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Review – Wayne Jones Audio WJBP-1, WJ210 and WJ110

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If you’ve been following the boutique bass world since the 90’s like I have, the name Wayne Jones Audio might ring a bell.

I first heard about Wayne’s cabs a couple decades back, and although I never had the chance to hear one in person, I was very intrigued by their interesting specs and their relative rarity in the market at that time. Wayne was selling cabs here in the US until shortly after 9/11, at which time, Wayne says, “everything changed”. Cab sales in the US dropped sharply, and Wayne went back to his busy career gigging as a top call bassist.   So when I saw Wayne’s gear resurface in the last couple years, I was again intrigued. His current offerings include powered 1×10 and 2×10 cabs, as well as his own stereo tube preamplifier (At NAMM 2017, Wayne introduced a good old passive 210 as well as a 2 channel version of his pre. More below).   I reached out to Wayne and he couldn’t have been more gracious or generous with his time and gear. He promptly sent me an array of cabs and his preamp to check out, and I’ve been having a blast with all of it.

Endorser David Dyson at NAMM 2017

Before we get to how the gear works, let’s look at the equipment itself.

At 24” tall, 16” wide, and 22” deep, the 210 dimensions are fairly unique for bass cabs. I asked Wayne about the extra depth of the cabs (both the 210 and 110), and he responded that the depth allows him to not only achieve a desired cubic volume, but also the distance between the driver and the back wall is very intentional, in order to achieve certain performance goals. As a result, the 210 is a somewhat odd form factor. Luckily, it has a built in telescoping handle and tilt back wheels, making the schlep pretty easy. All the gear is covered in a very high quality black carpet, which seems better than a lot of the cab covering I see (Wayne responds: future cabs will use High end automotive leather look Vinyl covering). The preamp had a very nice build quality: all the knobs and switches felt solid and had nice resistance to the pots, thus reducing the risk of bumping controls mid-gig, and boding well for the gears overall lifespan. From a fit and finish perspective, the Wayne Jones gear is simply top notch.

The cabs are powered by a 1000w Pascal power module, which dishes out an incredible amount of tone, fidelity and raw power.   The 210 cab gets the full bridged signal of the amp, while the 110 cab can either be run bridged or stereo (allowing for true stereo operation at 500w per side with a pair of the 110 cabs). This is especially hip for users wishing to get the full impact of their stereo reverb, delay or chorus-type effects.

WJBP Stereo valve preamp

wjpreamp-662x312

The WJBP was as impressive as the cabs, and performed flawlessly for me. Wayne is a fan of the Avalon preamps and the venerable Avalon 737 as a reference point when designing his own preamp. Not only does it borrow from the Avalon’s elegant aesthetics, and superior build quality, it does indeed have that high end tube feel that I remember about the Avalon 737: Tubey, rich and 3D, but super quick, and incredibly clear with ample warmth and fidelity.

The WJBP has a built in defeatable compressor, a 5 band EQ, a low boost, a pan knob (for stereo use) and both an input gain and master volume control, enabling excellent integration with Wayne’s powered cabs. It also features an input pad and built in tuner.

The back panel is fully featured, including a studio grade DI with level control, 2 XLR and 1/4″ outputs, headphone jack and aux input, and a jack for the included footswitch. The 8 stage LED indicators help dial in your preferred gain staging. Generally speaking, I found the WJBP to be super clear and warm, with loads of presence and articulation, and it has that high fidelity depth and weight to each note that I love. It doesn’t do gritty or heavily colored tones, although the powerful 5 band EQ does allow for some serious tone shaping.    I really like the broad bass boost, which adds some heft and weight to your overall sound, without muddying things up.   Also the onboard compressor, while limited in its parameters, is quite nice. I don’t hear it squashing or pumping, it actually does what it should, which is rarer than one would think, regarding onboard compressor circuits.

WJBP Stereo valve preamp-2

It should be noted that Wayne just released at NAMM 2017 a 2 channel version of the preamp, the WJBP11. With a second channel that has a phantom powered XLR input, as well as an additional high treble control (above the existing treble control) the 2 channel preamp is a dream for doublers, or for people who require a 2 channel amp for any number of reasons.

WJ 2×10 powered 210 cabinet

1000-Watt-2x10-Powered-Bass-Cabinet-with-bass-pre-amp

It’s hard to accurately convey the performance of the WJ210. I could say things like “It is the fastest cab I’ve ever heard”, or “sounds like a cab 3 times its size”, or “effortlessly quick and muscular”, but what does all that hyperbole that actually mean?   Let me just say: the WJ210 is simply breathtaking in its performance.   I’m not saying every single player will find this to be the ultimate sounding bass cab, BUT, you’d be very hard pressed to find one that is more capable at dishing out tone and volume of this caliber. The 210 excels at that wonderfully elusive characteristic I like to call “slam”. For lack of a better definition, (to me) slam is: effortless low end delivery, that is both taut and massive, and a seemingly endless power reserve to dish out transient peaks. It’s one of those cabs that makes you want to play slap lines just for the fun of it. Compared to some other 210 cabs that I really like the slap tone of, the WJ was a clear standout. When playing percussive palm-muted thumb lines, the WJ sounded insanely thick with a super articulate top end that doesn’t have a trace of harshness. The integration of the woofers and tweeter result in a seamlessly tight and clear sound that is aggressive without being brash or harsh in the slightest. All of this results in a powered cab that can handle the demands of a much larger cab, with exquisite tone and composure, in a meticulously constructed box. I seriously can’t imagine opening up a pair of these on a gig, as they put out SO much oomph. Wayne also released passive versions of the 210 cab at NAMM this year, allowing users to stick with their own amplifiers.

WJ 1X10 powered and passive 1X10 cabs

1x10 pair stacked with pre amp 1000 Watt 1x10 Stereo/Mono Bass Cabinets The WJ 1x10 Are 500 Watt a side, 4 ohm cabinets that can be used in stereo or parallel mono. They have the same driver & tweeter as the 2x10 except they are 4 ohm drivers. sales@waynejonesaudio.com

In addition to the amazing 2X10 cab, Wayne sent a pair of his 1X10 cabs for me to check out. I was particularly interested in these not only because I love small modular rigs, but also because of the ability to run TRUE stereo effects without some kind of modified rig. The preamps stereo FX return can be configured to send L/R signals to the pair of cabs, while using just the WJBP, a couple XLR cables and an additional speakon cable. As a reverb and delay junkie, I have to say, I was in hog heaven.   I never bother to run my effects in stereo as it always requires some extra gear and produces finicky results. The 1X10 pair on the other hand sounded clear and spacious, with tons of definition. On the gig with the cabs spaced 3-4 feet apart behind me, I was enveloped in 3 dimensional reverb and delay sounds which made chordal and melodic playing seem to jump out in a highly satisfying way.   With the pair of 1X10 cabs stacked on their sides (the only way they can stack, with the input jacks and attenuators on the tops of the cabs), the rig sounded similar to the 210, but perhaps a little smoother and less huge in its delivery. I detected a somewhat leaner and less mid-forward tonality out of the 110 pair.  The same power module is at play, the 1000w Pascal, but is configured in stereo (500w x 2) which allows one to run true stereo efx or to be run in dual mono, thus maximizing the configurability of the cabs. Like the 2X10, the 1X10’s have attenuators for the mid and high control, which is a nice added level of adjustability and helped me fine tune my sound.

About Wayne Jones custom 10” drivers

OK…. What are my list of gripes (you know I have to complain about something)?

Well for starters, the top mounted jack plates mean that you can’t vertically stack the cabs, and you can’t easily put a rack on top of the cabs. I have heard from users who bought 90 degree IEC, XLR and Speakon jacks and use large rubber feet to create enough clearance, but for my money, I’d like to see amp plates elsewhere on the cabs, to maximize stacking options and not relegate one to custom cables. (Wayne responds: Future cabs will include recessed control plates on all models) I should be mentioned that the WJBP fits squarely on top without any modification needed, so this gripe only applies to those using other preamps or racks. I really prefer to stack 210’s vertically, for a “line array” effect, and the cab layout doesn’t currently allow for that. Also, the powered cabs are XLR connect only, so make sure you bring your XLR/mic cable. Similarly, the WJBP has an external power supply, with a proprietary (non-IEC) connector to the preamp. Don’t leave that power supply at home, or you’re in trouble. (Wayne responds: This was done purposely to Isolate the power supply for complete studio noiseless operation) My only other issue was the limited handle placement. The 210 is not impossible to pick up, but would really benefit from a couple more strategically placed handles, in order to increase its maneuverability in and out of the car and onto the stage.

So what is was my lasting impression of the Wayne Jones gear?

Well. Let’s put it this way: Can you find a simple rig? Yes. Can you find a cheaper rig? Definitely. Can you find a rig that is quicker sounding with more slam and definition? I’m not aware of one! The Wayne Jones gear exceeded my expectations for a truly high performance bass rig, that stands out amongst the crowd of others touting similar results. There is something so compelling about the lightning fast quickness and the massive low end delivery of the WJ rig that remains clear and coherent when other cabs literally start to crumble. The overall tone is extremely clear and linear, but leans toward a forward voicing character that has plenty of teeth to cut through a mix and give your sound some serious weight. I should mention that Wayne has been getting a lot of buzz from guitar and keyboard players as well, which speaks to the gears overall sonic neutrality and flexibility.     I would wholeheartedly recommend the WJ gear to anyone looking for unparalleled performance from a bass rig, and specifically for funk, modern R&B and gospel players, seeking a balanced modern tone with lots of edge and, well, slam.   All the WJ gear performed beautifully for me on jazz, Latin, fusion, and solo bass gigs, and I’m holding back tears as I prepare to return it! It should be mentioned, that Wayne Jones Audio is based in Australia, but these cabs are proudly “Made in the USA” and shipped from Wayne’s Kentucky based distribution center.

For more information about Wayne Jones Audio, visit them on the web. All of the Wayne Jones gear is sold direct via his website in addition to his dealer network. The powered 210 sells for $2,270, the powered 110 is $1500, the passive 110 is $1200, and the WJBP is $999.

Wayne-Jones-AUDIO-Product-Range

Bass Videos

Review: BITE Custom Bass – The Black Knight PP Bass

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Review - BITE Custom Bass - The Black Knight PP Bass

BITE Custom Bass – The Black Knight PP Bass Review…

I am sure many of you saw my review of the Snobby Steampunk Bass from BITE Guitars back in February of 2021 and will remember what a remarkable bass it was. BITE has been building custom basses since 2019 and has a unique custom approach where you can configure your bass to your specs.

I am very excited to have another Bass From BITE Guitars in my hands, The Black Knight PP Bass! 

The need for a P-Bass in one’s armamentarium is pretty standard for bass players and I recall chatting about this with Marty O’Brien about a year ago. It turns out that Marty and BITE Guitars got together and came up with this excellent configuration that gives you a P-Bass with a whole lot more.  Marty even played his own Black Knight PP bass at the 2024 NAMM show. You can see his review here.

Join me as I take an in-depth look at this very cool instrument and share all the details.

Here is The Black Knight Bass from BITE Guitars!

For more information, visit online at bite.guitars/product/black-knight-pp

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Gear Reviews

Gear Review: Origin Effects Cali76 Compact Bass

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Gear Review: Origin Effects Cali76 Compact Bass

Origin Effects Cali76 Compact Bass Review…

Throughout the evolution of music, bass players have sought tools to sculpt and enhance their sonic landscapes, and one indispensable ally in this pursuit has been compression. Origin Effects, a name synonymous with premium audio craftsmanship, introduces the Cali76 Compact Bass Compressor, a pedal that pays homage to the legacy of compression and brings forth a new chapter in bass sonic mastery.

As we delve into the world of the Cali76 Compact Bass Compressor, we’ll explore how Origin Effects seamlessly weaves together the heritage of compression and contemporary bass demands, promising a pedal that not only honors the past but propels your bass playing into the future. Join us on this sonic expedition as we dissect the nuances of the Cali76 Compact and uncover the secrets it holds for bass players seeking the perfect blend of vintage warmth and modern versatility.

For Starters, the Cali76 is a studio-grade FET compressor pedal, based on the classic Urei 1176, but with some features optimized for bass guitar. For those of you who are not familiar with it, a FET (Field Effect Transistor) compressor is essentially a solid-state tube compressor emulation that allows for fast and precise control over the attack and the release parameters; allows for extreme compression ratios; and finally adds the typical 1176 color and character to the sound.

Together with the common controls we see in most compressor pedals – Ratio, Attack/Release, input (just like the original 1176, the threshold in this pedal is fixed), and output (makeup gain). The Cali76 offers two more controls dedicated to us bass players.

A Dry control – This allows us to mix in our dry, uncompressed signal to the pedal output. This is great for when we want to add back some of our playing dynamics to the compressed sound or for when you want some volume back in situations where the compression starts taking away the volume.

A High Pass Filter control – Low frequencies on a bass guitar signal normally overwhelm compressors. This high pass filter allows the compressor to only react to higher frequencies, which helps preserve the natural dynamics of our playing while keeping the low end intact.

Metering on this pedal can be a bit hard to get used to at first. There’s a single LED light on the pedal, that not only serves as an On/Off light, but it’s also our meter. It glows red when no compression is applied and orange for active compression. The brighter the light, the greater the amount of gain reduction. Yellow signifies that the gain reduction reached 27dB and maximum reduction occurs around 38 dB.

In practical terms, it’s all about working with the input and the LED to find the sweet spot (turn the input to zero, start playing and slowly increase the input level until you start seeing the LED glowing orange, which means there’s reduction going on).

With 6 highly interactive knob controls, this pedal implies some degree of compressor knowledge and also some amount of tweaking and experimentation to find the perfect settings. The good news is that it is very hard to make this pedal sound bad…

It can go from very subtle compression settings to very extreme, and it can do everything in between. Also, the team at Origin has been kind enough to add a couple of sample settings in the manual to get players started and to help us understand better how the pedal works.

Origin Effects Cali76 Compact Bass

Dynamic Control is a setting that provides natural compression, balancing dynamics between various playing techniques. It is a subtle compression that will work almost out of the box almost all the time. Having a medium setting for the High Pass Filter ensures an honest translation of the lower string dynamics.

Origin Effects Cali76 Compact Bass

Parallel compression is a popular studio technique, where both compressed and natural signals are blended. We get the sound and feel of hard compression while retaining the natural playing dynamics.

Origin Effects Cali76 Compact Bass

Percussive, lively & Fat is a setting that uses a slower attack time to accentuate the start of any note. Then using a fast release allows the compressor to recover between notes so that the phrases sound more percussive. Ideal for slapping and other percussive techniques.

Finally, I would like to mention the classic 1176 tonal coloration. It’s not a secret that engineers all around would sometimes use the 1176 compressor, without applying any compression, just to get the tonal coloration into the instrument sound.

And the Cali76 compressor is no different, it has such a rich, warm, and full coloration that’s super pleasing to the ear and makes you want to have it ON all the time. So be aware, that if you want a transparent compressor, this pedal is not for you!

All in all, it is easy to understand why this pedal became a favorite of so many bass players around the world. The Cali76 Compact stands as a testament to the meticulous craftsmanship and thoughtful engineering that Origin Effects is renowned for. It seamlessly navigates through the rich history of compression, offering bass players a gateway to the soulful resonance of the past while empowering them to sculpt a contemporary sonic future.

Whether you’re a seasoned bass maestro or a budding virtuoso, the Cali76 Compact invites you to embark on a sonic journey where every note is held in a delicate balance between tradition and innovation. As we bid farewell to our exploration, we do so with the realization that the Cali76 Compact is more than just a pedal; it’s a sonic companion that elevates the artistry of bass playing

For more information, visit online at origineffects.com

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Gear Reviews

Spector NS Ethos HP 4 Bass Review

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Spector NS Ethos HP 4 Bass Review

Spector NS Ethos HP 4 Bass Review…

Not long ago, I did a review of the Spector NS Dimension HP 5 Bass and I have just been given the honor and privilege of reviewing the Spector NS Ethos HP 4 Bass. I have to say, another great bass from Spector that is hard to put down! While there are some similarities between both basses, there are also some noticeable differences which is why I believe having both is essential to any bass arsenal.

Spector, widely used by many rock and metal bassists like Ian Hill, Alex Webster, Colin Edwin, Doug Wimbish, and many more, just to name a few, has a long-standing in these genres. Well, that’s about to change! The bass I used for the review, didn’t see any of those genres, matter of fact, I used it on a few classic country gigs and at church too! However, when at home in the studio, I let the funk out. The NS Ethos HP 4 Bass is an all-around great bass for any genre and will not disappoint.

Let’s get into the specs about the bass, and here we will find the differences between the HP 5 Bass and the HP 4.

Forget that one is a 5 string, while the other is a 4, while that is a difference, that’s not one that I feel needs to be noted as both models are available as 4 and 5 strings. The Spector NS Ethos HP 4 Bass has a 34” scale, 24 fret, 3 piece maple neck through construction with solid alder wings, ebony fingerboard along with centered and side dots and the 12th fret Spector logo inlay with a brass nut.

While the pickups are different as the NS Dimension HP 5 Bass uses the EMG 45DC and the NS Ethos HP 4 Bass sports the EMG 35DC pickups, they are the same pickup configurations, the difference being, one for 4 string, the other for 5 string. The electronics are the same, consisting of a Darkglass Tone Capsule preamp which consists of +-12dB @70Hz for Bass, +-12dB @500Hz for Mids, and +-12dB @2.8kHz for Hi Mids. Controls for Spector NS Dimension HP 5 Bass consist of Master Volume, Blend, Bass, Mid, and Hi Mid controls. The electronics are powered by a 9-volt battery.

The bridge is a Hi-Mass locking bridge with intonation screws and the tuners are sealed die-cast. All hardware is black. Same as the Spector NS Dimension HP 5 Bass, the HP 4 Bass is available in 4 different finishes, White Sparkle Gloss, Gunmetal Gloss, Plum Crazy Gloss & Black Gloss. The bass also comes with a very nice and well-padded gig bag.

Check out the Spector NS Ethos HP 4 Bass at a Spector Music Retailer today near you or visit online at spectorbass.com/product/ns-ethos-hp-4/

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Gear Reviews

Review: Italia Leather Straps

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Review: Italia Leather Straps

Italia Leather Straps…

Whenever I get a new bass, I like to get a new strap to christen it and I also like to find one that is “color coordinated” to my new instrument. I recently had a 6-string fretless bass created by a local luthier named Frank Brocklehurst, which started my search for a new strap.

There are a few points that I always look for when searching for a new strap. 

1-Comfort 
2-Width
3-Great color
4-Price

My most recent quest put me in touch with “Italia Leather Straps.” Italia has been in business in California for about 20 years and has been selling factory direct for the past 18 years.

When you order your strap it begins its “made to order” build process and after shipping more than 50,000 straps they certainly have it well in hand!

To answer my 4 questions regarding comfort, Italia uses some of the most comfortable and luxurious leather in a wide variety of colors. I was able to match almost perfectly the color of my bass and the color of the leather.

You can order it in either a 2.5” or 4” width as well as a standard and long model for tall players. I prefer the 4” for all of my basses. 

I received my strap and I must tell you, the leather was soft, supple, and truly comfortable when I attached it to my bass.

I must commend Italia Leather Straps for their attention to detail and beautiful selection of leather. I would say that when you go looking for a new strap, these guys should be on your shortlist.

Call or visit Italia Leather Straps online:
831-324-4277
www.italiastraps.com

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Bass Videos

Review: The Fuchs FBT-700 Bass Amps

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Review: The Fuchs FBT-300 and FBT-700 Bass Amps

Fuchs FBT-700 Bass Amps…

Much like our original ODS amps were initially inspired by the legendary Dumble amps, the new Fuchs FBS-1 bass amps have found their inspiration from the iconic Walter Woods © bass amps, but with Andy’s own enhancements.

Andy tapped his years of experience as a working musician, as well as servicing and tweaking guitar and bass amps for many famous clients as diverse as Carlos Santana through jammers like Jimmy Herring, including jazz legends like Dave Stryker for over 40 years as inspiration for our new bass amps. Fuchs’ 20-year list of reviews and endorsers is truly impressive to say the least.

Not unlike the iconic Walter Woods © amps the FBS-300 and FBS-700 amps are designed for maximum power at minimal size and weight. For years, the rare and coveted Woods amps have built a following amongst industry professionals. They were literally the first switch mode class-D style lightweight bass amps ever. Due to Walter being reclusive and now retired, these amps found their way to Andy’s shop to be repaired. While servicing them Andy was able to reverse engineer the preamp and power supply. Mated to a modern lightweight ICE power digital power module we have produced an amp that Woods owners agree, is equal (if not better) than their predecessors.

The FBS-1 bass amps (and our FBT tube bass amps) share identical panels and chassis and are available in 300 and 700-watt models, they feature a solid-state preamp inspired by the infamous Walter Woods © amps, but with improvements like a steep-slope subsonic filter and a DI output using high-speed audiophile op amps and a regulated power supply. The DI output is electrically balanced pre/post switch, ground lift, DI Phase, and a global mute switch.

Small and light, (downright diminutive) at less than 5-lbs and 12 x 3 x 9, they are loud and clean. Want some dirt? Raise the input gain and lower the master volume. Want total clean, lower the input gain and raise the master. They are super easy to operate, and the FBS-1  amps will easily fit in a gig bag, run ice-cold, and feature a well-thought-out, simple configuration for the working musician. A Fuchs gig bag designed for all models is coming soon.

These amps feature an input gain control allowing both passive and active bass use, Baxandall (shelving eq) high and low controls, a parametric rotary midrange control with level and frequency control and an output master volume. With the midrange pot in the ‘0’ position the circuit is flat. In this mode the bass and treble pots emulate the classic Woods and B-15 style amps we know and love. Use the mid circuit for boost and cut of up to 20 db at a fully adjustable frequency.

All models use the industry-standard Ice power modules, which are known for their rock-solid reliability and excellent cool-running, audio performance. These amps feature a buffered patch loop between the preamp and power amp. All amps offer worldwide automatic line voltage selection. Wherever you are, they automatically set their own line voltage. All amps are CE and RoHs compliant.

FBT-300 6 lbs 12 x 3 x 9 chassis. FBT-700 6 lbs 12 x 3 x 9 chassis.

FBT-300: 300W at 1% THD+N, 4Ohm • 260W at 0.1% THD+N, 4Ohm • 380W at 10% THD+N, 4Ohm • 450W at 1% THD+N, 2.7Ohm (Approximately ½ half this value at 8-ohms).

For more information, visit online at fuchsaudiotechnology.com

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