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Lukaskran « Recommend it (if you have the budget) »
Published on 06/05/11 at 05:16
Value For Money :
Correct
ZE-tube bass head at Orange, handmade in England: AD200B MKIII.
Purchased price B (back relisted) on Thotho at a price slightly repulsive attractive today but at the time.
It is off-200W lamps. I've never had to change the lamps, they were of different origins and have held up well despite the sometimes travel a little nuisance.
I had a flexible cover Silverstone, the amp had no need for me to take more care in cosmetic, manufacturing is the least strong.
Connection (s) speaker (s) by the output jack into 2 or 4 ohms 1 x 8 ohms.
Log on bass by 2 input jacks classic passive and active with a-15db.
A slave output, no effect loop if my memory serves.
Knobs could not be more simple: Gain, Bass, Mid, Treble, Master. Basta.
Sport rather complete with 25kg: it makes the arms and back (and legs if you lug around without a license)!
UTILIZATION
I do not remember having had a manual with ... At the same time, it's not as if it was really simple: you turn, it leaves a little heat lamps, one branch, it settles the sound is played. That's the advantage of having little gadgets on an amp, it gets confused less!
Similarly, after a few rehearsals and concerts, you get what you want easily, you just get used to its power and color to guess what you need in conditions where we find (playing comfort, the comfort of other group members, external, internal and transfer into big sound / DI or not to transplant as few decibels to send, etc..). Sure, it's not a bedroom amp, so to avoid if you plan to play in a gain in volume and 3, it is not for, you will not develop the full potential of lights ... That would be unfortunate, they are waiting for this.
SOUNDS
The counterpart to its ease of use, one might think, is to have a sound 'frozen', an amp true to himself and blowing the fire of God at the base, but very adaptable if we want get something else ...
Nay. The AD200 has sent the steak for 4 years in my group of ska-rock, both in his round on the parties although most jazz / reggae sound more punchy than the parts good rock / rockabilly. I also had a prog rock band next door, no worries either: beautiful definition for parts requiring less pie and more melody, nice attack for more bourrines parties.
I always used with a 2x15 cabinet Ampeg home (no longer manufactured) and 99% of the time with my Cort Artisan NA6. To be honest, I got mixed up in the most active EQ on my bass amp settings ...
The personal benefit I found this config has mainly been the counterbalance of his super lens / my bass with modern lamps and the roundness of 2x15. It sounded FAT, which takes guts. Beefy, as would our buddies Anglo-Saxon.
In addition, I tested a B: assmaster of Malekko and Bass Big Muff on it, nothing to say, it throws in all frequencies ... Both for the big noise to Sonic Youth for the electro to Massive Attack.
To summarize: a great potential in power (I've never pushed beyond the 3 and 7 gain in volume, basically. And yet, it was already too much!), Roundness, but without losing attendance, that being said, the definition is always available when we find it a tad lacking, it is really easy to find.
For those who wonder what is the distortion of the lamps, I will not be very useful, I did used to have fun ... That said, I selected a nice crunch well packed, although a little too round for my taste. I never needed a distortion as soft, but I guess it could very well lend itself to a rock bass line a bit 'roaring' round the edges.
OVERALL OPINION
I used 4 years. Before that I was on a Fender Rumble 100 and on the Hartke, provided that it has changed things ... The crossing lights must have been a bit premature in relation to the experience I had at the time, I'm gone for a little 'hype' than anything else. But hey, I'm not going to complain, I was far from being fallen ill
Currently, I've tested the Fender, the Ampeg, SWR, Trace Elliot's, Laney's, the Markbass, Peavey, all-lights or not ... I must say that the Orange was a very good compromise between the definition of more modern sounds and warmth more typical sounds (including Fender style). In my humble opinion, and limited experience, there is much that qu'Ampeg potato for a well-typed, and yet it is different (and more importantly, this is not the same budget, or the same weight).
I especially liked: its simplicity, robustness, its power combined with its softness, color combined with his loyalty, his style.
I like least: its price.
The quality / price was actually a bit ill at the time, but hey, the model was not very old ... Today, it's OK for a little over 1000 € hand, I think it's worth.
With experience, if I had the budget, why not. But first, let me test the Traynor YBA-200, it seems that it sends as much for half the budget and 7 kg less to carry ... Why I'm not going to raise too hastily in the pantheon of 9 / 10.
Purchased price B (back relisted) on Thotho at a price slightly repulsive attractive today but at the time.
It is off-200W lamps. I've never had to change the lamps, they were of different origins and have held up well despite the sometimes travel a little nuisance.
I had a flexible cover Silverstone, the amp had no need for me to take more care in cosmetic, manufacturing is the least strong.
Connection (s) speaker (s) by the output jack into 2 or 4 ohms 1 x 8 ohms.
Log on bass by 2 input jacks classic passive and active with a-15db.
A slave output, no effect loop if my memory serves.
Knobs could not be more simple: Gain, Bass, Mid, Treble, Master. Basta.
Sport rather complete with 25kg: it makes the arms and back (and legs if you lug around without a license)!
UTILIZATION
I do not remember having had a manual with ... At the same time, it's not as if it was really simple: you turn, it leaves a little heat lamps, one branch, it settles the sound is played. That's the advantage of having little gadgets on an amp, it gets confused less!
Similarly, after a few rehearsals and concerts, you get what you want easily, you just get used to its power and color to guess what you need in conditions where we find (playing comfort, the comfort of other group members, external, internal and transfer into big sound / DI or not to transplant as few decibels to send, etc..). Sure, it's not a bedroom amp, so to avoid if you plan to play in a gain in volume and 3, it is not for, you will not develop the full potential of lights ... That would be unfortunate, they are waiting for this.
SOUNDS
The counterpart to its ease of use, one might think, is to have a sound 'frozen', an amp true to himself and blowing the fire of God at the base, but very adaptable if we want get something else ...
Nay. The AD200 has sent the steak for 4 years in my group of ska-rock, both in his round on the parties although most jazz / reggae sound more punchy than the parts good rock / rockabilly. I also had a prog rock band next door, no worries either: beautiful definition for parts requiring less pie and more melody, nice attack for more bourrines parties.
I always used with a 2x15 cabinet Ampeg home (no longer manufactured) and 99% of the time with my Cort Artisan NA6. To be honest, I got mixed up in the most active EQ on my bass amp settings ...
The personal benefit I found this config has mainly been the counterbalance of his super lens / my bass with modern lamps and the roundness of 2x15. It sounded FAT, which takes guts. Beefy, as would our buddies Anglo-Saxon.
In addition, I tested a B: assmaster of Malekko and Bass Big Muff on it, nothing to say, it throws in all frequencies ... Both for the big noise to Sonic Youth for the electro to Massive Attack.
To summarize: a great potential in power (I've never pushed beyond the 3 and 7 gain in volume, basically. And yet, it was already too much!), Roundness, but without losing attendance, that being said, the definition is always available when we find it a tad lacking, it is really easy to find.
For those who wonder what is the distortion of the lamps, I will not be very useful, I did used to have fun ... That said, I selected a nice crunch well packed, although a little too round for my taste. I never needed a distortion as soft, but I guess it could very well lend itself to a rock bass line a bit 'roaring' round the edges.
OVERALL OPINION
I used 4 years. Before that I was on a Fender Rumble 100 and on the Hartke, provided that it has changed things ... The crossing lights must have been a bit premature in relation to the experience I had at the time, I'm gone for a little 'hype' than anything else. But hey, I'm not going to complain, I was far from being fallen ill
Currently, I've tested the Fender, the Ampeg, SWR, Trace Elliot's, Laney's, the Markbass, Peavey, all-lights or not ... I must say that the Orange was a very good compromise between the definition of more modern sounds and warmth more typical sounds (including Fender style). In my humble opinion, and limited experience, there is much that qu'Ampeg potato for a well-typed, and yet it is different (and more importantly, this is not the same budget, or the same weight).
I especially liked: its simplicity, robustness, its power combined with its softness, color combined with his loyalty, his style.
I like least: its price.
The quality / price was actually a bit ill at the time, but hey, the model was not very old ... Today, it's OK for a little over 1000 € hand, I think it's worth.
With experience, if I had the budget, why not. But first, let me test the Traynor YBA-200, it seems that it sends as much for half the budget and 7 kg less to carry ... Why I'm not going to raise too hastily in the pantheon of 9 / 10.
