Kemper... it gives me opportunity to try new stuff at minimal cost. (Obviously Kemper outlay aside - but that does for my guitar stuff too, it replaced my Fender Twin)

Perhaps this isn't the time I suggest that mic channel strips > bass DI pedals...

Helix for me. Does all my home duties and sometimes gets wheeled out for gigs.

Mostly though it's looking at the range of Preamp/DI pedals and thinking "I've not got that one.. hmmm.. wonder if that sounds different to xxx"

1 minute ago, EBS_freak said:

Nothing happier than a soundman mixing a silent stage. Now, if there was only a way of getting a digital out from a singer's vocal chords.

I could think of somewhere we could try sticking the XLR lead.....Ahem.

The downside of course is my rapidly growing obsession with Preamp/DI pedals....

Just now, EBS_freak said:

Good stuff. I think there's a mind set to get away from the look of the cab - but for everything else, I just haven't used anything better. I bet the double bass sounds stellar through it.

Mind set - interesting. I was thinking that a few weeks back. 

Turned up to do a festival on a pretty big stage and the sound man took one look at the pedal train nano and the K10.2 and said "er, is that it? where's the head and cab?"

After explaining, he mumbled something about weirdness and plugged into the through port on the QSC.

Afterwards he wandered over and said he liked the bass sound very much and found mixing the FOH bass much easier as there wasn't a massive big cab blaring it out which he had no control over. I had my onstage monitor, rest of the band was happy, soundman was happy. It's a mind set.

1 minute ago, EBS_freak said:

Hot Chocolate! (Although I thought Gun did a great cover)

Wasn't enough freeform improv in it for my liking.