Bankai

If further clarification on the wonders of valves was required, click the below link to hear my SVTII-Pro in action during a recording last month. You're hearing only the cab microphones, the DI was not used in the end. No modelling here! Defiant Bass.m4a

I used my SVT-II Pro for a recording for the first time and I'm really happy with the result! The song isn't finished yet, but here's an excerpt of the isolated bass track accompanied only by drums. Click the below link to load it. I just love how it sounds as it comes crashing back to the open string at the end of the progression and sounds meaty as. Defiant Bass.m4a The recording was done using a Sandberg VM4 Riedel Signature, into the KT88 loaded SVTII-Pro, into a BF210S, mic'ed with a Audix i5 on-axis and an Audix D6 off-axis. I did take a DI too, but this was not used in the end.

Absolutely. I expect these to fetch even less!

That’s pretty standard for a 2x12 guitar cab though. It’s not designed for bass

Showing my (younger) age, I use Bleed American - Jimmy Eat World for PA setups when I’m engineering. At first glance, it may seem an odd choice but for modern rock gigs it’s a very well mixed/mastered single that’ll test things just right. Plus, having now heard it through so many different systems I can hear very quickly if something is wrong or absent.

I use mine (AD200B/SVT2PRO) with a Barefaced 210S. It’s enough. It’s more than enough. I don’t think there’d ever be a time when it wasn’t enough, and if that time came there’d almost certainly be a DI involved. But... I also have an SVT810E for good measure But if you’re looking at getting a big ol’ valve head then I wholeheartedly believe that the BF210S is the perfect partner. Small enough you can have it in the corner of the living room for home playing if you’re careful with the volume controls. Loud enough for almost anything. Perfectly matched tonally.

I’ve played through the Aguilar DB751, Orange AD200B, Ampeg SVT-CL, and Ampeg SVT-II Pro. All were sensational, truly brilliant amps. Once you get to that level I think it just comes down to subjectiveness as to what style of tone you’d like to hear as they’re all wonderful. For me however, the SVT-II Pro wins.

I’ve a few I use depending on the scenario but if it were for live and being combined with a DI from the amp, I’d be looking at something like a Sennheiser e609 or Audix i5. The photo I put up is an Audix i5 on-axis with an Audix D6 off-axis. If you want to splash a bit more cash, then the Sontronics Halo would give you probably the best result. Whichever one you go for, I’d have it centred on the edge of the dust cap. You’ll get a good punchy tone from that, to be combined with the full-range signal from the DI.

Well, I mean there is another option.. (photo from a recording session last week)

That’s the one. I didn’t realise they sold via eBay too. They’re a very small company with no social media presence so when I’ve ordered in the past I’ve had to ring them. They’re based down near Exeter. Check the SoundOnSound review: I have one of the micros and one of the classics. I would suggest maybe considering getting the classic rather than the micro, so that you can use it in other setups too, i.e bass straight in prior to amp, if that need comes about. As for the slave output on the AD200B, it’s just a simple unbalanced output ‘from the core’ so whack a good DI on it and you’ll probably get a better DI signal than you would from the built in ‘standard quality’ DIs on a lot of solid state amps.

I have an AD200B. If you need to DI from it, you can connect one to the ‘slave output’ on the back. I use an Orchid Electronics DI and would highly recommend them. Once the signal arrives at the mixer, just use a bit of EQ as a pseudo cab-sim and then problem solved! The better solution would be using a cab microphone though. You’ll get the tone come through better than a DI. The two in combination would be even better.

This sounds like an excuse to buy an Avalon U5 to me..

I had one in the same colour and miss it dearly. Different sound to the standard passive TBird, but if anything it was better!

They do two ranges, one with the 12” drivers is a bit more HiFi, but their 10” range is voiced to give it a sound perfect for rock/metal. Think Ampeg 810 but much smaller! They’re very well thought of round here

I had one of the SP cabs and it could never keep up and wasn’t what I’d hoped it’d be. I too had been drawn in by the aesthetic but was let down. The OBC410 and 810 are great, and I’d expected that to translate to the SP as well but sadly not. I suppose it’d have its place and fulfil certain roles but a loud alt-Rock band was not one of those. For about the same money, I now have a second hand Barefaced 210S which is infinitely better both in tone and volume, and sounds great for rock style bass. Plus, it’s even lighter to the point I can lift it with one finger.

Mine has KT88s instead of 6550s. Worth considering

Well well well, you pulled the trigger in the end. Now what may I enquire is the rationale for having two of them!

Reading this makes me clutch my 1997 USA made pro much harder

Personally I’d take to Reverb.com and look at places on there who will deliver to Bulgaria (there will be an option to only display listings where delivery to Bulgaria is an option) and select something second hand so you get more for your money. Narrow down your search to bass cabs and flick through and see what there is in the 4x10 / 6x10 world.

In the Sue Ryder madness that overtook this forum a few years ago, I picked up one of their Telecasters alongside the bass. If you find one on eBay or somewhere, they’re good enough. Not going to beat a fender but fine at Squier standard.

How do you find the pdi09 on bass? It has a built in cab sim for electric guitar that can’t be switched off so I would have expected it to produce funky results with bass

And there’s one of those going for cheap on here at the mo!

I have the AD200B. Orange’s recommendation if you need a DI is to use the slave output on the back of the head in conjunction with an external DI. I’d recommend the Orchid Electronics Micro, attached by a short patch lead, and velcroed to the back of the head or cab. Alternatively, consider a cab-sim DI like the Radial JDX 48 which can be inserted between the head and cab to get an even more ‘full’ sound.

Perfect

I’m going to snoop around the helix and kemper groups and see what I can find as it may be someone has already done the leg work but failing that I’m going to SMAART it with a measurement microphone so I get the whole truth and nothing but the truth But thanks for the link, as it’ll be a helpful start point