BluRay

It's a non-issue really. Only apparent if you are literally right next to the amp with the J pup soloed (I guess this is not likely to be most peoples choice as these basses are all about the P and PJ tone). Move away from the amp slightly or play a note and it goes away. I've used BB for years and not had the slightest problem.

[quote name='JPJ' timestamp='1491376649' post='3272445'] Richard Turner of Blackberry Smoke had two of these in a rack sitting on top of an Orange 8x10 at last nights Newcastle gig. Sounded good where I was standing! I had the little Terror Bass 500 which was a loud but short on tonal diversity. Based on last nights show, I now have gas for the Four Stroke 500. [/quote] Having briefly used a Terror Bass (which got me interested in Orange things), I'd say the Four Stroke addresses the Terror's EQ shortfall in spades. It has a similar underlying character maybe, but way more flexible. I haven't compared directly - just from memory. I like that it doesn't look like a toaster, but not that I had to buy a case for it. .

[quote name='Billy Apple' timestamp='1490872985' post='3268643'] I think the crit with Orange bass gear is that it does one thing, but to many it does that very well. Maybe this 4stroke does something else that is appealing to others? [/quote] I'd say that the Four Stroke also has a certain niche appeal - does a great JJ-sounding growl - except the EQ is much stronger than the Terror Bass, so should make "that tone" a little more usable to some maybe. Its an interesting approach adding the grunt from the compressor not the gain.

[quote name='Merton' timestamp='1490770270' post='3267727'] Sounds like a great amp I have to say. Given that you have (had?) an ABM as well I guess we have similar tonal goals [/quote] Yes I still have (and love) my ABM but I managed to break one of the pots, so its waiting for an appointment with the amp doctor! By comparison - set flat - the 4 Stroke is a little less creamy/warm and has more of an in-built metallic zing - its very middy and ballsy. I'd guess its probably much less versatile than the ABM, but it does fantastically mean/beefy rock tone. I suppose that's what its for! Using the compressor and a bit of EQ I can coax a very similar tone to the CTM tho - which is weird considering they are utterly different! I spent a while in the studio recently trying to decide which to use for recording - and there really wasn't much in it. In the end I went with the Orange because it was the new one. :-)

[quote name='Merton' timestamp='1490626404' post='3266577'] I used an OB1-300 last week at band practice, it was awesome with a tiny amount of saturation going on. When the overdrive "channel" was engaged more it was horrible though, IMO [/quote] From what people have said about the OB1, maybe (?) suggests that the 4 Stroke might be similar to the clean channel on the OB1, but with a more subtle 'drive' via the compressor (rather than the OB1's distortion blend option) The compression on the 4 Stroke gives a nice degree of bite/snarl but doesn't do full on fuzzy. It's also got a lot of low-mid clout - really punches through. Having had it for a few months, minor niggles are - no mute, doesn't do quiet (gig volume is at about 9 o'clock), and the smaller knob settings/markings are a little difficult to read on dark stage. But it's a beast.

[quote name='SH73' timestamp='1490554620' post='3265939'] So he does.Times change.I thought orange was the least popular bass gear? [/quote] Based on what?

NASD - New Amp Sleeve Day Ok so a few months down the road, I'm loving this amp. Treated it to some "clothes" as a reward for the tone I got in the studio (and on a practical note, the case makes it much easier to transport). Looks smart eh? [attachment=241671:1.jpg] [attachment=241672:2.jpg] [attachment=241673:3.jpg] Shout out to [url="https://www.facebook.com/Decibel-sound-implements-641118389309312/"]Decibel-sound-implements[/url] (USA) for great service. Quite why Orange don't supply a sleeve for it is beyond me!

[quote name='Kevin Dean' timestamp='1482931925' post='3203582'] I find that very strange ..because when I swapped the 12" root master speaker for the 12" Sica they sent me , The White speaker had blueline written on the back of it & the Sica driver was very different the hole had to made 3mm larger for it to fit & the coil housing is a lot deeper plus they are Neo ? [/quote] They are indeed completely different drivers

[quote name='Merton' timestamp='1482915009' post='3203431'] Strictly speaking the Blueline speakers are Sica as well... just they are marketed as Blueline instead [/quote] Oh I didn't know that. The blue ones are darker sounding and require wheels! They all sound good tho!

[quote name='drake' timestamp='1482873888' post='3203295'] what cab are you rockin that with? Ive got a EVO II and a 610 - can be a bit dark and im never sure if its the head or the blue speakers?? [/quote] My ABM 410 (with blue speakers) is darker than my ABM NEO 210s (which have the Sica drivers) - so I'd guess it's mostly down to the cab.

[quote name='Jack' timestamp='1482758645' post='3202538'] Looks great and the video online it does sound good. I'm a real lightweight when it comes to gear but I still love big amps and the 19" format, very jealous. Just as a minor point, a fully-parametric eq has width or q controls to control the width of the curve that is being boosted or cut. So there are three controls per band. With no q control, that's a semi-parametric eq. [/quote] Thanks for clarifying! Perhaps their copywriter removed the 'semi' for reasons of literary tone Now I'm getting used to it, I do really like how the EQ section works on this amp - it's possible to really sculpt the sound - although I'll need to get more practice before doing this on the fly.

[quote name='28mistertee' timestamp='1482307618' post='3199307'] I've been looking for another valve amp but looking at the reviews seriously considering one of these. [/quote] Well if it helps, compared directly to my CTM, it's not quite as warm or capable of the same full-on fry-your-brains overdrive as the CTM. However the bite / growl from the compressor has a nice vintage feel (with as much snarl as I'm likely to want), and it's a lot more punchy. Very different, but also very good.

[quote name='Lozz196' timestamp='1482236333' post='3198660'] I`m really interested in these at the moment, the OB-1 sounded great when I used it but the distortion/gain was a bit too much for my needs, whereas this, with the parametric and compression/gain sounds ideal. [/quote] Yes, I play in a punky band, with a lot of bass going on which is better suited to "punchy with growl" rather than anything fuzzy or overly distorted. I think this will be just the thing.I'd read somewhere that the OB1 was a bit too far down distortion road - so this seemed a better option. It does have a good bite to it tho - but not over-much.

New acquisition! Had my head turned by Orange amps when I borrowed a Terror 500 at a gig recently. Loved the core tone (nice fit with my band), although I felt the EQ was a tad limited and could have done with more top. Anyhow it set me thinking and we all know that's a slippery slope! So here we have a 4 Stroke 500. Purchased blind with a good returns policy, I’ll be giving it a few band workouts before deciding if it’s a keeper. [attachment=234373:IMG_0217.JPG] I thought I’d share some initial thoughts (too early for a proper review!) as here’s not much about these online yet – all I could really find was a rather flouncy official demo vid. I suspect that Orange shift more units of its slightly cheaper sibling, the OB1 (Kenobi?) – which has a more conventional gain control – plus the single unit “bi-amp” feature for blending-in distortion. The 4 Stroke has a different feature set. I’m yet to try this out with my band but first impressions (at home) are definitely promising. To be clear, this is not a dainty little micro amp. It’s a big, 2 unit, hefty, old-school beast. The white finish is lovely and the casing has nicely engineered vents. The front face, has to be said, does look a bit like a Fisher Price cooker. Two massive controls for Volume and Compression – and 8 knobs for the parametric control. NO GAIN (don’t worry – reasons will become clear). Slight gripe is that the knobs – especially the white EQ ones – are rather cheap-feeling plastic, and at this price-point they let the side down a bit. Everything else is very sturdy and reassuring. Looking at the connectivity, at the back, it has two Speakon (not combi) speaker outs, and (post-EQ only) DI and line out. To the front there’s one input (with cut switch for instruments with loud output) and a footswitch input. [attachment=234375:IMG_0221.JPG] The basic concept here (as alluded to in the name) is like a stripped down hotrod. If it was a car being reviewed on Top Gear, it would be the “ferocious retro sports bastard” one with no home comforts, but the one the presenters love for being so stripped-down and feral. Orange make a feature of this in the blurb “everything you need and nothing you don’t”. Hmm. Well, ok I don’t NEED a mute switch, but it is bloody useful to have. That is probably my only real niggle tho, and it turned out wasn’t a deal breaker. In the (likely) event that it’s a keeper – I’ll be getting a sleeve or case for it – why don’t orange provide one as an option?? To be fair they very helpfully answered my question about a suitable case for it. Sound wise, everything set flat, gently nudge the volume from zero. The knobs are the calibrated, clicky sort that feel like there’s a clockwork mechanism behind them (which is sort of nice, but does mean noticeable increments with each click rather than completely smooth), and the first nudge of the volume and the amp is ON and already loud. I’ll be needing to use the volume control on my bass for home practice. It feels like this is going to be a frighteningly loud amp – although I can’t test that properly until I’m in rehearsal. The tone, with all EQ at noon, is full and fat – with a slightly metallic zing underlying (similar perhaps to the Terror 500, although I don’t know that amp well enough to be sure). It feels like it will slice through anything – I’m sure that this is going to be very assertive when cranked up. Definitely feels like something for those who play hard and want to cut through. The parametric EQ has four frequency knobs (possibly the origin of the “4 stroke” name?), each with a separate control for the cut or boost of your selected frequency. This is my first time with (what I understand to be) a fully parametric EQ so it’s a bit trial and error for me. Some tentative experiments show that this can give a huge amount of EQ control and can create massive variance to the tone (although the underlying/ “baked in” sizzle remains fairly consistent). It’s going to take some getting to know, but any concerns about “EQ capability” can be allayed completely – there’s as much control here as I’m likely to need. Then the elephant in the room – at least judging from the size of its knob (fnaar) – the over-emphasised compression control. And why no gain? Well I didn’t know either, so it was a step into the unknown. It turns out that, with this amp, when compression is added, it is (sort of) like bumping the gain on a valve amp, and you get a combination of added girth to the tone with extra snarl/grunt which increases the more you add it. Using it for a while it becomes more apparent that a separate gain control (in this context) wouldn’t be especially useful. Seriously, you don't need it. The compression here doesn't have much in common with the compressor on (say) an Ashdown ABM which doesn’t flatter the tone much IMO. With the Four Stroke the compressor is the jewel in the crown and (considering this is a fully solid state amp), is clearly intended to say “up yours” to anything that has glass in it. I’m certainly not saying it’s better than a hybrid or valve amp in this regard (I have both and love them to bits) but it certainly has something special – and different - going on. Roll on next band practice :-) [url="https://orangeamps.com/4-stroke/"]https://orangeamps.com/4-stroke/[/url]

[quote name='Kevin Dean' timestamp='1482155250' post='3198049'] I've seen that few certain named bass players have a version of a CTM in their Studio but use ABM heads live is that because the ABM stuff is a bit more robust ? [/quote] I'm definitely not a named bass player (!) but I usually do this. The main reason is that tube heads require a little more cool-down time than might be available during band swap-overs. Also I'm not as comfortable sharing my CTM on occasions where it's only practical to have one bass rig set up (the ABM isn't as fragile internally so I'm less precious about it!). Last reason is that the ABM is louder and has a more powerful EQ, so it's sometimes a more practical choice for certain venues. The CTM sounds nicer in a controlled environment tho.

[quote name='Merton' timestamp='1481805625' post='3195283'] Easy, in my experience. Sensible handle placement and not a ridiculously heavy lump makes for a valve amp which is easy to manoeuvre [/quote] +1 very easy to carry. The handles are nice too. It's hefty but it's not a problem.

Sold my MM Stingray to Mikan. Easy transaction and top chap to do business with.

[quote name='Iheartreverb' timestamp='1468749971' post='3093015'] I'm also open to other recommendations for a good 210 that will sound similar to a SVT410HLF in the lows dept or lightweight 410 or even a 15 if people think a single would be loud enough? Thanks! [/quote] Ashdown ABM NEO 210s are well worth a look - and (in my view) are up there with the others mentioned. I use 2 of these (mostly for aesthetic reasons) but, to be honest, one cab would suffice most of the time. I have the ported versions that are rated at 500w or there's a sealed 1000w version (which I have't tried).

I use a CTM 100 in a loud band. It can hold its own at full-on band level, providing things don’t get silly. I’ve done some gigs just with backline and a vocal PA only, and its been fine. The amp isn’t super-clean at those levels tho – you’re into snarlsville (in a good way:). Personally I think it sounds sweeter at lower volumes, but the power-stage (when driven) certainly gives it some clout. It’s probably worth mentioning that the gain stage breaks up early - I have to have the gain set below 1/4 with my basses, else it’s a bit too bitey. Also the EQ is subtle. The push buttons alter the sound quite a bit, but you can’t make really significant changes with the knobs. So things can get a bit slushy if the guitarists don’t/won’t tweak their EQ to accommodate how this amp sounds (I bring an EQ pedal just in case!). The core tone is fantastic.

I had one for a while - it was a fantastic looking bass, and nice enough to play. The neck dive wasn't an issue once a wide strap was fitted. But I found the neck a bit slim for my liking and the tone wasn't for me, so sadly it had to go.

I love mine. Sounds ace at gig volume.