All gear, all the time. bassgearmag.com Issue 16

DAngelico Ex-Bass Ampeg V-4B & SVT-212AV The return of Wayne Jones

SPRING 2015Display until JUNE 3, 2015

$7.50 US

Cover

Bassic Reviews

Full Reviews

Eastwood EEB-1 Bass GuitarAlan Loshbaugh takes a look at Eastwoods interpretation of a classic, yet unique, bass design.

DAngelico EX-Bass Guitar Lee Louie gives us her impressions of this single-cut electric archtop bass from DAngelico.

Ampeg V-4B Bass Head and SVT-212AV Bass CabTom Bowlus spends some quality time with a reinvented 100-watt tube head and a brand-new cab design from Ampeg.

Wayne Jones WJ 2x10 and WJ 1x10 Bass CabsWayne Jones is back! And this time, hes brought the power right to the cab. Tom Bowlus puts the new cabs through their paces and compares them to the classics.

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Darkglass Electronics Vintage Deluxe and Duality PedalsDemeter Amplication VTBP-M-800D Bass Head

The Wilfer Family (Framus & Warwick)

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Special Features

2014 Warwick Bass CampYes, it took place last September, and yes it was so epic, we are still talking about it!

Framus & Warwick Factory TourIf you thought that German manufacturing was orderly and technologically advanced, you aint seen nothin yet!

From Fan to the Bandstand (My Tenure with Black 47)Joe Burcaw relates his true story of how he became a real life member of a band he admired as a fan.

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Bass Gear Icon: Ken Smith

issuee16 Industry NewsColumns

How I See ItDiversity is a powerful thing, and with some new members joining the Bass Gear

Magazine team, we hope to become better than ever.

From the BenchTechnical Editor Tom Lees gives us a Fight Club style A/B comparison between the new

Ampeg V-4B and a vintage 1975 V-4B.

Luthiers Round TableOur luthiers really stick their necks out in this discussion of stabilizing rods and the choice

of atsawn or quartersawn wood.

Metal-On-MetalMegadeth bassist David Ellefson joins the BGM team with a new column where he

interviews the top metal bass players in the business. First up, Robert Trujillo...

In The Doghouse Pickup LinesChris Fitzgerald talks about making the most out of your imperfect pickup signal.

Philthy Talk Ampeg InsanityDoes cramming Phil, his bass, two high-power tube heads and sixteen 10 drivers into a

10 by 10 box sound like a good idea to you? No, we didnt think so, either...

Fundamental Support Gibson FoundationWhen Katrina hit New Orleans, it not only wiped out many homes, but it also took away

the instruments so many musicians needed to make a living. The Gibson Foundation helped restore music to the region.

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2015 Winter NAMM Show 2015 Winter NAMM Show Awards

2015 Winter NAMM Bass Bash

It doesnt get much more iconic than Ken Smith. Vic Serbe talks with the man, the myth, the legend.

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How I See ItTom Bowlus, Editor-in-Chief

Diversity is a good thing. It can, unfortunately, spark many controversies, but that is not my intent with this column. I come to you with a brief celebration of diversity and ask you to reflect upon its benefits, as well. How many of you have a favorite food, a favorite drink, a favorite style of music, or a favorite vacation destination? These are good things, right? They make us happy and comfortable, so we return to our favorites time and time again. But just because you have a favorite food, does that mean that you dont want to eat anything else? Just because I love a nice, hoppy IPA, does that mean that I cant also enjoy a pinot noir? Would you re-ally want to only visit one vacation spot, over and over, when there is a whole world out there to explore? Actually, I know some folks who do this, but hey, its their loss!

Granted, no one is going to like all things equally, and we all have our own individual preferences. Thats what makes us unique. Just because you try something new or different, it doesnt mean you have to like it. And if you do try something new, and its not really your thing, there is still merit in ex-panding your range of experiences, and you have still gained some personal context and enhanced your sense of perspec-tive.

As musicians, I would hope that we are especially receptive to a wider range of musical styles. Music is like emotion, and it has many different expressions. Different musical styles can make us feel different and affect our mood, or even our outlook on life. My own musical preferences run a very wide gambit. My first love was classical music, followed closely by Elvis Presley, The Beatles and Neil Diamond. Then came The J. Geils Band, Pink Floyd, Genesis and the like. I still recall having to pick my jaw up off the floor the first time I heard Tom Sawyer by Rush. I then started gravitating towards the heavier sounds of Judas Priest, Black Sabbath and Iron Maiden. At the same time, I was playing in concert/marching band (tuba), orchestra (double bass) and jazz band (double

bass) and learning to love Sousa, Handel, Glenn Miller and more. I have been blessed to experience and appreciate a wide range of music, including swing, blues, country, punk, metal, hip hop, rap, pop, techno, jazz fusion, and many more.

My life is richer and better off for having experienced these varying styles of music. The same holds true for the people whom I have met and come to know during my lifetime. My involvement with Bass Gear Magazine has really helped me to come into contact with a huge range of people of varying ethnicities, political views, religious views, sexual orienta-tions and lifestyle choices. It has been a real blessing to me, personally. What is even more special is that a number of these amazing people whom I have been fortunate to meet have been gracious enough to contribute to this publication. We were able to put together a pretty diverse team right out of the gate, including contributors from both the double bass and electric bass worlds, and the team has grown over the years to include writers with varied experiences and playing styles.

I am happy to tell you that our staff of contributors has recent-ly grown once again, not only in numbers, but also in diversi-ty. David Ellefson (Megadeth) has joined the team with a new column, called Metal on Metal. We now have both a profes-sor (John Cipiti) and a recent graduate (Jacob Schmidt) from the local college, Terra State, on board. And I am very happy to announce that we have our first female staff reviewer, Lee Louie (who has also done some amazing photography work for us). All of these people add to the flavor of the magazine, and I hope that you enjoy their differing viewpoints.

Diversity is good.

Thats how I see it.

Take care, Tom.

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EDITOR IN CHIEF Tom Bowlus tom@bassgearmag.com

TECHNICAL EDITORS Tom Lees toml@bassgearmag.com

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STAFF REVIEWERS Alan Loshbaugh

Lonnie NaVeau

Ted Blyss Gould

Lee Louie

Jacob Schmidt

STAFF CONTRIBUTORS Chris Fitzgerald basstzgerald@yahoo.com

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DarkglassElectronicsVintage Deluxeand DualityBass Pedals

By Jacob Schmidt

The Company LineDarkglass Electronics is an intriguing, multi-national company which is really making waves in the bass world. CEO and co-founder Douglas Castro originally hails from Chile, but now lives in Helsinki, Finland (which is the official home of the brand), while co-founder Hugo Villarroel (who handles sales and artists relations) continues to call Chile home. Brand Manager Ignacio Barros (currently living in Australia) and Marketing Manager Franco Azcar (also from Chile), as well as three other people building the pedals in Finland (Pekka, Richard and Joonas) make up the remainder of the diverse team. Needless to say, we were very excited to finally get the chance to review some pedals from this up-and-coming pedal company. Darkglass has been making a name for themselves not only with the quality of the products they are producing, but the tonal element they are extracting out of these electronics. Currently, as I am writing this review, Darkglass has five pedals in production: the Vintage Deluxe and Duality Dual Fuzz Engine, reviewed here, as well as the Microtubes Vintage, Microtubes B3K and Microtubes B7K. They also recently introduced a preamp called the Tone Capsule, which is designed to be wired directly into your bass guitar.

Ive always been intrigued by the name Darkglass, and we asked Douglas Castro how this name came to be chosen: I dont think Ive ever told the story behind the name before! Its quite simple actually; Istarted using it a decade ago, before I even started designing electronic circuits. Back then, playing bass and composing music was my sole obsession. I started writing and recording a lot of progressive metal tunes; I went with the name darkglass on forums to share my music back then, I became fascinated with the place of individuals in a collective. I guess its normal for most teenagers to wonder about our place in the world as a species, and also as individuals,

and I thought a lot about the idea of isolated togetherness the fact that we as humans can interact, share and learn at incredible depths from and with each other, but at the end we are by ourselves. All we see from and show others is what we chose to let us see, just like dark glass would; you can almost see through, but you really cant. The name sounded cool, so it kind of stuck. Okay, one mystery solved! But what about the philosophy behind Darkglass Electronics and their products? Douglas explains: That one is a bit simpler to explain. We just love good bass sound, and our mission in life is to create and make tools that help musicians sound better, and perhaps even help them be a bit more inspired and create music theyre happier with. We dont focus too much on effects or creations that enhance your sound, although I think thats a perfectly valid approach towards making and using effects. We are more into making devices that help you transform your sound, we aspire to become a part of it.

Vintage DeluxeLets start off by taking a look at the Vintage Deluxe. This is the bigger brother of the Microtubes Vintage, with an added EQ for bass, mids, and highs. It also has a direct output with ground lift switch and a parallel out. The first thing that strikes you about this pedal is the wonderful packaging that Darkglass ships these in (a quality black box, with magnetic closure); definitely a notch or two above the competition. The enclosure, itself, is also worth mentioning. The chassis are made of aluminum, Douglas tells us. We switched from the standard die-cast boxes for unibodies. This method of making casings is truly remarkable: instead of pouring melted aluminum into a mold, a behemoth milling machine carves them one at a time out of a single solid block. It doesnt just look a lot better (the finish looks and feels very smooth, almost like silver), but the fact that theyre custom-made with the highest tolerances possible allows us to make a box that will perfectly fit the circuit. This makes things not only more consistent and more efficient to assemble, but also changes the game for us. Before, we had to make tradeoffs on the design for the circuit to fit the chassis; now, we get the chassis made specifically for that circuit! The chassis and all metalwork is done in Finland actually, which is something we are very proud of.On the right side of the device, we find the 9v DC power input, with a 30mA draw (any standard Boss-

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Manufacturer: Darkglass Electronics

Website: http://www.darkglass.com

Model: Vintage Deluxe

Made in: Finland

Enclosure: Milled aluminum

Inputs: input, 9v DC center negative

Outputs: parallel, out, XLR direct out

Controls: Blend, Level, Drive, Era, Bass, Mid, Treble

Other Features: Blue indicator LED, true-bypass switching

Dimensions: 4 5/8 L x 4 1/4 W x 2 1/16 H

Weight: 15.2 oz.

Warranty: 1 year

Price: $389.00

Manufacturer: Darkglass Electronics

Website: http://www.darkglass.com

Model: Duality Fuzz

Made in: Finland

Enclosure: Milled aluminum

Inputs: input

Outputs: output

Controls: Blend, Duality, Level, Filter

Other Features: Blue indicator LED, true-bypass switching

Dimensions: 4 3/8 L x 2 3/4 W x 2 H

Weight: 10.0 oz.

Warranty: 1 year

Price: $249.00

style power adapter with a center negative plug can be used). Following that is the Input jack, and lastly, the Parallel Output, which provides an unaffected pass-through of your input signal (which is useful for parallel processing, or for driving a clean rig). The unit which we are reviewing is one of the Limited Edition pedals (only 200 made) created to celebrate the companys 5th Anniversary, and as such, it sports a killer stainless steel front plate. On the left side of the pedal, we find the Output jack, and an XLR Direct Output, with a selectable ground lift switch. This is a convenient package, and allows you to simply just plug into a studio board, or live sound rig, and go. With this level of EQ and the various signal routing options, the Vintage Deluxe could even replace your live rig (if you have in-ear monitors), or it could drive a powered enclosure. They dont call this pedal a dynamic preamp for nothing! All of the connections on the Vintage Deluxe feel very solid, and plugging the cables to each jack is very smooth and has that solid click when fully inserted. This may seem like a minor detail to most people, but it is a hallmark of high quality and definitely shows how Douglas Castro pays attention to the details.

Looking down from above the pedal, the top row of knobs includes the Blend, Level, and Drive controls. The Blend is used to control the mix of the clean signal (which remains at unity gain) with the overdriven signal. This seemingly simple feature is incredibly useful, and it not only allows you to better control the character of your overdriven tone, but it also helps to keep the low end more tight and coherent. On some other pedals, a blend control can help to dial back in some of the lows that drop out when the drive is engaged. But I am happy to say that with the Darkglass pedals, the lows stay nice and full, even when set to their dirtiest settings. The Level knob is used to control the volume or level of the overdriven signal, which allows you to balance the volume of your affected signal to that of the bypassed signal, as well as help dial in the intensity of the overdrive to blend with the clean signal. The Drive knob controls the level of saturation in the overdriven

signal, adding more saturation as you turn the knob from left to right. Between these three knobs, you have a very high degree of control when it comes to dialing in just the right overdrive.

Moving down to the second row of controls, we find my favorite knob, labeled as the Era knob. This knob is interactive with the Drive control, and effects the warmth of your tone. Move it all the way to the left, and get the warm, tube-like sounds of the classic rock greats, or move it to the right to get a more edgy sound. Next up is the active EQ section. All three controls allow for 12dB of boost or cut. The Bass knob is centered at 100Hz, followed by the Mid knob (centered at 1kHz), and finally the Treble knob, effecting your signal at the 5kHz range. Finally, located below the bottom row of knobs is the activation switch. There is a blue LED light above the switch, which indicates when the pedal is activated or not. In use, the Vintage Deluxe is perfect from classic rock all the way to heavy metal, and honestly, this pedal could handle almost any genre. It will readily conjure up more vintage overdrive, ala Black Sabbath, but I was also able to dial in some RATM-style grind, and everything in between. I would definitely use this pedal in my rig possibly alongside a B3k, to provide me an alternate overdriven tone.

The more I played around with the Vintage Deluxe, the more I was impressed by the range of usable overdriven tones it offers. Once you have the Drive and Level settings dialed in, you can really change the

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character of the drive with the EQ and Era controls. The Mid knob is especially powerful in this regard. Then, you can play around with various amounts of clean Blend to really ne-tune things. All in all, this is a super exible overdrive tool. This pedal also does a lot for your sound, in general. If you arent needing an obvious overdrive, the Vintage Deluxe can help warm up your tone, if need be, or shape your tone to help cut through the mix. Heck, you can set the Blend control all the way to the clean signal and use the 3-band EQ as a footswitchable tone-sculpting tool without engaging any hint of overdrive. Not surprisingly, the Era knob does not appear to affect the tone at all when the Blend is set all the way to the clean side.

Duality Dual Fuzz EngineYet another pedal created by the genius minds at Darkglass is the Duality Dual Fuzz Engine. The name basically says it all. Its a fuzz pedal with two different fuzz circuits built in, and spoiler alert! it is the rst pedal I have found that let me dial in a fuzz that I like. I hope you like the word fuzz, because Im going to be mentioning it a lot in this article... The two fuzz circuits include a high-gain circuit, and a gated saw-tooth wave. This pedal gives you the ability to dial in one or the other, or to blend the two together, giving you all the fuzziness that you can fuzzing handle.

Looking at the Duality from the top-down perspective, it includes a Output on the left side, and a Input on the right side, alongside the 9v DC negative center plug. The Dualitys high quality aluminum enclosure has a very sturdy, rugged feel to it, much like that of the Vintage Deluxe. The Duality includes four knobs on the top: Blend, Duality, Level, and Filter. Starting with the Blend, which is located top left, this knob controls the mix of the clean signal with the affected signal, just like it does on the Vintage Deluxe. Turning from left to right decreases the clean signal. Next to the Blend knob, on the top right of the pedal, is the Duality knob. This is where the Duality separates itself from other fuzz pedals. The Duality knob gives you control over mixing the two circuits together or using them independently. Turning the knob all the way to the left gives you the gated saw-tooth wave, and turning it all the way to the right gives you the high-gain fuzz. Setting the knob anywhere in the middle gives you a variable blend of both circuits.

The Level knob located at the bottom left, is used to adjust the output volume of the fuzz signal, but it also seems to affect the sensitivity of the attack of the fuzz circuit(s). To the right of this knob is the Filter control, which can dial out the higher frequencies of the fuzz. This will come in handy when selecting the high-gain fuzz, as it tends to be a bit harsh in that area. Between the bottom knobs sits a blue LED which illuminates when the pedal turns on. Below the indication light sits the foot selector switch, which operates smoothly, but (like the footswitch on the Vintage Deluxe) it doesnt have a denite click to it when pressed in.

I have to admit that going into this, I was somewhat biased against this pedal, as Ive never really liked fuzz pedals, at all. Fuzz pedals have never really cut it for me. Ive only really

liked distortion pedals, and even then, I was very picky. So, when I glanced over the manual, the rst thing that intrigued me was that it has two fuzz circuits. Then, I plugged it in and fell in love. This is the rst pedal that actually allowed me to dial in the fuzz I was looking for. This is very important to me, and Im sure for others, as well. Even if you are not partial to fuzz pedals, I would at least give this one a try. I would denitely add the Duality to my pedal board, without a question.

The Duality does not suffer from that warm and fuzzy, but kind of thin tone I have heard from other fuzz pedals I have tried. It has more cut and attack than many, and the low end does not drop off, as it can with some fuzz pedals. The saw-tooth wave circuit can sound almost synthy at certain settings. Speaking of settings, the Level control is very interactive with the Duality knob, and dialing in the right ratios of these two knobs is the key to getting the most out of this pedal. Then, blend in the clean signal to add a proper amount of fundamental to the fuzz. Finally, you can ne-tune the tone with the Filter. Collectively, these controls allow for great saturated fuzz tones that still have fullness and articulation to go along with them.And in case you are wondering, yes, these two pedals sound absolutely fantastic when used in conjunction with each other!

OverallOne thing is for certain with regard to Darkglass pedals; they are built solid. Even down to the jacks, these pedals were thought through and built well. The knobs dont feel like they are going to fall off, and they have a little resistance when turning them, but still allow for a very smooth rotation. The LED light is bright enough that it will shine through any stage light, letting you know the pedal is activated. The prices are a little steep, but keep in mind, you pay for what you get, and these pedals are worth every penny. They not only have a very solid build, but they both sound great, as well. I would highly recommend these pedals to anyone.

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Matt RubanoTaking Back Sunday All American RejectsLauryn Hill

www.fodera.com

The Monarch Standard Classic

In a word...Classic.

DemeterVTBP-M-800DBass Head

By Tom Bowlus

The Company LineBack in BGM issue #14, we brought you a full review of the Demeter HBP1-800D bass head, which is basically the HBP-1 preamp with an 800-watt class-D output section added. As an added bonus, in addition to full bench testing of the HBP1-800D, we also tested the stand-alone Minnie 800D power amp from Demeter. Both of these units tested quite well, with continuous power appropriate for their 800-watt rating (at 4 ohms), and burst power capabilities exceeding 1,000 watts.

With the HBP1-800D, you have a single rack space solution. With the Minnie 800D, you have a compact, non-rackmount amp to pair up with your favorite preamp. The VTBP-M-800D adds yet another form factor to consider. I suppose you could call it a mini head case format, and it is super cool! It has the styling cues of a vintage tube head, but it is much smaller and weighs a fraction of what an all-tube head weighs. This little unit immediately won over every one who saw and heard it at the 2014 Winter NAMM Show (winning a Bass Gear Magazine Best of Show Award), and weve been chomping at the bit to review one ever since.

Origins of the BeastThe front end on this Demeter has an interesting back story. Much like with the HBP1-800D, James looked to one of his prior tube preamps for inspiration. In this case, that inspiration came in the form of the very

first VTBP-201 preamp he built. This unit was originally given to Lee Sklar, who fell in love with it and used it for 25 years. In 2012, Lee finally gave VTBP-201 #1 back to Demeter, and James was amazed by the tone. As luck would have it, around this same time, James found about 150 of the original PCBs which he used for the initial 201 preamps. Nuff said!

A Closer LookIt is abundantly clear at first glance that this is a tube preamp. First off, the two tubes (one 12AX7 and one 12AT7) are mounted front and center, in the upright position. If this does not make things obvious enough, both tubes are also lit up from beneath with blue LEDs. Oh, and by the way, these tubes are being fed by a full 280v power supply. Very nice. The single 1/4 input has an input of 1 megaohm. The unit also features an internal trim pot to adjust output gain. This is followed by the lone external gain control, labeled Volume. Before we get to the tone stack, James has placed a 3-position toggle switch to select between the three modes: dark, normal and bright. These three options definitely tweak the character of the head, and provide a great starting point. The Bright setting was a little much for me (and the stainless steel roundwounds I typically employ), but it might work well with other basses, possibly with flatwounds. I did find both the Normal and Dark settings to be very usable, though, with some of my basses favoring the Dark settings and others favoring the Normal setting.

The EQ section is comprised of controls for treble, middle, bass, and presence. The treble control allows for 9dB of boost or cut at 4kHz. This is a shelving control, with a slope of 6dB per octave. The middle EQ band is centered at 500Hz (with a wide Q) and allows for 6dB boost/cut. When you get to the bass control, you have the option of selecting the frequency of the shelving control (also 6dB per octave) at either 60Hz or 120Hz, and the level of boost/cut is upped to 9dB in either direction. I like to think of the presence control as an independent EQ option to be layered onto the more traditional 3-band tone stack. It offers up to 12dB of boost (no cut option) at either 2kHz or 4kHz, with a slope of 6dB/octave. The power switch and its corresponding LED round out the front panel controls.

On the back of the unit, we find such typical offerings as the AC receptacle and main fuse, but several other nice touches, such as the 115v/230v switch and the pair of very nice Speakon and 1/4 combo speaker

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Manufacturer: Demeter Amplification

Website: www.demeteramps.com

Made in: USA

Enclosure: Wood

Exterior: Tolex

Preamp Type: Tube

Output Section: Class-D

Power Supply: Switch-mode

Rated Output Power: 800 watts (4 ohms)

Inputs: One (1 megohm), effects return

Outputs: 2 combo / Speakon, XLR (DI), pre-amp out, effects send

EQ: Treble, Middle, Bass, Presence, Mode Switch

Other Features: Jensen DI output transformer

Dimensions: 13 wide x 5.5 high x 9 deep

Weight: 10.5 lbs

Warranty: 1-year

Price: $1,599.00 List ($1,359.00 Street)&1,899.00 list w/ Jensen DI

($1,599.00 street w/Jensen DI)

outputs. These are followed by 1/4 jacks for pre-amp out and the line-level effects loop send and return. Our review unit is also equipped with the optional studio-quality Jensen DB-E balanced output transformer, and this DI has switches for ground lift and EQ/flat. One of the things that you will notice about this head is the lack of a cooling fan. Another thing you will notice which explains the lack of a fan is the large aluminum heat sink, visible between the two transformers through the rear grill. One feature which you cannot see, but which adds to the quality and performance of this head, is the Jensen transformer which drives the 800-watt class-D output section.

The enclosure, itself, is definitely part of what makes this head so appealing. It is made from wood and covered in tolex, with a large, sturdy leather handle on top, and four large rubber feet on the bottom. It just screams both cool and quality. The front and back of the unit both feature round-aperture metal grills, to allow for adequate airflow. The name Demeter is stenciled in white paint across the front grill. All in all, it is one slick-looking package, and it feels at home sitting atop pretty much any cab, be it big or small, vintage or modern. In fact, the only thing about it that is somewhat unwieldy is the name. Thats a lot of consonants and numbers, with some dashes through in... I would call it the Demeter Mini Head, but James just introduced an even smaller, 400-watt version at the 2015 NAMM Show. Hmmm... perhaps the Mini800, then? Oh, wait, we already have the Minnie 800D power amp. I guess I can see where James had trouble coming up with a catchy name for this one. VT Head, perhaps?

Sonic CharacteristicsFrom our previous reviews, and my personal experience with a Minnie 800D, I knew that this head would pack a punch. I also felt like I had a pretty good idea of what it would sound like, as I have had one of the 1.5U rackmount VTBP-201 preamps for many years. The baseline tone of the VTBP-M-800D certainly captures the harmonic complexity, clarity and articulation of my VTBP-201. I also happened to have my Demeter HBP-1 preamp on hand, so I thought Id compare it against the VT Head, as well. Running the unbalanced output from the HBP-1 into the effects return of the VTBP-M-800D, there was a strong family resemblance. The HBP-1 comes across as more smooth and a tad more round, while the VT Head is more lively and a touch more bright. I also compared the

output from the VT Head to that of the Minnie 800D (by driving the Minnie 800D with the preamp out of the VT Head), and as expected, they each match the other, punch for punch.

I was able to try the VTBP-M-800D with a variety of cabs, and I found many good pairings. One of my favorite matchups was with my Bergantino HD212, which is a very balanced-sounding cab, with pleasing heft and great clarity. It really showed off what the VT Head can do. The bass control on the head has more juice on tap than youd expect from just +9dB, and it was more than enough to make even comparatively thin-sounding cabs come across as full and authoritative down low. As you might expect, this head really helps to bring potentially dull-sounding cabs to life. It is also worth noting that this head has a lot of power on tap, so care must be had when using it with cabs that do not favor high power handling.In addition to its great sound, powerful output, and immensely portable form factor, I also found the VTBP-M-800D to be very quiet in operation. There is no hiss or other extraneous signal noise, and the lack of any fan noise really highlights this characteristic. This would be a great head for either stage or studio use.

Lasting ImpressionsProducts from the mind of James Demeter always strike me as having at least one foot in the audiophile world, and I consider that to be a very good thing. This head is no exception. It offers the kind of piano-like clarity and harmonic complexity which I have come to expect from really good tube gear, and them combines that with a truly powerful output section. These are reasons enough to fall in love with the VTBP-M-800D, but once you factor in the light weight, compact form factor, and the slick esthetic presentation, it is a clear winner.

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Eastwood EEB-1 BassBy Alan Loshbaugh

Its an old saying that holds more than a small grain of truth: everything old is new again. This is especially true for Eastwood Guitars. Established in 2001 by Michael Robinson, Eastwoods business model centers on re-creating older classics at affordable prices for modern players. Michael explains:

In 1988, I started a software company in Toronto. It grew rapidly, and in 1992, I moved to California. This is where I built my business experience during the early days of the high-tech boom out west. Ive been collecting odd-ball guitars for over thirty years. In the early days of eBay (mid 1990s), I would buy/sell/trade as a hobby while living in Northern California. In 1997, I started a website to document all the guitars I was acquiring and started writing stories about their history. This website still operates today as our main blog.

Its called www.myrareguitars.com. Throughout this period, I continued with the wacky guitar hobby. I sold the business in the late 1990s and eventually moved back to Canada in 2002. After moving back, I was faced with a decision to either get back into the high-tech world, or to start something new. With the success of MyRareGuitars, I found myself with an international following of like-minded crazy guitar fans, so the choice to start Eastwood Guitars was an easy one.

The Company LineTrue vintage instruments are getting harder and more expensive to buy, play, and maintain all the time. Robinsons goal with Eastwood is to build modernized, affordable, playable instruments to make the vintage experience more accessible and more enjoyable to everyone. The Eastwood line includes both guitars and basses which embody Gretsch, Mosrite, Airline and Ampeg styles and designs, but also includes instruments of their own design. Robinson says, :e have over fty guitars models, a dozen bass models and

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a bunch of other instruments, such as tenors, mandocasters and mandolas, under the brands of Eastwood and Airline. We also have accessories, like custom pickups, instrument cables and clothing. In addition to our main warehouse and distribution center outside Toronto Canada, four years ago we opened a similar facility in Liverpool, UK to handle growth in UK and Europe. We are opening a new USA Warehouse in Chicago in April of 2015. We continue to bring new models to the Eastwood lineup each year. Our goal is to introduce 3-5 new models each year, available in a wide variety of colors and, of course, including left-hand versions. All Eastwood guitars are fitted with high-quality modern components that offer

an optimal playing experience that far exceeds their 1960s original counterparts. In some cases, this is a pretty bold claim. While some vintage basses left much to improve on, others really were quite

good.

The Past, Re-VisitedIf you recognize the Eastwood EEB-1, you have a keen eye for the obscure. At first glance, the Eastwood EEB-1 is visually a

fairly correct and easily recognizable copy of the 1960s Ampeg Horizontal Basses, the AEB-1 and AUB-1. Rare then, and rarer now, you might remember Rick Danko from The Band played one of one. These were Ampegs fretted and fretless models of an electric bass designed to somewhat mimic an upright bass; they embodied double bass styling cues, like f-holes and a scrolled headstock. The Ampegs had an asymmetrical double cutaway body, bolt-on neck, and an oddball pickup system borrowed from the Baby Bass dubbed The Mystery Pickup. This system used a steel diaphragm and two magnetic pickups placed under the bridge to turn vibration into sound, and allowed players to use non-magnetic strings, including gut and tapewound strings. This system turned

out to have some reliability issues, and was, overall, very dark and thumpy, like the Baby Bass. The tailpiece of the Ampeg hung 2-3 off the back of the body to help get the proper angle over the pickup system; and to gain string length to make plucking feel more like a double bass. These instruments also had reliability issues; at times, string tension could crack the body around the tail piece. The bolt-on maple neck had an ebony fingerboard, and plastic

scrolls were glued on, not carved. Though the Ampegs appear to be hollow (because of the f-hole), they werent; they were constructed using three layers of maple glued to a one-piece plywood back. My brief experience with an Ampeg AUB-1 fretless left me with the impression that it was a nice-enough bass, but its Mystery Pickup had one tone: deep and dark, without a lot of definition. Some of the

few Ampeg AEB-1 users replaced that with Precision Bass pickups.

Outta the Box and Into ActionWhile the Eastwood EEB-1 visually recreates most of the AEB-1s styling cues, there are some readily apparent visual and electronic differences, as well. The EEB-1s body is made from mahogany, and the bolt-on maple neck has a rosewood fingerboard. While

the Ampeg had a scrolled headstock, the Eastwood has a slotted headstock. Eastwood wisely decided not to recreate the Mystery Pickup, and opted instead for much more modern humbucker. The Eastwood uses a Fender-style bent-plate bridge with four adjustable saddles, in place of the AEBs problematic tailpiece, and a Fender-style bridge cover, as well.The EEB-1 shipped to us from Eastwood in a nice, tolex-covered hard shell case, with gold hardware and a gold Eastwood logo. The case has three latches and a plush interior, with a nicely sized storage space that held the quality registration

card, 3-year warranty info, an instrument cable and truss rod wrench. The storage compartment has a lid some dont! and more than enough room for your strap tuner, and some charts. Well done, Eastwood.

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The EEB-1, itself, looked really nice. The sunburst finish is nicely

applied, though I wish the rear of the bass had been shot black. The rear view of the f-holes, to me, just looks odd without the pickguard around them. Fit and finish are quite good; and not just for this price

level. The Gotoh-type enclosed tuners mount sideways to the slotted headstock and face rearward, mimicking the look and function of both a double bass and the Ampeg. The pickup, controls, bridge and cover all seem to be nice quality pieces that function well. The

plastic nut, fretwork and neck joint are well done. My lone nit to pick with fit and finish is that the pickguard did overhang the f-hole

a bit in one spot.

The 1 5/8 width maple neck has a 12 radius and deep, but comfortable, contour; its easy and fun to play on. Fretwork on the

rosewood fingerboard was neat and consistent up and down the

neck. The neck joint was tight, clean and well done. In place of the Mystery Pickup, Eastwood use a single alnico EW-Humbucker,

with passive volume and tone controls. The Eastwood EW-

Humbucker sounds more or less like a good P-bass, with slightly

muted highs. Sweeping through the tone knob at first rolls off those

highs, then darkens and fattens up tone nicely at the end of its range. At home, the EEB-1 balanced well enough both seated and standing, with just a hint of manageable neck dive. Due to the nicely done and consistent fretwork, the EEB-1 played out nicely, both in the lower register, and on up throughout the very accessible upper register.

On The JobOnce a month or so, a blues band I play with hosts a local blues jam. The host band does the first set, and then anyone can come up

and sit in. Since the EEB-1 is a vintage-looking and sounding bass, I took my best approximation of a vintage rig: my Gallien-Krueger 1001RB-II, and two Baer ML112 cabs. This turned out to be a great

match! You might think something as simple as the EEB-1 would be a one-trick pony, but throughout a long night of playing through

many different blues styles, the EEB-1 delivered a good range of tones to match. Through plucking hand placement, fingerstyle and

pick use, and deployment of the tone knob through its range, one can readily give the EEB-1 quite a few nice, different voicings. Its

as good at what it does as any single-pickup passive bass. Without

exception, other bass players in the venue all asked what it was, wanted a chance to try it out, and enjoyed playing it.

The Bottom LineThe Eastwood EEB-1 is a well-made, fun and easy-to-play, nice-sounding bass that also brings a hip retro look to the gig with it as an extra added bonus. Its actually more usable, in my opinion,

than the Ampeg it copies, making Eastwoods statement that their

replicas offer a playing experience that exceeds their counterpoints in this case right on the mark. Eastwood offer a wide range of vintage repro basses and guitars ... and might even include one you design yourself:

We are adding new models every year, many of which are suggestions from our customers. Thats what makes this business so much fun; it is the direct connection with the customers, all of whom are fans of what we are doing. In fact, this month we are launching a new site called Eastwood Custom Shop where people can launch new model ideas in a forum where crowd-sourcing funds the new projects and brings their ideas to full production models.

So, whether you find something in the Eastwood lineup you like, or

design one yourself, if theyre all as good as the EEB-1, Eastwood

is a company well worth looking at if you have the vintage bug!

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Eastwood wisely decided not to recreate the Mystery Pickup, and opted instead for much more

modern humbucker.

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CONFIGURATION

Strings: 4Style: Double cutawayOverall length: 45Body Dimensions: 18 long x 13 wide at lower boutBody Contouring: MinimalWeight: 8.1 lbs

NECK

Scale length: 34.Neck width at nut: 1.688Neck width at 12th fret: 2.264Neck width at joint: 2.401Neck thickness at nut: 1.061Neck thickness at 1st fret: .822Neck thickness at 12th fret: .947Neck thickness at joint: 1.076String spacing at nut: .430String spacing at saddle: .745Fingerboard Radius/Neckshape: 12 deg/ at DPeghead break angle: 17 degBridge break angle: 27 degAfterlength at nut: 3 to 4 7/8Afterlength at saddle: 1Attachment: Bolt-onPocket gap: .016Truss rod type/access: Single action / peghead accessFret count: 20Fretwire: 99 x 36

ELECTRONICS

Pickups: Proprietary alnico humbuckerPickup location(s), from 12th fret: 12 5/16Electronics: PassiveControls: Volume, toneShielding: NonePreamp Circuit Voltage: Passive

CONSTRUCTION

Body woods: MahoganyNeck woods: MapleFretboard: RosewoodBody nish: PolyurethaneNeck nish: Polyurethane

HARDWARE

Strings: GHS BoomersGauge: .102, .082, .062, .042 Attachment: At bridgeBridge/color: Proprietary / chromeNut: BoneTuners/color: Sealed / chromeKnobs/color: Metal / chromePickguard: Black (3-ply)Control cavity cover: Pickguard

GENERAL

Company: Eastwood Guitars Georgetown, Ontario Canada http://www.eastwoodguitars.com

Country of origin: KoreaWarranty: 3 year workmanshipPrice: $949 (list), $749 (street)Options: NoneAccessories: Gig bag ($39), hard shell case ($99), truss rod tool, instrument cableAvailable colors: Sunburst, Black

Acquired from: Eastwood GuitarsDates: November, 2014Locales: Columbia, Missouri (in-hand review), Ohio (technical review)Test gear: Gallien Krueger 1001RB-II, Bear ML112

CONFIGURATION

Eastwood EEB-1

TEST RESULTS1-5 (unacceptable to impeccable)

In-handFeatures: 3Tonal Flexibility: 3Ease of Use: 4Aesthetics: 4Ergonomics: 4Tone: 3.5Value: 4

On-benchOverall Construction 3Wood Choice 3Materials Choice 3Joinery 4Fretwork 4Fit and Finish of Adornments 4Quality of Finish Work 2Ease of Repair 4Potential Range of Setup 3Balance on Knee 2Balance on Strap 2Overall Electronic Quality 3Solder Joints, Wire Runs 3Clarity 4Noise 4Shielding 1Quality for Price Range 3

In-Hand Score3.64averageOn-bench3.06averageSONIC PROFILE:Lows: Big and powerful, but not overpoweringMids: Rich, articulate, responsiveHighs: Clear, sweet, but somewhat muted

As a passive bass with one pickup, the tonal spectrum of this bass is somewhat limited. It delivers in much the same way as a good P-bass does, and sports nice t and nish, at an affordable price point and with a great warranty.bassgear 18

position. Inexpensive passive volume and tone pots are nestled in an unshielded cavity beneath a mammoth pickguard. They went to the trouble of installing a foam mute pad under the bridge cover in vintage Fender style, but put it in a position behind the takeoff point of the strings over the bridge saddles, negating the typical function of a mute pad.

The bolt-on style construction is set apart by the full, through-body routes of the f-holes. The polyurethane sunburst finish is quite

pretty, albeit a little thick on the neck. I did observe a patch of bare wood in one of the f-hole slots, where the paint was either never applied, or didnt manage to stay put. As a result of the setup, the bass did not play all that well right out of the box. Raising the saddle height remedied this, though. The instrument is a bit neck heavy, and didnt balance very well for me in either standing or sitting positions.

This is a kitschy bass, with materials and execution typical of the price range. Its high on cool potential, but still quite affordable.

Its not really a pro instrument, but it is a cool entry level, or hipster bass, where an original vintage instrument is unaffordable or impractical.

Eastwood EEB-1Ampeg made some really interesting basses in their short run as an instrument maker. The Baby Bass is iconic with the salsa community. The Devil Bass was by far the most interesting, followed by the AUB-1 Scroll Bass and the Dan Armstrong Plexi bass. This particular instrument is a takeoff of the AUB-1 Scroll Bass. Traditionally, that instrument looked way cooler than it performed. It had construction problems that kept if from playing very well, or very well in tune. It had a weird pickup system loosely based on the Baby Bass construct, which while okay on the Baby Bass, didnt work so well on the Scroll. Although it had its fans, for the most part, it was ignored as some kind of novelty.

This bass is another modern homage to vintage hipster instruments, where the stuff that didnt work on the original is mostly ignored and modified to be more functional and then constructed where

labor is inexpensive to keep the overall price low. This is a cool bass for $750. Compared to its other imported brethren, the cool factor sets it apart from the Fender lookalikes that dominate the market.

Digging into the details, the body is a mahogany variant, with a maple neck and a rosewood slab fingerboard. The electronics are

super simple: a single humbucker, placed roughly between the modern Precision Bass location and the MusicMan Stingray bridge

bassgear19

DAngelico Standard Series EX-Bass By Lee Louie

The Company Line

For those of you unfamiliar with the DAngelico name,

lets set the WABAC time machine to 1932 and get you

acquainted with DAngelico Guitars. From 1932 to 1964,

John DAngelico was a well-known archtop guitar builder,

hand-making 35 guitars a year (at their peak in the 30s)

with the help of two to three additional builders. DAngelico

Guitars reigned as the premier archtop guitar builder for

several years, until owner/founder John DAngelico passed

away in 1964. To this day, a DAngelico is considered one

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approximately 17 years ago that John Ferolito, Sr. purchased

the company with the intent of continuing the brand name.

But it never took off, and slowly faded away as times changed

in the music industry.

Head back to the future (to 2011), when John Ferolito, Jr.,

Gene Baker and Brenden Cohen resurrected the DAngelico

guitar brand name by not only re-introducing the famous,

sought-after archtop guitar, but by building them as close

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is their intent to expand the line by introducing more guitar

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archtop bass to join the Standard Series product line. Ohhhhh

yeah, you read that right! Who wouldve thought that a well-

known, highly regarded electric archtop guitar builder would

be entering the bass guitar market? The Standard Series EX-

Bass is designed in New York, manufactured in South Korea,

DAngelico Standard Series EX-Bass But it never took off and slowly fadedddd away as times changed

bassgear 20

returned to NYC for the final check, and then sent out to

the dealer network. The introduction of DAngelicos three-

quarter scale hollow bass guitar is a most-welcomed addition

to the DAngelico family of guitars. Now, bass players can

join the DAngelico family.

The EX-Bass Present and Future2013 was the introductory year of the EX-Bass, a 32.25 scale

electric archtop bass guitar available in fretted or fretless and

right or left-handed. Lefties are limited to two finishes and

right-handed models are available in five finishes. Fretless

models are only available in one finish, Black. In 2014, the

EX-Bass remained unchanged, save for a new Cherry finish

color for the right-handed player. For 2015, the current model

line remains unchanged, according to DAngelicos President,

Steve Pisani.

Its always a pleasure to get info straight from the builder, so

I asked about the future of the Standard Series bass guitar line

beyond 2015. For those of you who demand more strings to

play with, the plan is to add a 5-string model in the not-too-

distant future. How about an Artist model? Per Steve Pisani,

there are no Artist model basses on the horizon. However,

there will be additional colors, such as Grey Black, Blue

Burst, and Cherry Sunburst. If you ask me, either a vivid,

deep purple burst or tobacco sunburst would be sublime.

Slurp! Wheres the drool bucket?

DAngelico Future ProjectsWhile I had Steve on the phone, I took the opportunity to

inquire about the future of the EX-Bass and other future

projects. He could barely contain his enthusiasm for the new

EX-SD Bass and an entirely new Acoustic Guitar line [both

of which were recently introduced at the 2015 Winter NAMM

Show see our online gallery or the Bass Gear Magazine Facebook page for pics!].

EX-SD Bass The EX-SD Bass is a solid body instrument, and will be available in three colors:

Cherry Sunburst, Natural, and Black. The EX-SD

Solid Body Bass is the same body size and shape as

the EX-SD guitar (similar to a Les Paul), otherwise

sharing the same specifications/features as the current

model of the EX-Bass.

Mott Acoustic Bass The Mott acoustic bass is a cutaway shape with a solid Sitka spruce top

with flame maple back and sides. The top features

scalloped X-bracing and a rosette with concentric

rings of black and abalone inlay. The bridge is

made of rosewood with brass pins. The maple neck

features a slim C-shape profile with a bone nut and

a rosewood fingerboard with mother of pearl block

inlays.

First Impressions, Specs/Fit/Finish:Getting back to the EX-Bass, the workmanship is better than

expected for a non-USA model. The Vintage Sunburst finish

on the laminated flamed maple body is gorgeous, and the neck

joint is solid. The medium jumbo nickel frets are set well, and

the stop-tail bridge, dual humbucker pickups, 3-way switch

and ebony knobs are seated firmly. The standard neck shape,

mother of pearl inlays and 12 radius on the Indian rosewood

fingerboard feel great for small or large hands. The nut is

bone and provides a sure fit for the strings at the base of the

headstock.

bassgear21

On top of the headstock is a gold pin, and, emblematic of the companys New York legacy, the truss rod cover (called the Skyscraper Truss Rod Cover) is in the shape of you guessed it a skyscraper. Whats really cool about the aluminum truss rod covers 3-dimensional cut-shape is when the unique feature of the Skyscrapers high-points catch the gig lights and create a strikingly unique accent on the headstock. Very cool!

The bass arrived strung up with GHS Boomers (.45 to .105). DAngelico does not recommend any light-gauge strings, due to the shorter scale length. The passive, dual-coil humbucker pickups are a proprietary size and brand. The placement of the DAngelico logo, model & serial number label is visible through the upper f-hole a very nice touch. DAngelico stated that the three-quarter scale is a better fit for the EX-

Bass body size and makes it easier for guitar players to adapt to this scale.

The particular instrument sent in for review had a couple of minor issues. The wiring for the 3-way switch rests unattached under the body, just below the lower f-hole, and is slightly visible most likely due to the lack of adhesive to secure it to the underside of the top inside the body. The input jack was very loose, but a quick adjustment was all it needed to be snug again.

Case and CandyNot all bass guitars in this price point come with a hard shell case that is as classy as the guitar itself. The textured, tolex

black case is formed to the exact shape of the bass and is accented with gold trim on the five-point latches

along with the legendary DAngelico New York City logo in gold lettering atop the case, right about where the controls are located on the lower body of the bass. The case interior is lined with a light gray furry plush to protect the finish of the bass while in

transit or storage. In a nutshell, the case looks exquisite and is well built. The DAngelico case will certainly protect its contents for the standard trip to the local gig or last minute get-together. In the cases storage compartment, youll discover a standard plug cable, an Allen wrench, and two keys to lock the guitar case.

The Basement GigRather than take this bass out on the town, I opted for a friends basement, which basically resembles a small club venue just need to add the tables, chairs and people! A variety of classic blues/rock tunes were played, and there really wasnt anything the EX-Bass could not handle. For

amplification, I used a GK MB Fusion 500, pushing an

Ampeg 410HLF. Being a hollow-body, lightweight bass

(approx. 7.1 lbs), paired with the location of the strap pins, the balance on the strap is a bit uneven. The neck tends to drop downward, which is the only shortcoming feature of this bass. A good, wide suede strap should solve this in a flash. Once

the bass is over the shoulder and stable, you hardly notice it, due to the lightweight hollow body. A lightweight bass over your shoulder is definitely a welcome feeling for most gigging

players. Being a small-bodied female, I had no issue strapping on the EX-Bass and feeling right at home and ready to play.

To get a few more reference points and to just share in the fun! the EX-Bass was played by a couple of additional male

guitarists with different playing styles. Both agreed on the lighter weight being such a pleasure, in contrast to a heavier body.

bassgear 22

I was hoping to compare the EX to an original Fender 70s Precision, but due to unforeseen electrical issues (never loan out your bass without checking it out upon return), the Fender had to sit out the night. To provide a known point of reference, I brought along my Sadowsky MV4HPJ. The Ex-Bass delivered a warmer, rounded tone, while the Sadowsky had the tighter, modern punch with the P/J pickups blended. Both delivered equally in the tone department, but the EX-Bass has a different feel/vibe, as one would expect from a hollow-bass guitar.

Go ahead and plug in a 90-degree instrument cable, since this bass does not have a recessed input jack. For controls, you have a single volume and a tone knob, as well as the 3-way pickup selector switch to dial in the various hollow-body resonant flavorings of the EX-Bass. You can choose to solo

the neck or the bridge, or flip the switch to the center position

to bring in the full flavor of the EX-Bass with both pickups.

With the 3-way switch in the neck position, it provides very full and warm tones of a classic, vintage bass. In the bridge position, the tone is noticeably brighter, yet still exhibits that vintagey, feel-good, warm tone. Too bright? Just roll the highs off with the tone knob until the desired tone is achieved. Flip that 3-way switch to the middle spot and be ready for a full, evenly balanced tone that will beg you to dig in and play this bass relatively loud and with authority. The EX-Bass has this solid phat warm tone that simply fits in the band

setting. At higher volumes, you need to be aware of your position relative to the speakers in order to avoid feedback from the hollow body that can muddy up the sound. The GHS Boomers brought out the ultimate color and warmth without getting lost in the mix. Oh yeah, and be prepared for

gobs of sustain with this bass! The notes gloriously ring for days. Love that! Playing with a pick emphasized the hollow tone and raised the highs enough to dampen the naturally warm tone. The deep cutaway allowed for easy access to the higher registers without any hindrance. Unplugged, the EX-Bass has that same full, warm tone and resonance similar to an acoustic bass. I like it! The overall vibe of the EX-Bass kind of reminds me of a cross between an upright and an EB-0, with a little Hofner thrown in, as well.

ConclusionThe EX-Bass simply feels like you can crank out a phat bass lick on command. The shorter scale length makes the EX-Bass a comfortable, easy-to-play bass, though not so short that it would be problematic for bass players who are used to playing standard scale. I always thought of myself as more of a chambered or solid-body person, but this hollow, laminated bass has me considering the expansion of my stable.

bassgear23

CONFIGURATION

Strings: 4Style: Single cutawayOverall length: 47Body Dimensions: 19 long x 15 wide at lower boutBody Contouring: MinimalWeight: 7.12 lbs

NECK

Scale length: 32.25Neck width at nut: 1.725Neck width at 12th fret: 2.279Neck width at joint: 2.413Neck thickness at nut: .86Neck thickness at 1st fret: .872Neck thickness at 12th fret: .960Neck thickness at joint: 1.980String spacing at nut: .440String spacing at saddle: .740Fingerboard Radius/Neckshape: 14 deg/ CPeghead break angle: 13 degBridge break angle: 17 degAfterlength at nut: 2.64 to 5.162Afterlength at saddle: 1.975Attachment: Set neckPocket gap: N/ATruss rod type/access: Dual-action / peghead endFret count: 22Fretwire: 102x38

ELECTRONICS

Pickups: Proprietary dual-coilsPickup location(s), from 12th fret: 8 3/8 and 13Electronics: PassiveControls: Volume, tone, pickup selectorShielding: N/APreamp Circuit Voltage: Passive

CONSTRUCTION

Body woods: Laminated flamed mapleNeck woods: Hard maple (walnut stringer)Fretboard: Indian RosewoodBody finish: PolyurethaneNeck finish: Polyurethane

HARDWARE

Strings: GHS BoomersGauge: .122, .102, .082, .062, .042 Attachment: At bridgeBridge/color: Tune-O-Matic / goldNut: BoneTuners/color: Sealed / goldKnobs/color: Wood / ebonyPickguard: N/AControl cavity cover: N/A

GENERAL

Company: DAngelico Guitars 141 West 28th Street, 4th Floor New York, NY 10001USA http://www.dangelicoguitars.com Email: Info@dangelicoguitars.com Phone: (646)346-1062

Country of origin: South Korea (setup in USA)Warranty: 1 yearPrice: $2,469.99 (list), $1,629.00 (street)Options: Lefty, fretlessAccessories: Deluxe contoured hard shell caseAvailable colors: Black, White, Cherry, Vintage Sunburst, Natural, Blue Burst, Grey Black

Acquired from: DAngelico GuitarsDates: October 2014 to January 2015Locales: California (in-hand review), Ohio (technical review)Test gear: GK MB Fusion 500, Ampeg 410HLF, Sadowsky MV4HPJ

DAngelico EX-Bass

TEST RESULTS1-5 (unacceptable to impeccable)

In-handFeatures: 3.5Tonal Flexibility: 3.5Ease of Use: 5Aesthetics: 5Ergonomics: 3.5Tone: 4Value: 4

On-benchOverall Construction 3Wood Choice 3Materials Choice 3Joinery 4Fretwork 3Fit and Finish of Adornments 4Quality of Finish Work 4Ease of Repair 3Potential Range of Setup 3Balance on Knee 3Balance on Strap 3Overall Electronic Quality 2Solder Joints, Wire Runs 2Clarity 3Noise 4Shielding 3Quality for Price Range 2

In-Hand Score4.07averageOn-bench3.06averageSONIC PROFILE:Lows: Vintage, warm, round, and fatMids: Vintage, strong, thick-focused punchHighs: Subdued brightness fingerstyle / more detailed with a pick

This bass would be more applicable to blues and/or vintage rock styles of music. Not really suited for modern rock music. If youre a dedicated classic rock player and want to be noticed and not just heard, this bass is for you.bassgear 24

DAngelico EX-BassDAngelico guitars are some of the most desired instruments in guitar history. They command high prices and high praise, both now and from the day they began. As is often the case in American business, the name was purchased and attached to a more moderate quality (and priced) instrument. In this particular case, they did retain some of the styling of the namesake.

These hollow-body electrics have Art Deco or Streamline Moderne era design cues that are carried into this version from the venerable line. They are very cool-looking and a hipster trend dujour. The short scale works nicely in the Les Paul-themed aesthetic. This instrument design blends the Les Paul and the Deco in a very pleasing way.This instrument does not have the same high level of precise detail associated with the original DAngelicos, but its not priced near that level, either. These instruments are Korean-manufactured hollow bodies, and have flamed plywood top, back and sides, with a two-piece hard maple neck separated by a walnut stringer. The quality of the plywood seems good, and the joinery of the neck looks great. The gold-plated hardware follows a Les Paul styling. The bass has a very beautiful sunburst finish that is well executed, even though it is very thick polyurethane. The thickness is typical of finishes seen on most Korean imports, regardless of the price point.

The electronics are the typical Korean wiring harnesses weve seen on other imports. One of the wire runs escaped its double-stick tape harness, and the pickup selector pickup was intermittently failing in the neck position. As is typical in a hollow-body instrument, no shielding was applied. Even so, this bass was better than average in terms of noise. Most of the construction lines seem straight and clean. The frets and nut seem a little rough, but are certainly a cut above the usual Korean factory style. The truss rod is typical of Korean instruments. It is a dual-action truss rod that was found adjusted to add back bow, rather than tensioned to adjust for varied levels of relief under string tension. With no string tension, and the rod sitting at center point where there is no forward or backward tension, the neck is back bowed. When under full string tension, with the truss rod remaining at the neutral center point, the neck is just flat. While the instrument plays okay for some as it sits, you cannot adjust the neck into relief without significantly higher tension strings (which is why DAngelico does not recommend light gauge strings with these basses).

I have played a fretless version of this instrument which I liked a lot, and which I slightly prefer over the fretted model. The EX-Bass is a great-looking instrument with a fantastic aesthetic that is both modern and vintage. It is a bit on the expensive side, but it does offer a unique look, feel and tone, and its certainly a good instrument.

bassgear25

By Tom Bowlus

The Ampeg brand needs no introduction, and stands as the most recognizable and probably most referenced bass amp brand on the planet. In fact, the venerable SVT may be the most commonly cited reference rig mentioned in our very own pages. In the context of medium-powered tube heads, though, the question invariably comes up, How does

it compare to a V-4B? Needless to say, we were pretty happy to hear that Ampeg was going to reintroduce the V-4B and couldnt wait to get one in our hands for review.

While history has shown that players still seem to find some magic in the older tube head designs, history has also witnessed significant progress in regards to the frequency range, efficiency, and power handling of loudspeakers. Embracing both of these trends, the fine engineers at Ampeg cooked up a couple of brand new designs the SVT-112AV and SVT-212AV to accompany their vintage-inspired head. We chose the larger SVT-212AV as a dancing partner for this review.

Where It All Came FromWhereas the SVT was designed from the ground up as a bass head, the V-4B was born in 1971 as a result of the number of bass players who were using the V-4 tube guitar head (introduced in 1970). Basically, they just took out the reverb, and called it the V-4B. The power output from the four 7027As was rated at 120 watts. The original V-4B stayed in the lineup throughout the Magnavox era, and was eventually

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discontinued in 1980, at the start of the MTI years. Fast forward 15 years, and Ampeg was playing the Updated Reissue game, bringing back the Jet II and the V-4B. These new models were substantially different from the original designs, though the V-4B did land closer to the mark than the Jet II. The 95 V-4BH (as it was called) opted for 6L6GCs (as does the latest iteration), and was rated at 100 watts; the preamp layout was reworked a bit, with the biggest functional change being the switch from a 3-way rocker for selecting the midrange frequency to a 5-way rotary knob.

Where Its GoingThe layout of the new V-4B is clean, tidy, and very familiar to anyone acquainted with the older units. There are, however, several interesting twists. For inputs, we have two 1/4 options, labeled 0 dB and -15 dB (compared to inputs One and Two on my 75 V-4B). Next up, we have knobs for Gain, Bass, Midrange, Treble, and Master. The most obvious deviation from the original is the switch to separate Gain and Master volume controls, compared to the single-stage volume controls for the two inputs on the older amp. While Ampeg tells us that they were most definitely targeting the original V-4Bs in term of tone and function, it is worth noting that the 0 dB and -15 dB inputs, as well as the separate Gain and Master controls, were also found on the 1995 V-4BH.

Not as obvious is the fact that the order of the tone controls has been reversed (on the 70s V-4B, the stack is set up Treble, Midrange, Bass; the V-4BH, like the new unit, runs Bass, Middle, Treble). Similar to the vintage head, there are white rocker switches above each of the tone controls. There is

an Ultra Lo 0/+ switch above the Bass control, and an Ultra Hi 0/+ switch above the Treble control. The Ultra Lo, when engaged, boosts the low frequency output by 2dB, centered at 40Hz, while cutting 500Hz by a sizable 11dB. The Ultra Hi switch boosts output by 7dB at 8kHz. The 3-way rocker above the Midrange control selects the center frequency for the boost or cut. On the classic V-4B, these frequency choices are 300Hz, 1kHz, and 3kHz. On the new model, the choices are very similar (and perhaps even a touch more useable), with centers at 220Hz, 800Hz, and 3kHz. Rounding out the front panel are baseball bat toggles for Standby and Power. My 75 V-4B has white plastic switches for Standby and Power, but some classic V-4Bs used the baseball bat style switches. The esthetic treatment and design of the newer V-4B strongly follows that of the 1970s models, but the new unit has shrunk a bit in width [hurray!], allowing it to sit properly atop an SVT-810 enclosure.

The back panel is laid out similar to other modern Ampeg tube heads, with an IEC power chord receptacle and a fuse holder on the left-hand side of the rear panel. Located approximately in the middle, we find 1/4 jacks for Preamp Out, Power Amp In, and Slave Out, followed by a balanced XLR output (with ground lift). To the right, we find 1/4 speaker output jacks for 2-ohm, 4-ohm, or 8-ohm operation. Intelligently, there is only one 8-ohm output jack, but two each for 4 ohms and 2 ohms. Another smart touch is the addition of language beneath these last two sets of speaker out jacks, which read, use with one 4 ohm cabinet or two 8 ohm cabinets (for the 4-ohm jacks) and use with one 2 ohm cabinet or two 4 ohm cabinets (for the 2-ohm jacks). It is very important for the proper operation of a tube head to connect the proper load to the proper tap, but not everyone fully understands these concepts, so spelling things out is a smart idea. That being said, I do prefer to see Speakon outputs, or better yet, the combo Speakon & 1/4 jacks.

Now, I understand that Speakons are more important on higher-output connections, and not all Speakon connectors are available with a shunt connection (which is important on a tube output section), but some Speakon connectors do allow for this function. Speakon connections have become very common, and a lot of bass enclosures (including the current SVT-810E/AV) come equipped with them. That being said, the SVT-212AV only offers 1/4, so perhaps Ampeg is intentionally rolling old school with regard to speaker connections for this rig.

The Dawn of a New Era for the V-4BWhen you are messing around with iconic designs, one must tread a careful path between preserving the vintage vibe, while trying to incorporate the benefits of technological and manufacturing advancements. So far, Loud Technologies, Inc. has done an amazing job with the Ampeg brand. They have brought back hand-built, USA production models, like the Heritage SVT-CL and B-15, and they have introduced brand new models, such as the SVT-7Pro and Portaflex line of heads and cabs. Across the board, they have shown that they know what they are doing, and just as importantly they know what the Ampeg player is after. I spoke with Senior Analog

Design Engineer, Dawn Pfund, about their goals for the new V-4B:

As far as design goals, it was pretty simple for us. We are Ampeg, so the amp has to sound amazing, be reliable, and be full of bassy goodness. Specific to the V-4B, there is a large following of bass and guitar players that were really looking forward to this reissue and our goal was to exceed all of their expectations and standards in regards to tone, distortion characteristics, functionality, and looks. We really had a great team effort on this design and it shows in the success of the product. Rob Riggs and I headed up electrical, Zane Williams determined the key features and guided us to our end goal, Jon Bledsoe and Lu Yan handled the mechanical design and construction, and Kent Swendseid successfully merged vintage and modern looks together.

As I mentioned, I have a vintage (Magnavox-era) V-4B, and a matching B-40 (4x10) cab. Ive gigged this rig many times, and I actually know its previous two owners (one of them being the original purchaser) very well. This head has seen a lot of gigs, and that is where the V-4B really proves its worth. One of the reasons folks dig the V-4B over more powerful tube heads (like the SVT) is that you can push it to a very musical level of output tube breakup, and do so at more sane volume levels. But I always wondered if part of that magic came from the 7027A output tubes used in vintage V-4Bs. Knowing that the new unit has switched to 6L6s (and made

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other changes reminiscent of the 1995 V-4BH), I was curious as to how their modernization of this classic design would impact its vintage appeal. Dawn explains:

The main features we had to preserve were the tone and distortion characteristics, and this is where Rob and I obsessively tweaked the circuit over and over again, resulting in mild electrocution, cuts, burns, and other signs of a great time for electrical engineers. There are a lot of variations of the V-4B and all related models over time (V-4, VT-22, and more), but we heavily referenced a 1974 V-4B that we had around during development. The vintage tube count and complement were cost prohibitive, so that was one of the first areas we addressed. 6K11s are all NOS at this point, so they are difficult to source and really expensive. 12DW7s are in current production, but not very common. We decided to replace all of these preamp tubes with 12AX7s and 12AU7s to keep things as simple as possible. We built up prototypes with a long-tail pair and cathodyne phase splitter, with the cathodyne winning out for tone. For the output section, we wanted to use 6L6GCs as they are common, making long-term care easier for the customer, and we liked the way they sounded. Next were the transformers, which are so critical to the tone. We had no data on the original transformers, so we specified them to our needs, auditioning a variety of output transformer frequency ranges and primary impedances. The modern transformers sound amazing and were lighter than the vintage models, which was great, as we were really trying to reduce the weight of the head as much as possible. The remaining tone and distortion tweaks are too numerous to go through, but there were many late nights changing one resistor here and one capacitor there, running to our listening room between each change to evaluate the tone.

Some of the other vintage aspects we kept around are the fully passive RLC mid EQ, rocker switches, AV-style grilled cloth, and one of our favorites, the chassis suspension system. We really latched onto the floating chassis in the vintage 1974 unit we had around and it was decided early on that we would incorporate this into the modern design. We felt it was not only a cool feature, but that the floating suspension would isolate the tubes and other sensitive components from all of the vibration a bass head is exposed to, leading to longer tube and amp life.

In regards to modernizing, we added a slave output, balanced XLR out with a ground lift, reduced the preamp to a single channel instead of the vintage dual channel, and added 0dB and -15dB input jacks for passive and active players. Our evaluation process included play testing through just about every cabinet we have in house, hundreds of hours of H.A.L.T. (Highly Accelerated Life Test), drop testing from the top of an 810, 24-hr. shake test, thermal testing, outdoor festival testing with the requisite beer spill, and much more.

Reading Dawns words, its easy to let your expectations start to run pretty high for the new V-4B. It sounds like Ampeg definitely brought their A-game to this task. Of course, the proof is in the pudding; more on that, below...

The New Kid vs The Old DawgI was super eager to A/B this new V-4B to my old one, but before I dive into the comparison, I want to point out some of the unavoidable factors which keep this from being a true apples-to-apples comparison. First off, it is always difficult to compare a single-gain amp to one with both a pre and post gain control especially without any kind of signal monitoring (there are no level indicators, and no clipping lights, etc. on either unit). Secondly, we are dealing with two different (though admittedly, quite similar) types of power tubes, and a different mix of preamp tubes. So, I cant even pull the tubes from one head to run in both, and try and level the playing field. That being said, getting both heads up to gigging volume through the same cab(s) while playing the same bass(es) still gives you some interesting feedback.

The newer V-4B was definitely more clear and articulate than the old one, and the vintage head was darker and beefier, and also smoother in the highs. However, the two heads were very similar in terms of overall fullness. I also noticed right away that the new head is just dead quiet in terms of noise, hiss and scratchiness (when turning knobs). Granted, my V-4B hasnt been serviced in a couple of years, but its in very good working order. I guess when you play vintage tube heads, you kind of get used to a bit of extra noise (which you absolutely cant hear once the gig starts). Its only when you compare them directly to a unit that is so dead quiet that you notice the extra noise.

On the topic of noise, I observed that the new V-4B does not break up as quickly as you push it into overdrive. Of course,

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the two gain stages, versus one in the older unit, can make this a tricky comparison. And with those two knobs, I was definitely able to dial in a wider range of overdriven tones from the newer unit. But when I tried to get the new unit to yield a similar overdrive tone to my favorite out of the old V-4B, I found that I could get pretty close, but it required a lot more dialing in. Changes are much more subtle as things start to break up on the new head. Of course, once you dial it in to your liking, it should be relatively easy to recreate that same tone at a future point in time. Overall, these two heads are far, far more similar than different, and pretty much across the board, where I did hear differences, they actually favor the new kid.

Theres a New Cab in TownWhen I first heard the new SVT-112AV and SVT-212AV designs at the Winter NAMM Show, I was initially quite impressed by their tone, but the question which quickly formed in my mind was, Are these sealed or ported enclosures? Then I noticed their deep extension and satisfying fullness down low and thought, Ah, ported. But then I started paying more attention to the overall tight response and good midrange detail, and I began second-guessing myself. When Dino Monoxelos starting cranking

things up, though, I was starting to seriously consider shifting to the sealed camp. Once he was done demoing the new rig, Dino cleared the air and informed us that both cabs were ported enclosures, but that they were specifically designed to match up well with tube heads, like the V-4B and SVT. Mission accomplished on that front, Ampeg!

Even though I had seen this cab previously at the NAMM Show, when the SVT-212AV arrived, I was kind of surprised at its compactness. It is a nice form factor, and very easy to lug around. It also weighed less than I had expected, especially considering that it uses ceramic-based drivers. This is a 4-ohm enclosure, so it will present a near ideal load for most solid state heads. Of course, if you want to run two of them, you would need either a 2-channel amplifier, or a single channel capable of handling a 2-ohm load. Of course, the V-4B and many tube heads allow for running multiple impedances (the V-4B can handle 8, 4, or 2-ohm loads). The 3-way High Frequency Attenuator gives you the choice of either turning the tweeter off, running it wide open, or knocking the signal down 6dB. For some styles of music, turning it off is the way to go, but I found the tweeter to be smooth enough that I ran it unattenuated most of the time.

While the two new 12 equipped cabs were designed with the V-4B in mind, I was also really interested to try the new V-4B with two of my SVT-210AVs. Comparing the double 210AV rig to the 212AV, the two 2x10s are a good bit louder, and definitely more full/warm/round. The SVT-212AV, however, is more clear and precise even with the tweeter turned off. Either setup feels like a good match, and this just gives the player more options when putting together a rig based on the V-4B.

The more that I played around with the SVT-212AV, the more that I felt like it was a great all-around 2x12, and so I decided to put it up against two of my favorite 2x12s, the TecAmp S212 Classic and the Bergantino HD212. Comparing it to the TecAmp, the first impression is that these two cabs are fairly similar, especially in the upper low end through the midrange. Additional listening reveals that the S212 is a little more full in the lowest notes, and the 212AV is a little more rounded off on the attack through the mids. While the two cabs have similar overall clarity, the TecAmp is more lush and smooth up high. Comparing the Ampeg to the Bergantino, the two cabs are equally full sounding, but the HD212 is more clear and precise throughout its range, and more airy up high, while the SVT-212AV is more warm and round. All in all, the 212AV held up quite well against two of the best 2x12s on the planet. Oh, and it does so at a substantially lower price point, to boot.

Real World Experiences My past gigging experiences with my 75 V-4B gave me a pretty good idea of what to expect, volume-wise, from the head. The unknown was going to be the SVT-212AV. I had concerns, initially, that it might not move enough air for a medium-sized hall my band was playing, and I heavily contemplated bringing my SVT-810E, instead. But when I did a brief side-by-side comparison of the two cabs with the V-4B, while the big 810E was definitely louder, it wasnt so much louder as to inspire me to lug that beast around. So, the single SVT-212AV got the call, and it worked out just fine!

This particular gig was with a one-guitar band, so I end up filling a lot of space especially when the guitarist solos. I had to push the Ampeg rig pretty hard to keep up with the stage volume (said guitarist was playing an Orange rig with a 2x12 on top of a 4x12!), but this had me in that great range of mild power tube breakup, where the added harmonics

help make up for the lack of a rhythm guitar player, but the fundamental stays nice and tight and solid. By the end of the night, the typical scenario played out with everyone getting just a little bit louder every so many songs. For our last 4-5 songs, I was probably pushing this rig for all it was worth. But the beautiful thing is, even with some obvious overdrive going on, the V-4B/SVT-212AV still felt full and authoritative. No running out of gas, here! In an ideal scenario, Id opt for a second 212AV and run off of the 2-ohm tap, just to push a little more air and have a bit more headroom. But I was amazed at how well that modest-sized bass rig held up against a much-bigger-than-necessary guitar stack.

The Bottom Line If you understand what a 100-watt tube bass head can do (and what it cant do!), and you are thinking about adding one to your stable, then I urge you to consider the new V-4B. Ampeg has really knocked this thing out of the park! The V-4B has all of the glorious tube complexity and texture we fell in love with back in the day, but it features modern conveniences, easy to find tubes (if they ever need replacing), lighter weight, a better form factor, greater gain control, and quality construction. The new V-4B is really everything that I had hoped it would be, with none of the shortcomings I feared.

I did not know what to expect from the SVT-212AV, but it has really won me over. The tone is full and much more balanced, from top to bottom, than I had expected. The ability to feel appropriate when dialing in vintage tones, but still offer all the clarity and articulation necessary for more modern material, is quite impressive. Its also a surprisingly loud cab, in a very manageable package. Much like the V-4B, the SVT-212AV gives you lots to love, and very little to complain about. This is a great rig, and both components are worthy of consideration. Well done, Ampeg!

The newer V-4B was definitely more clear and articulate than the old one

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GENERAL

Company: Loud Technologies, Inc. 16220 Wood-Red Road NE Woodinville, WA 98072 www.ampeg.com

Country of origin: ChinaYear of origin: 2014Warranty: 2 years, non-transferrable List price: $979.99Street price: $699.99Test Unit Options: NoneAccessories: NonePrice as Tested: $699.99Available colors: BlackAvailable Options: Black grille cloth Acquired from: Loud Technologies, Inc.Dates: September to December, 2014Locales: OhioTest gear: Clement fretless, PRS SE Kestrel, Gibson Thunderbird, Nordstrand Nordy vJ5, 1975 V-4B, Ampeg SVT-210AV, Ampeg SVT-810E, TecAmp S212, Bergantino HD212, TecAmp Puma 900

AmpegSVT-212AV

TEST RESULTS1-5 (unacceptable to impeccable)

In-HandFeatures: 3Tonal Flexibility: 4Ease of Use: 4Aesthetics: 4Tone: 4.5

Value: 4

In-Hand Score3.92average

SONIC PROFILE:Lows: Thick, rich and enveloping, but not overly bloomyMids: Full and warm; smooth, but hits hard through the midsHighs: Relaxed and mellow, but not indistinct

The SVT-212AV is a gem of a cab, offering a full tone, and a bit of vintage vibe, mixed with modern articulation. It sounds much bigger than its dimensions would lead you to believe.

On-benchPortability 4Road Worthiness 3.5Components 4Hardware 3.5Cabinet Construction 4.5Wiring 5

Cover/Finish 4

On-Bench Score4.07average

Enclosure

Configuration: 2x12 woofer, 1 tweeter Listed Impedance: 4 ohmsRated Power Handling: 600 wattsInputs/Outputs: Two 1/4 jacksDimensions: 23 3/4 w x 24 1/2 h x 15 7/8 d Weight: 60.8 lbsPorts: Two round ports on frontCovering: Black fabric-backed vinylBaffle Board: 15mm poplar plywoodCabinet: 11mm poplar plywoodGrill: Gray & silver weave grille clothHandles: Two side-mounted recessed steel handlesFeet: FourCasters: NoneCorners: Chrome (non-stacking)Driver Mounting: 8 bolts into threaded inserts

Drivers/Crossover

Woofers: Custom EminenceCone Material: PaperVoice Coil: 2.5 diameter copper, with kapton formerMagnets: Ceramic (56 oz.)Tweeter: 1 diaphragmTweeter Adjustment: 3-way switchProtection: 36V/1.5A PC LampSpeaker Connections: FastonCrossover: 2-way, 3.5kHz / 18dB per octave (3rd order filter)

Measurements

Average Sensitivity (200Hz-900Hz): 103.7 dBSPL (1 watt @ 1 meter)

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Ampeg SVT-212AVThe wood-framed grill was held on with four of the heavy duty Velcro disks, which do a very good job of holding the grill in place without vibration. The enclosure itself is made from lightweight poplar plywood (11mm for the sides/back and 15mm for the front baffle), which helps the SVT-

212AV to weigh in at a very manageable 60.8 lbs. This is even less than the 66 lb weight listed on Ampegs webpage. That is a nice surprise! However, I did find that the poplar seemed to

dent easily when the cab experienced some of the normal knocks and bumps associated with live gigging; nothing too serious, though. Internally, the enclosure has double-thick braces both front-to-back and side-to-side, and as a result, it feels very solid and does not flex in any direction. The interior

of the cab is generously lined with acoustic batting, and the wiring is exceptional in regards to both the thick gauge and the neatness of the wire runs.

The stamped-frame custom Eminence woofers are held in place using eight Allen-head bolts (with washers) secured

into threaded inserts. Well done, Ampeg! The gasket running under the frame of the woofer made for a very tight seal, and even with all bolts removed, it was very reluctant to let go! The 1 diaphragm tweeter is held in pl