Busy One (Ch1, Ch2, & Jump)

Based on Pearce BC-1

About

Very Rare Preamp made famous by Billy Sheehan.

The Pearce Pre-amp is just a supremely great distortion and clean.

This pre amp is solid state. It has 2 channels, which can be used separately or coupled, w/ built in distortion. It has a -10dB/0dB/+10dB switch (pretty cool if you need less or more punch without having to change your settings all the time). Each channel has a gain – bass – mid range – mid – treble  – volume controls and built in compressor/limiter with adjustable threshold. Each channel can be used separately, or combine them to create a wide range of tones.

Del Sol 300

Based on Sunn® Coliseum 300

About

Sunn Coliseum 300 Head.

Solid state amp made in the USA.

300 Watts @ 2 Ohms. Also works into 4 (200W) and 8 Ohm 120 w cabs.

Compresor 2:1 ratio

Contour 6 db 60;  3db 500 hz; 6 db 4khz

Master

Eleconic corssover: from 100hz  to 1khz

It sounds very warm and close to a tube amp sound.
The EQ controls give loads of different tone options

More compression is possible with the gain control

Old SS amps have a raw warmth and character

It’s got a great strong tone, and the eq is extremely flexible and powerful.There are filters “in between” each band of the EQ, so they don’t effect each other. You can boost the 62.5hz, and not effect the 125hz, so on. Which is the exact opposite of say, the Fender tone stack, where you turn down the mids to turn up the other stuff.

lobass  62.5 hz  –>  fat

bass 125hz

hibass 250hz  –> punch

low mid  500hz  hollow

mid 1khz and himid 2kz  presence and snap

hi 4khz  metallic and brittleness

These were made from about 1981 to 1985,  Fender bought SUNN.

Woody Blue

Based on Acoustic® 360

About

No Master –> Should be set as 10

Chief proponents: Larry Graham, John Paul Jones, Jaco Pastorius

The volume of guitar amplifiers was on a hyperbolic curve throughout the entire 60 decade (Everly Brothers in 1960 and end with Jimi Hendrix in 1969), the volume differential is huge. The Ampeg B-15 was simply not designed to win a head-to-head collision with a Marshall stack set to “kill.” Something had to be done on behalf of bass players everywhere.

In 1967, enter the Acoustic 360, a 200-watt, solid state head designed to drive the 361 cabinet, a rear-firing 18” speaker enclosure modeled, I believe, after the Panzer tank. The 360/361 absolutely towered over the B-15, physically and sonically, and got the bass world ready for the Woodstocks, Altamonts and giant festival concerts to come.

Tone, punch, clarity, and volume.

One of the coolest features is the Variamp Control: 5 section EQ,

position 1: 25 175 Hz,

position 2: 75 150 Hz,

position 3: 150 300 Hz,

position 4: 300 600 Hz,

position 5: 600 1200 Hz.

The Variamp has a cut / boost control, straight up is out of circuit. A tremendous amount of tone shaping!

* Bright switch
* Volume control
* Treble control
* Bass control
* Fuzz tone control,
* Electronic tuning fork: 5 ½ octave tone generator, its weird

In December of 1967, the Acoustic 360 actually helped The Doors get arrested for noise violations and put them – and the amp – on the cover of Life magazine. This notoriety had a very predictable response, which is that it made the amp a must-have for serious rockers who would love to be arrested by The Man for bass notes alone.

Not that this was an easily accessible piece of gear. The suggested retail price of the 360/361 package back in 1967 was $1250.00, which in 2014 dollars comes to USD$8,850.00 Not. A. Typo. There is not, to my knowledge, another bass amp that costs nine grand, unless you’re cutting an SSL console in half and dragging that around, which is actually a pretty awesome idea.

Nevertheless, price be damned, the best bassists of the era knew that this was a killer amplifier. Larry Graham himself used these towering stacks for the thumb, the stank and the funk. Led Zeppelin’s virtuosic bassist John Paul Jones had to keep up with Jimmy Page, for the love of Pete, and with the Acoustic 360 .Jaco Pastorius saved all his money (legend has it, sleeping on the beach when his bandmates on the road slept in hotel beds) and eventually purchased an Acoustic 360, which gave Jaco’s fretless J-bass that instantly-recognizable bump in the upper-mids that provided him bassdom’s most enduring, original voice.

Acoustic USA in 2011, launched its website and introduced a new version of the 360/361 bass amplifier as well as various speaker cabinets and a power amplifier.

G Cougar 800

Based on the Gallien-Krueger® GK 800RB

About

No Presence, Crossover freq

Designed 20 years ago, the 800RB has long been a standard of the industry—the choice of countless bass players, touring bands, and backline companies. The amplifier head delivers 400W of biamp power in a rackmountable metal case, 3 voicing filters. Great deep, punchy sound. Roadworthy and studio friendly.
A legendary bass guitar amp that has proven its worth over several decades.

What would any collection of bass amps be without a Gallien-Krueger 800RB? This model is based on the solid state amp that helped define what new bass amps sounded like for the better part of that decade. Geddy Lee had one. Will Lee used one on “Late Night With David Letterman”. And bands like Def Leppard powered through a decade of pop metal with the 800RB. The GK 800RB produces a very scooped sound, and doesn’t really distort. Try pairing this amp with another legend of the Eighties, the Hartke 410 cabinet. This rig is known for producing what we call the “mid 80’s metal bass” tone. It’s the perfect choice when you’re ready for a little Pyromania….

Low cut, contour, and high boost switches
Boost with jack, and LED crossover with switch
High and low master

Reference Videos

Cali 400 (Ch 1 & Ch 2)

Based on the MESA/Boogie® Bass 400+

About

No Presence

500 Watts @ 2Ohms, All Tube, Class A/B Power / 12x6L6, 4x12AX7
Two Channels
Fixed Bias
Pull Shift Bass, Treble Controls (Standard Mid Control)

CHANNEL ONE
Volume 1 offer a high headroom preamp that you might find preferable for active type basses. The gain is slightly lower than Channel 2 and the tonal personality is slightly different. The Pull Bright switch built into Volume 1 can be great for funk bass, as it accentuates the harmonics above the Treble control region.

CHANNEL TWO
Input 2 and Volume 2 recreate the classic sounds of the D-180, The gain is slightly higher and may be better suited for traditional basses than Channel One. But be certain to sample both channels because their tonal personalities are both very usable with very interesting differences. It is even possible to preset the two channels

TONE CONTROLS
uses traditional type tone controls which have been especially tailoredfor bass, and whose ranges can be extended by use of the “Pull Shift” switches. The Treeble control, when set high, becomes the most powerful of the three. At settings of 7and above it will minimize the effect of the Bass and Middle, but they will become the stronger controls when the Treble is below 5. Most players find a “sweet spot” between 2 and 5 where the tonal balance is just right for them. Pulling out the Treble Shift alters its frequency center point downward, toward the upper mid range. (And since there is more musical energy at these frequencies, your amp will seem to get a little louder as well.)

Using either Bright switch injects an extra dose of high treble. The Bass control is wide ranging and using the Pull Shift can boost its power. Your Bass when used with our speaker cabinets) can produce more true fundamental tone than just about anything else. Its bottom end response is truly “profound” and yet it avoids boominess and muddiness. The Middle control is the subtlest of the three. Its purpose is filling the gap between the treble and bass frequencies. Spice according to your liking.

MASTER
Full undistorted power is developed at settings around 5. There is rarely any reason to run the Master above 6 or 7, as higher settings merely increase noise without improving power or tone.

Reference Videos

Cali Bass

Based on the MESA/Boogie® M9 Carbine

About

No Presence. Voice

The punch, clarity and speed on-demand attack and crystal-clear definition of the M6’s Trans-Class™ All-Tube preamp and MOSFET power. They love that it’s easy to dial and yet offers all the versatility they need.

Reference Videos

SV Beast (Nrm & Brt)

Based on the Ampeg® SVT®

About

No Master, No Presence

The Ampeg SVT is a bass amplifier made by Ampeg. The SVT, which stands for Super Valve Technology, was designed by Bill Hughes and introduced in 1969. The SVT bass head produced 300 watts at a time when most amplifiers made less than 100. The SVT has been through many design changes over the years but is still in production today. The SVT head was initially coupled with a pair of sealed 8×10″ speaker enclosures because one cabinet could not handle the power of the SVT. Later on Ampeg updated the speakers in the enclosures so that one cabinet was sufficient.

For 30 years now, we’ve heard the tone and felt the power of the mighty Ampeg® SVT® that model is based on. This workhorse has appeared on innumerable recordings and arena stages worldwide – there is no equal to the original SVT®  of pure tube magic. The SVT® set the tone, punch and arena-rattling standard for all future big gun bass rigs. Its users have included everyone from The Rolling Stones to Van Halen, and pretty much every “rock” bass player in between. We selected a 1974 Ampeg® SVT®, and we’ve also given you a 70’s SVT 8×10 speaker cabinet to pair it with. The sonic combination of this head and cab is beyond big, but you had to pray that your bandmates would help you move it! Thanks to line6, you can now get big classic rock bass tone without frequent visits to the chiropractor.

Reference Videos

Tuck n’ Go

Based on the Ampeg® B-15NF Portaflex®

About

(no mid, no presence, no master)

Get sweet and lowdown with this model of the honorable ‘60s Ampeg® B-15F bass amp, complete with the Custom Design, CTS 15 inch speaker. The unique Portaflex® design consisted of the tube amp’s electronics being mounted on a chassis that “flipped over” (hence our nifty model name) to secure as part of the speaker cabinet, intended to offer the portability of a combo, without the over-heating and rattling problems associated with combo amps of the period. Ampeg® founder Everett Hull was not a fan of Rock ‘n Roll music, and thus conservatively rated this amp at 30 watts, to encourage its users to keep the volume at “sensible” levels to avoid distortion. But we think this versatile low-ender sounds just as great turned up for some throaty growl.

All-valve bass – 25W RMS , speaker 1 x 15″ custom Eminence, preamp 3 x 12AX7, rectifier 1 x 5AR4 or 5U4G, power amp 2 x 6L6GC

 It’s tuned and front-ported, has a closed back, is 25 watts with a single 15-inch speaker, and set a new standard for cabinet and speaker efficiency, tone and convenience in bass amplification. If we had to sum up the amp’s sound up in one sentence, we would simply say: Listen to James Jamerson’s bass playing on the Motown®/Tamala records of the 1960’s — The Supremes, The Four Tops, The Temptations, Marvin Gaye, Stevie Wonder, and many more. Jamerson played bass on more Motown hits than anyone else, and his choice for amplification was the Ampeg® B-15. We think you’ll agree that the sound of his P Bass® through that amp on those records is as fresh and exciting today as it was 35 years ago. And if he’s not enough to convince you, how about “Duck” Dunn! Don’t get us started….

Reference Videos