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By Baloney Balderdash
Mine must be the SWR Triad I, 4 Ohm, 400W bass cab, equipped with 1x15" + 1x10" speaker units + high frequency tweeter horn.
The 15" speaker unit receiving the full range of the signal, and then a build in crossover making sure that the 10" unit mostly only receives the part of the signal that is between 100Hz and 5Khz, and that the high frequency tweeter horn then receives everything of the signal above 5Khz, with how much of this part of the signal is fed to the tweeter horn being adjustable via a build in tweeter attenuator.
Personally I have the attenuator set at noon, which according to the manual is the "normal setting", effectively meaning an about -4dB cut of the signal send to the tweeter.
I use it for the musical project that has my main focus at the moment, a bass/vocals and drums duo, which music perhaps best can be categorized as a form of progressive psychedelic stoner rock, where I play a just 28,6" scale 4 string Ibanez GSRM20 Mikro bass, tuned G1 - C2 - F2 - A#2, as in G standard tuning, 3 half steps above regular 4 string E standard bass tuning, or 2 half steps bellow A standard baritone guitar tuning, and then beside other momentarily used effects (a heavy high gain distortion with a quite fuzz like quality, consisting of a Turbo Rat clone parallely mixed, via my Boss LS-2, with a Joyo Orange Juice overdrive stacked into a Boss MT-2 Metal Zone, having a big part to play), have the bass signal run through an always on TC Electronic Sub'N'Up Mini octaver, blending in an 1 octave above signal with the regular bass signal, using the default polyphonic octaver setting, but tweaking the EQ of the input signal of the octave engine as well as the EQ of the pitched signal via the Toneprint editor to make it sound more natural, giving an effect similar to that of playing an 8 string "octave" bass, with pairs of respectively bass and octave strings.
Here, beside my Mikro Bass, is my Peavey Solo Special 112, 160W guitar combo amp, having it's build in 12" guitar speaker disconnected and instead hooked up to my SWR Triad I bass cab, only using the poweramp section of the Peavey, having an EHX Black Finger, tube driven optical compressor, acting as much as a fairly light compression effect as a tube preamp stage, placed at the end of my effect pedals chain, then going into a Zoom MS-70 CDR, exclusively using that as a multi band fully parametric equalizer, utilizing 6 of the pedals 2 band parametric bass equalizer models, then finally going into a Behringer MIC100 Tube Ultragain tube preamp, before going into the Peavey's Effects Return effects loop input:
The SWR Triad I was one of the first real commercial attempts at making a full range bass cab, it's nowhere anywhere near flat response, but to me that doesn't really matter as I think it got just the right frequency balance as it is, with control of the upper frequency representation by the build in attenuator, as I mentioned previously, setting how much of the signal above 5kHz is fed to the tweeter horn.
The low end of the cab is tight and articulated as far as I am concerned, and I guess the cab is fairly mid-rangy, which I suppose makes sense with the part of the signal the build in 10" unit is responsible for, that is everything between 100Hz to 5kHz, and having the 15" unit, as said receiving the full range of the signal, overlap a great deal of those same frequencies, which by the way suits me fine too, as I like a rich mid-range presence.
To me this cab reproduce the signal coming from my bass beautifully, couldn't imagine it any better, and even though I guess this type of cab is especially suited for how I utilize it at the moment, I would not hesitate a moment using it in the context of a more traditional bass setup as well.
The´overall sensitivity of the Triad I cab is not really that impressive but still quite good with 98db @1W1M, and the frequency response spreads wide and deep with –6 db @ 37 Hz and 16 Khz.
Here's a link to the original manual:
https://www.manualslib.com/manual/621035/Swr-Goliath-Iii.html?page=17#manual (don't mind the link names the Goliath III cab, page 17, as is where the link leads, is the Triad I manual page)
Only downside to this cab really is that it weights half a ton.
Man it's heavy, and it's a bit unusual shape (it's deeper and a bit more boxy than it appears on the photo) makes transporting it even more cumbersome.
Well here we go, didn't think I will see this one go....This is TTE500, made in Italy, one of the most valve-like of all hybrid heads.. They used t go for 750-800£...Absolutely like new condition, couldn't even find a scratch on it, well taken care of, I even have the original Markbass packaging it came in, so ready to be shipped. Would like to sell ...or trade for money ...but if you have a small, light but powerful cab for trade (e.g Barefaced Midget, One 10..) I might be tempted.. 399£!!!
Barefaced retro 210 bass cab for sale. Very good condition except for a bit of Barefaced Tolex peel on the back which is common on these cabs. Great sound very loud and light. Comes with a Roqsolid cover. This is 4 ohm version as confirmed by an email from Alex and Barefaced.
31x63x33 cm 14 kg. Up to 800 watts power handling. More specs on the barefaced website.
Collection preferred from Downend in Bristol. Any trials welcome. Any qs please let me know.
Have decided to sell me Bass amp and go for something smaller. It truly is the best bass head I've used but I don't play nearly as much as I did when I got it and not the size of venues either. The clean channel is superb. Gives you a nice clean tone, you can go from fat to sharp and anywhere in between. You can also pull on the treble and bass knobs and they pop out. This allows you to switch the frequency of the knob and get a different sound. Go over to the drive channel and things get interesting. This channel is active past the midway of the Treble, middle and bass knobs (There's a little indent you feel when turning them to let you know when you hit the active part). This means you can boost them past the natural register and get a bunch more tones. You also have the push/pull knobs on the treble and bass like channel 1. There's also a mid frequency knob to allow you to tailor exactly what frequency you want to alter. There's a gain for the amount of overdrive you want which can get crazy if you go to 10. With the gain knob there's a blend where you can balance how much of the clean signal gets mixed with the overdriven one so you don't lose any low end if you worry about that. Personally having the blend at 10 I think is the best and I think it sounds great in the mix. The cab is punchy with lots of bass and treble on tap for when you want it.
I've had it serviced just before lockdown and also put in a full re-valve. So this amp has had a full set (Preamp and power valves) of JJ's. It sounds amazing and fresh! It's had maybe a couple of hours use since then. The head comes with both a "Hot Covers" padded cover for the head and a "Matt Snowball" flight case while the can has a Hot covers padded cover. You'll see the flight case is sprayed and has a tour plaque from "Bombay Bicycle Club". This was because I bought the head and case from them. Ed and the guys were selling some gear when they went on hiatus a couple of years ago to do solo and side projects. There's also a Boss pedal included for switching channels.
This head really does it all. The output ohm of the head can be switched so if you have an 8, 4 or 2 ohm cab you can just switch the head to match and get the full output. There's a cracking DI where you can go pre or post with it and in has it's own volume control. There's an output for a tuner and an effects loop. The best bit is this amp is self biasing. This means every time you turn it on it checks the 6 output valves to make sure they're working. If there's any issues it will show you and tell you which valve is at fault. You can also set the bias on the fly so inbetween songs you could just decide to run the head hotter getting a breakup at a lower volume or earlier. Just press the up or down button on the bias control and it's done. The self bias also means if a valve fails it will compensate and run at a lower volume so you can get through the gig. Just pop the volume up to match what it was and you can carry on. You can change the valves yourself without having to take it to a tech to bias. So if you have spares at a gig, just change them there and then!
The head is in great condition. It's been well looked after by me and by Bombay Bicycle Club. I've owned the cab from new and that is also in fantastic condition. No rips or nick in either of them.
Pics are of the actual head and cab for sale. There's ones from when I originally was going to sell just the head but I've taken more today with the cab. I'll try and get better ones.
Here's the spec from Fender:
One of the most powerful and versatile bass amps Fender has ever created, the Super Bassman is a stadium-level 300-watt tube head designed for the biggest shows and the largest stages, with enormous Fender bass sound and sparkling vintage Fender looks. Perfect for stage and studio alike, its dual-channel design uses modern technology to maximize classic technology, with classic Fender late-'60s/early-'70s "blackface" styling and a wealth of innovative features on the front and rear panels.
Features include a tube preamp (two 12AX7s) and power amp (one 12AX7, one 12AT7, six 6550s); Vintage channel that delivers the full, warm sound of a classic Fender passive tone stack; Overdrive channel that delivers the aggressive and responsive sound of a modern active tone stack (choose between channels with included footswitch); rear-panel Fender Automatic Bias system that constantly monitors and re-biases tubes for perfect performance and alerts you when service is required; Speaker Output switch that can be set to "Mute" to turn speaker off and record silently using preamp tone from the XLR output; Impedance switch (8, 4 or 2 ohms) and master volume control with push/pull mute.
FENDER SUPER BASSMAN HEAD FEATURES:
Model Name: Super Bassman®
Series: Bassman® PRO
Amplifier Type: Tube
Effects Loop: PreAmp Out / Power Amp In
Line Out: XLR (Pre/Post) w/ Level and Ground Lift
Speaker Jack: Yes
Channels: 2 - Vintage, Overdrive (footswitchable)
Rectifier: Solid State Rectifier
Controls: Vintage - VOL, BASS (pull DEEP), MID, TREBLE (pull BRIGHT); Overdrive - GAIN, BLEND, VOL, BASS (pull DEEP), MID FREQ, MID LVL, TREBLE (pull BRIGHT); MASTER (pull MUTE)
Hardware Finish: Nickel Corners (Notched)
Cabinet Material: Plywood
Pilot Light Jewel: Yes
Handle: Spring Loaded Handles
Front Panel: Metal, Painted
Frequency Response: 820k (INPUT 1), 136k (INPUT 2), 43k (PWR AMP IN)
Output Impedance: 220 ohm (PREAMP OUT)
Sensitivity: 12mVrms (INPUT 1), 1Vrms (PWR AMP IN) @ 100Hz
Signal To Noise Ratio: 95dB (Power amp), 46dB (Preamp)
Amplifier Depth: 13.5" (34.3 cm)
Amplifier Width: 24.5" (62.2 cm)
Amplifier Height: 10" (25.4 cm)
Amplifier Weight: 65 lbs. (29.48 kg)
Impedance: Selectable 8, 4, or 2 Ohms
Pre Amp Tubes: 2x12AX7; 1x12AX7 1x12AT7 (Power Amp)
Power Tubes: 6 X 6550
Unique Features: Speaker Output 'Mute' for silent recording and Fender Automatic Bias for output tube monitoring/adjustment
Knobs: Black (w/ Chrome Insert), w/ 1-10, Set Screw
Fender's Bassman 410 Neo cabinet delivers the full, tight and punchy bass sound you'd expect from a 4x10" enclosure, and does it with sparkling vintage Fender looks and a remarkably lightweight design.
Features include four 10" Eminence® U.S.A. neodymium-magnet speakers, compression driver horn with attenuator, lightweight plywood enclosure with classic late-'60s/early-'70s Fender "blackface" styling and Speakon connectors, removable casters and spring-loaded heavy-duty handles for easier transport. Rated at 1,000 watts program (500 watts continuous) at 8 ohms.
FENDER BASSMAN 410 NEO CABINET FEATURES:
Model Name: Bassman® 410 Neo
Series: Bassman® PRO
Inputs: Two 1/4" and One Speakon
Power Handling: 1000 watts (Program), 500 watts (Continuous) Handling Capability
Horn Tweeter: Compression Driver Horn Tweeter with 8 oz. Magnet
Controls: High Frequency Horn Attenuation
Hardware Finish: Nickel Plated Steel Corners
Cabinet Material: Lightweight Plywood
Handle: Side-Mounted Steel Flip Handles
Frequency Response: 40 Hz - 15 kHz
Amplifier Depth: 16.25" (41.3 cm)
Amplifier Width: 26" (66 cm)
Amplifier Height: 24.5" (62.2 cm)
Amplifier Weight: Under 55 lbs.
Speaker: (4) Fender® Special Design Eminence® Neodymium 10" speakers and a compression driver horn
Impedance: 8 Ohms
Casters: Removable 2" Diameter Swivel Casters
Knobs: Black Plastic
An questions, just ask. I am looking for cash but if you have something to trade you can get in touch. £1650 ONO. Collection only, I'm in Dundee but could travel a little to meet somewhere.
For sale Hartke Hydrive 112. Not the hd version. Surprising amount of bass from a relatively compact cabinet.
See photos for condition-
Looking for £150. Happy to consider shipping Spec-
12" HyDrive paper/aluminum hybrid cone driver Neodymium magnet 300 watts power handling Selectable impedance for 4 and 8Ω operation 1" titanium compression driver High frequency attenuation switch (On/-6dB/Off) Parallel Twist & Lock and 1/4" inputs 41Hz–17kHz frequency response Solid plywood cabinet construction Ported cabinet design Silver perforated steel grille Inset carry handle