HOW TO CHOOSE THE BEST BASS AMP (Shopping Guide).

A. Capacity considerations.

The first thing to consider is the type of capacity you want. There are many different factors that contribute to the overall loudness of an amp (speaker size, effects, tube or solid-state amp, etc.). However, wattage is one of the most prominent specifications advertised, and this will narrow your search based on the type of wattage you want your new amp to have.

Amps are typically provided with two power levels: RMS and Peak. RMS (R stands for area) is essentially the maximum average power that an amplifier can safely be driven continuously. Since it's best to give your signal some headroom or space to turn up the volume (i.e. don't turn it up and turn it up to 11), the actual power an amplifier puts out can will be lower than the RMS rating. That being said, RMS is a reliable way to differentiate the power of one amp compared to others.

Peak power, for our intents and purposes, is essentially a marketing plan. While possible and useful to know in other applications, driving an amp at its highest power level will cause it to quickly fail. It can be included in advertising to make an amplifier seem more powerful. Consumers are mostly aware of this now, so top ratings aren't advertised as prominently as they once were. If there is only one unknown power rating, it is usually safe to say RMS.

If you're just planning on exercising alone indoors, 20 to 50 watts should be enough (unless you're trying to anger the neighbors). However, in a band, maintaining your position in conjunction with the drum kit and guitar often requires significantly more energy. While human hearing can theoretically hear sounds as low as 20 Hz, we tend to perceive mid-range frequencies (~250-5,000 Hz) as much louder than lower frequencies. low level number.

Sadly for bass players, this is the majority of a guitar's range. Bass has a frequency range of about 40-400 Hz (close to the 40 Hz ending in typical bass lines), near the lower limit of our hearing. This means that a bass needs much more volume than a guitar to be felt at the same level.

While effects like eq, compression, and distortion play an important role in this dynamic difference, starting with a more powerful amplifier will help you match your guitarist's volume.

A common method is to take the wattage of your guitarist's amp and double it to estimate the wattage of your bass amp. In the spirit of “safety first,” I recommend multiplying it by 2.5. This means if your guitarist is pushing 100 watts, you should match them with a 250 watt amp.

If you plan to use compression or distortion, the guitarist will be playing for the most part, or you have a tube amp, using rule 2 may work well. However, adding 50% to your power is one way to ensure that there will be enough headroom for your amp to happily pump a clear signal that can be heard in the mix.

BUT, there is one flaw that can greatly affect the output of your desired amplifier. It's a small point, but it might save you from trying to string together half a 240-watt Marshall stack amplifier.

A direct output is an output that allows a line (usually XLR) to carry your signal directly from the amp to the PA's mixing console. If a venue has a good sound system (i.e., a subwoofer) and good acoustics, a 50-watt bass amp with direct output can be matched with a guitar amplifier large enough to fill the space. without a mic.

However, that's an "if".

Sadly, for many smaller or self-designed venues, this is a difficult choice. It's a good idea to have a small amplifier for home use and the occasional time you play at a venue with a complex sound system, such as a church. If you're like me and some of the venues you play lack the ability to increase your volume in this way, or if you can't convince your guitarist to turn down the volume a bit during practice, then bass - guitar 2 .5 : 1 would be a suitable guitar ratio.

From personal experience, I can say that if only I had used that ratio for my device's wattage when I was shopping for one. My guitar player has a 150-watt amp, while my stacked amp pushes about 300 watts, giving me a common ratio of 2:1. Although I can still keep up with the band, but I have to sacrifice a lot of space to do so.

Luckily, three things saved me from my mistake. The first of these is direct output. Even with a high watt amplifier, direct connection can make a world of difference if a venue can accommodate it. The second is an integrated compressor. This could easily be replaced with a compressor pedal, but since I didn't own one at the time, it saved me some money as well as headroom. The final saving grace of the amp I chose, is the ability to expand it in the future. Since I decided to go with a stack amplifier, by simply adding another 8 ohm cab or replacing mine with a 4 ohm cab, my current 300 watt setup can push 500 watts in an easy way. easy.

B. Should I buy a Combo or Stack amp?

There are two options when buying a guitar amplifier: combo amp and stack.

Stack is a combination of head with cabinet, a head can be combined with one cabinet (half-stack), two cabinets (full-stack) or many cabinets at the same time. Head is the amplifier part and on it there will be options to set the sound. Cabinet is a large speaker that helps broadcast sound to the outside. Head is an independent device, so it usually has more sound customizations than a combo amp.

Combo amp is a device that integrates both amplifier and speaker into one, with the advantage of being compact and convenient.

So which should you buy: a combo amplifier, or a Head and a cabinet (stack) ? Here is a discussion to weigh the pros and cons of both types. Since combining is the simpler of the two options, they are mentioned first.

Simplicity is the great advantage of combination amplifiers. Because the amp is already paired with the speaker (or speakers), you don't have to worry about dealing with the speaker cabinet's impedance or power. You can plug it in and play right out of the box and it will work, giving good sound. For some, this simplicity is welcome, but if you're the type of person who likes to have lots of options, it can be limiting. However, there is a solution. If you want a combo and the ability to add and swap cabinets, there are combo amplifiers that provide speaker output to accommodate this.

Transporting a combo amp is also simple. Once you get the amplifier and power cord, you're all set. Moving a stacked amplifier is more complicated, meaning keeping track of the heads, power cords, speaker cables, and whatever type of cab you decide to use.

If you're looking for a small, low-power amplifier, the weight of a combo won't be an issue and its simplicity may please you. However, if you need more power and you don't want to strain your back carrying a 500-watt combo up the stage steps, then a stack amplifier may be more appealing.

Stacked amplifiers are typically more expensive, which we can all agree is a solid advantage. Even though the amp head and cabinet may be cheaper, their combined price will most likely be higher than a combo of the same power and quality.

However, the difficulty of forcing you to buy yet another piece of equipment once you've chosen your amp might actually be considered professional by some. Shopping for a cab requires you to have knowledge about impedance. Being able to choose your speakers can open up a variety of sonic choices that combos don't. In addition to the variety of speakers, you can also change the number of speakers in your setup to increase the volume if needed. As I mentioned earlier, if my guitarist decides to upgrade his amplifier, all he or she needs is to add a speaker cabinet to increase the amplifier stack up to 500 watts. However, keep in mind that this can also happen with a combo that has a speaker output.

Another advantage of the stack is the ability to share the speaker (cabinet) with others while you still use your own head. This can happen when multiple bands play together. It cuts down on the amount of equipment each band needs to bring, and it saves time between sets. But if you'd rather use your own equipment, get a stack that allows multiple bassists to carry their amp heads and share a cab (or set of cabs). Everyone is familiar with the amps they are playing and only one bassist has to carry their entire stack. It is a win-win outcome and good for all.

C. Select speakers.

Don't skip this part if you have decided to choose the combo! While you won't have the option of combining heads with cabinets, the size, number and type of speakers offered by different combos will be considered in your final decision.

I'll look at these factors first before diving into impedance and choosing a speaker cab in the next section. The Bass combo and cabinet contain speakers specifically designed to handle low frequencies. They are often confused with subwoofers, but they are actually quite different. Woofers are more flexible and have a larger harmonic range, while subwoofers have a narrow frequency range, focusing more on low frequencies (~20-200 Hz). This is because the subwoofer is used in conjunction with mid-range and high-end speakers, while the bass amp needs to cover the entire frequency range of the bass guitar on its own. Some amplifiers/bass cabs also have a smaller speaker called a tweeter. This is a speaker designed to reproduce high-end frequencies. The idea of ​​including a tweeter is to ensure that the high harmonics of the bass can be reproduced. Most subwoofer cabs do not have tweeters, but they are quite common in large combos these days. Although they lighten up your tone, it's not a significant difference, since the bass speakers already reproduce a fair amount of harmonics. In the context of a band, some say a tweeter will help your sound cut through. Really, I have to tell you, expanding your harmonic range up to 20 kHz (which is hard for anyone over 20 to hear anyway) isn't going to have any effect on stage. Besides, it's called a bass guitar for a reason. Tweeters certainly don't hurt anything and they can brighten up your sound, but in my opinion they're not worth considering/don't buy for too long, simply because they're not that important. .

Of course, speakers come in many different sizes and quantities. The important thing to remember regarding volume is that larger speakers move more air. The more air the speaker pushes, the louder the sound. Higher volume can be achieved by adding speakers, but it is not as effective as larger speaker diameters. Two 10” speakers will have the same volume as one 12” (or possibly 15”) speaker, even though their combined diameter is larger. There are also tonal differences between speaker sizes. 8” and 10” speakers tend to be tight and powerful, while 12” and 15” speakers are more airy and boost bass frequencies better. All of these differences can be altered and adjusted with eq and other effects, but it's better to start with the sound closest to your end goal. If you are buying a low watt combo amplifier, you probably won't have any choice over a 10” speaker. However, larger amplifiers and cabs offer a variety of speaker sizes and numbers, and some even have combinations of different speaker sizes (excluding tweeters).

D. Choose a cabinet (Cabinet).

Before we get into this, I have to say two things. First, if you decide you're in the market for a combo and you don't plan on adding any speaker cabinets to it, then this information isn't essential to your shopping. Second, please don't have any illusions about pairing your new bass amp with a guitar cab you already own. While it's possible (if you're careful), it shouldn't be considered a serious option. Your sound will be greatly affected and if you have to turn up the volume, the speaker may not be able to keep the sound. Buying a bass-specific cab is essential if you really want good sound. Luckily, choosing a subwoofer cabinet isn't too difficult once you know the differences between speaker sizes (and you certainly do!) and you've chosen your amp.

Two things you need to keep in mind when buying a cabinet are impedance and processing power. Impedance (measured in ohms, Ω) is the amount of resistance the speaker provides to the amp's output. Amps have a minimum ohm load (usually 4Ω or 8Ω) they can handle, and this is the resistance they will push the most power over (unless they specify that they can output the same power across multiple ohm load, but this is rarely the case for musical instrument amplifiers). Matching this minimum load to your cabinet will work fine, but since the amp will be running near its maximum power, you need to Be careful not to overdo it. You can use speakers with higher ohm loads to be sure your amplifier will drive them comfortably without fear of being pushed too hard, but it won't produce as much power.

A cab with a resistance lower than your amp's minimum ohm load is out of the question, as it can cause your amp to fail. The power an amplifier produces at different ohm loads may be advertised, but sometimes, it's not. If you are dealing with an ideal amplifier (i.e. an imaginary amplifier in a perfect world), the power will decrease by the same factor as the ohm load increases. I'll use my own amplifier as an example. It is rated 500 watts RMS at 4Ω. Since it is driving an 8Ω speaker cab, if my amp is ideal, it will produce 250 watts. You may remember that my amp actually pushes about 300 watts. Since there is no ideal amplifier and the world is far from perfect, power actually decreases at a lower rate than the resistor increases. This ratio varies between amplifiers, so if you want an exact value, checking the specifications or contacting the manufacturer is necessary. However, reducing the power of your amp by about ⅔-⅗ when the ohm load doubles will give you a rough estimate.
Adding speaker cabinets changes the overall ohm load on the amp. The total resistance of the rig is equal to the load of each cab divided by the number of cabs. This is why I mentioned earlier that my amplifier would be able to push 500 watts if I added an 8Ω cabin. Two 8Ω cabs will have a total impedance of 4Ω, which is the minimum load my amp is rated for.

The rule of thumb for handling capacity is quite simple. Buy a cab that can draw more power than your amplifier will put out. This is a good way to ensure that your speakers will be safe, even when your amplifier is at high volume. For two cabinets, expect each to have more than half the RMS capacity of the amp.

E. Tube or solid?

Thankfully, this debate isn't nearly as heated for basses as it is for guitar amps. Some guitarists may see this as a sacrifice in considering the solid amp as a serious alternative to the tube amp (to me that's an outdated view, but that's another article). On the other hand, bass players tend to be more open to solid amps, many even prefer them.

For starters, tube amps are larger. I mentioned before that you can stick to a 2:1 ratio from bass to guitar amp if you are going to buy one. The main sonic attractions to tube amps are their warmth and the way they distort at high volumes. Besides creating a pleasant and natural sound, the breakdown that occurs when you push a tube amp is also gradual and can help accentuate the dynamics of your playing. Digital distortion from a solid amp will show up as clipping, which sounds quite harsh. The color that a tube amp brings to your tone is what you'll hear on almost every classic rock album before the 80s. This might be perfect for you if you're the nostalgic type. Conversely, if you're looking for a clean sound without any coloration from the amplifier, a solid amp is a great choice.

Tube amps are larger, but the power levels delivered by solid amps on the market are significantly higher, especially considering their small size and lightness. That size for an amp head, by the way, is probably small enough to fit in a backpack for many modern Class D amplifiers. Yes, I mean small. This makes solid amps more portable than tube amps, which is great when you also have a bass and a cabinet (or two) to carry. Reliability is another point for solid amps. For all their sonic wonders, tube amps are high maintenance, don't last forever, and can break down naturally for a number of reasons, leaving you without an amp right before a show. While that last one isn't a common worry with tube amps (unless you drop it a few times on the way to location), there's virtually no chance of a solid amp not performing as expected when you plug it in.

• Types of solid amps

There are four types of solid amps defined by class (however, only two are standards for bass amplifiers). Different layers provide different balances of efficiency and linearity (or how faithfully the signal is reproduced when it is amplified). Each of these aspects comes with compromises of the other, so there are various advantages and disadvantages in each.

Both Class A and Class B amps are incredibly asymmetrical in performance and linearity, leading to their frequent use as modern instrument amplifiers. Class A has some exceptions for guitar amplifiers, but you won't see many bass amps on the market. Class A amplifiers directly amplify the entire signal faithfully, but they are horribly inefficient and generate a lot of heat. Class B amplifiers achieve higher efficiency by splitting the signal in half between two amplifiers. However, when the signal is combined, a gap remains where it was separated leading to distortion.

Class AB is the first viable choice for a bass amplifier. Similar to Class B, an AB amplifier splits the signal between two amplifiers. However, in this case, each amplifier handles a little more than half of the signal. This allows for some overlap when signals are combined, eliminating any distance distortion. However, Class AB amplifiers are large and often quite expensive.

A smaller, cheaper option is a Class D amplifier. Class D amplifiers have incredible performance because they change the analog signal into pulse code (digital) modulation for amplification. , requiring much less energy. Because of this, their linearity is somewhat lacking. Technology is always improving though, and today, Class D amplifiers are starting to rival Class AB in terms of sound quality. Although I've already mentioned this, it bears repeating: Class D amplifiers are insanely portable devices. Many are small enough to fit in your backpack!