mazdah

CS-2 or CS-3 copy? They are quite different. I have Sustain at 2 o'lock, Attack on max, level to unity gain - Juan Alderete settings

For me it would be a Boss CS-2 Compression Sustainer. For 20 years of bassplaying I hated compressors, never used them, never needed, never liked how they affect the sound and the feel of the instrument. Until CS-2. WOW. My number two would be Xotic Bass BB Preamp. My favorite OD combined with my number three - analog Boss CEB-3.

It's an older version (first half of the nineties most likely) of current 500W SVT-410HE. It has four speakers of an old 400W SVT-810E, just like the modern one has four speakers of modernSVT-810E I wouldn't dare to gig with a 7-PRO thru this cab, but I do with SVT III Non Pro and the cab works fantastic and sounds great. It is a perfect match for SVT-III and should be as good with 3-PRO. EDIT: It is quite heavy since like all Ampeg cabs from the first half of the nineties it is not made of plywood. But the sound IS there and I dare to say - it sounds little bit nicer than the newer version.

Whoa I'm in deep shock. I had EBMM SR 5, EBMM SUB5 and I currently have EBMM Sterling Classic 4. And all of them gave me the same big problem - they do have THE PUNCH. They are LOUD. They are FAT. I had to fight them all the time - no matter how light I touch the strings I hear and feel EVERY note up in front, like a kick in the face. Whey I play my P-bass I'm sitting great in the mix, giving the solid foundation to the band. With the Music Man bass... me and the drummer are the band, the guitars are lost.

I use SVT III non pro with older 200W version of SVT-410HE. I really like this setup, plenty loud, sits great in the band mix. I also liked 3PRO, but III is more focused and not as dirty. Here is the manual. https://ampeg.com/support/files/Discontinued User Manuals/SVT-III/SVT-III Manual.pdf

There is one in Poland for sale. http://ampbroker.pl/en/head/712-ampeg-svt-iip.html?search_query=ampeg+svt&results=48

The Marshall website no longer has Eden listed as a brand. Looks like they quietly pulled the plug.

I think there is SOMETHING going on, since Warwick Gnome is essentially THE SAME amp as Elf.

I know that story To be honest, I was so hooked up by that when I got my AMP few years ago, that I end up with corresponding stack: AMP-BH-420 SWR PB-200 - first SWR model, unfortunately mine is a little older - from 1987 Eden D-410T - "original David" - unfortunately newer one - with golden horn and plastic recessed handles. There is one older - looking just like Goliath - dirt cheap nearby, but the thing is so damn heavy, that I won't be able to take two to the gigs SWR Goliath JR II - I'm afraid not many original " Made by Eden Goliaths I" survived to this day. This setup made me ultra happy and ultra worried at the same time. The amps are perfectly serviceable nowadays, but there is no way to find replacement speakers or recone parts so I must be careful No gigs in the future because of the covid outbreak, so I took them all home, to make neighbors mad... Dragging 40,5kg Eden to the fourth floor almost killed me.

100% Solid stare: AMP BH-420, which is also the best solid state amp ever created (Thunderfunk I consider as the same amp, with tweaks). hybrid: I think I loved my SVT-3PRO, my ABM300 and currently I love my SWR PB-200.

After many years with Ampeg and brief affair with Ashdown I went nuts and got myself an SWR amp with ancient Eden d410t (original David) cabinet. Couldn’t be happier! Want more SWRs!!!

I’d go for Vietnamese, or older than 1999 USA: us made Ampeg cabs from 1999 to 2006 were from osb board; Vietnamese, Chinese and Korean are true plywood.

Certainly it’s not the best, but it’s way better (for me) than AKG D112 - since this microphone and my bass cab are both a little mid-shy. I use flatwound strings, lots of drives and fuzz, so I never reach above 3kHz and my cab is quite heavy on the lows (Ampeg SVT410Hlf) so the mic compensates a little. Apart from low-end loss, SM57 has quite flat characteristics in spectrum that interests me the most. Of course they are WAY better microphones for bass, but I consider SM57 as a “Swiss knife” - good enough for guitar, vocals (Tito and Tarantula singer uses 57 instead of 58), bass and even kick-drum (seriously!). For live applications, where there is no need for details and no need for bass-heavy sound I think SM57 is great. if the stage is small - in most clubs - I get better sound and Better overall mix with band without FoH at all.

Well I always wonder why they always insist using DI and after few minutes of struggle I say Once again “hey, try putting SM57 in front of my cab” - and after that the only knobs FoH engineer has to turn are gain and volume on their mixing desk…

Helix, Kemper, Fractal, Line6, Zoom .... I've heard that before. When Zoom multiFX were relased (I rememver 505/506 models) the predictions were the same. And everyone was saying, that the quality of amp sims from those effects were so close and so great to the original, that you won't need an amp anymore. They are convenient, having many good and useable sounds in single, lightweight unit saves space, money, energy and time. But when it comes to PURE sound quality, richness and dynamics I guess we need another 10-20 years of intensive R&D development to get close to an old, beaten up, 30 years old SWR amp. For overdriven tube amps like SVT, Mesa D180/400 or B-15 I'd say another 10-15.