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Review – Wayne Jones Audio WJBA & WJBA2 Amplifiers and WJ 2×10 Cabs
Wayne Jones Audio WJBA & WJBA2 Amplifiers and WJ 2×10 Cabs Review…
A while back, Bass Musician Mag reviewed a couple rigs from Wayne Jones Audio, including some of their exceptional bass preamps and powered cabinets. I remember being struck by the build quality, feature set, and above all, killer tone of Wayne’s gear. Well, he’s at it again, and true to form, he’s blowing the roof off with a line of incredibly powerful and feature laden bass amplifiers and speaker cabinets. The WJBA and WJBA2 amps offer bassists well thought out features and options that leave professional players wanting for nothing in terms of volume, flexibility and tonal options. He also sent over a pair of his new passive WJ2x10 cabs to check out, which incorporate some smart updates from his line of powered cabs, and similarly (and most importantly), have tone for days. I am as blown away by this rig as I was the first batch of Wayne Jones Audio gear, and it’s nice to see the more conventional approach of powered amplifiers and passive cabinets, since most of us are more accustomed to this configuration. It’s pretty obvious from the get-go when you unbox and power up Wayne’s gear that he’s not messing around here. The rig looks serious, feels serious, and sounds very serious. Let’s take a closer look.
Wayne Jones WJBA and WJBA2 Amplifiers
The flagship of the new line is the formidable looking WJBA amp, a 2 channel, 2000-watt bass amp monster that at first glance can appear a little overwhelming.
Designed in collaboration with, and incorporating feedback from Wayne Jones Audio endorsees Andre Berry (David Sanborn, Brothers Johnson, Peter White) and Scott Colley (Herbie Hancock, Michael Brecker, Jim Hall), the WJBA has been designed to meet the demanding volume and flexibility needs of working professionals. Once you spend a little time with the amp, it becomes clear that Wayne’s extensive history as a pro bassist has helped him develop equipment that serves players with smart features and flexible signal routing, to help support even the most demanding gig needs. Calling its power output “robust” would be a bit of an understatement. Under the hood of the WJBA is dual 1000w Pascal amplifiers, which allow the amp to deliver 2000w at either 4 or 8 ohms. You can run the amp: in mono with one bass, with 2 basses (each with a dedicated channel and EQ), with stereo output basses like some Rickenbackers, or in true stereo, to accommodate stereo effects, via its stereo FX loop. Each channel features an optical compressor, 6 bands of active equalizer, and a 30 Hz boost switch. The EQ points are designed to correspond to the fundamental frequencies of each string, allowing you to balance the instruments output for an even response. However, you can also use it as you would a conventional EQ, shaping the highs, mids and lows to taste with 6 bands of control. The output section includes a pan control, to adjust the relative volume of each output/cabinet, as well as a master volume control for the amplifiers overall volume level. As with his previous products, there is ample LED metering on the front panel for the input gain (of each channel) and output level of the power section. This helps with proper gain staging to make sure you have the signal optimized for headroom and clarity. Additionally, channel two offers a dual input for XLR or 1/4” inputs, and selectable 48v phantom power for upright microphones. Truly, this is a great option for doublers who need both a solid one-stop solution for taking full advantage of amplifying their upright, as well as a slamming no-compromise electric bass rig.
Moving to the back panel, you’ll find all the connectivity you could ever want for signal routing options and flexibility, including: XLR and ¼ output for each channel, “preamp outputs” for each channel (ideal for using powered cabinets), a stereo FX loop, Speakon connections for each channel, 1/4” and 1/8” aux inputs, a headphone output with level control, and a dedicated DI output with a level control and a ground lift switch. It can also accommodate 115 or 230 volts, for ease of use Stateside and abroad.
The WJBA2 amplifier is essentially a 1 channel version of the WJBA2, and offers up 1000w bridged into 4 or 8 ohms, in a slightly smaller and lighter package, and without the XLR input and phantom power.
WJ 2×10 Passive Cabs
When I reviewed the powered Wayne Jones 2×10 cabs in the past, I was struck by how incredibly big, quick and clean they sounded. They were certainly remarkable sounding for a 2×10 and sonically dwarfed a whole lot of 2×10’s I’ve owned or played. At the time, my only issues had to do with the form factor and challenge of carrying of the cabs. The handle placement made it difficult to pick up and move, and their extra depth (20.4”) made it a little awkward to carry. Wayne updated the new passive WJ 2×10’s with handles on the top and bottom, and improved the handle design to make them more comfortable to hold. This dramatically improved the schlep factor, and despite their size and 64 lb. weight, I find these to be much easier to cart around. Additionally, he moved the control/input panel from the top of the cab to the back of the cab which allows these to be stacked in a vertical fashion, whereas the powered cabs had to be stacked horizontally, due to the panel/jack location. Wayne also omitted the built in wheels and telescoping handle found on the active cabs, shaving some weight. The only other change is the new smooth vinyl covering, now used on all cabinets in the product range. The vinyl looks sharp, but was more prone to scuffs and scrapes than the carpeted covering. Getting covers for them would be a wise investment, to avoid minor damage that can happen when loading in/out.
Capable of handling 700w, and with a frequency response of 40 Hz to 20 KHz (extending down to 28 Hz), the Kevlar impregnated drivers with massive magnets are capable of providing tons of output and slam. Dual attenuators on the back panel allow you to cut up to 12Db of highs and mids (mids in the 300-600Hz range) for further tailoring.
Overall, the 2×10 performs stunningly well, and fills out the entire frequency range beautifully from top to bottom. They are extremely clean and linear sounding throughout the midrange, with no blurriness or congestion, lending them to be excellent options for all flavors of modern bass tone. But considering the awesome tone shaping ability of the WJBA heads, they can be EQ’d to deliver all kinds of great sounds. The low end extension is remarkable, capable of hitting subwoofer-like lows that many bass cabs can’t quite achieve, especially with some judicious use of the bass knob and the 30Hz boost switch.
To wrap up, the new gear from Wayne Jones represents a very high degree of engineering, design and performance for bass players.
While players who gravitate towards vintage inspired equipment may prefer simpler and more traditional sonic and aesthetic offerings, when it comes to high performance, high output, no-compromise bass amplification, Wayne Jones continues to create a high water mark for what a bass amp can do. Players inclined towards modern tones are sure to be blown away by the rigs sheer capacity for volume and extension. I brought the big rig out on a couple gigs and it provided an effortless playing experience, translating every sonic nuance of my playing, and delivering massive headroom and horsepower. It’s one of those rigs you have to hear to truly appreciate.
For more information and pricing, visit Wayne Jones Audio’s website.
Bass Videos
Interview With Bassist Erick “Jesus” Coomes
Bassist Erick “Jesus” Coomes…
It is always great to meet a super busy bassist who simply exudes a love for music and his instrument. Erick “Jesus” Coomes fits this description exactly. Hailing from Southern California, “Jesus” co-founded and plays bass for Lettuce and has found his groove playing with numerous other musicians.
Join us as we hear of his musical journey, how he gets his sound, his ongoing projects, and his plans for the future.
Photo, Bob Forte
Featured Videos
Visit Online
www.lettucefunk.com
IG @jesuscsuperstar
FB@jesuscoomes
FB @lettucefunk
Bass Videos
Working-Class Zeros: Episode #2 – Financial Elements of Working Musicians
Working-Class Zeros: Episode #2 – Financial Elements of Working Musicians
“These stories from the front are with real-life, day-to-day musicians who deal with work life and gigging and how they make it work out. Each month, topics may include… the kind of gigs you get, the money, dealing with less-than-ideal rooms, as well as the gear you need to get the job done… and the list goes on from there.” – Steve the Bass Guy and Shawn Cav
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This Week’s Top 10 Basses on Instagram
Check out our top 10 favorite basses on Instagram this week…
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Bass CDs
New Album: Jake Leckie, Planter of Seeds
Bassist Jake Leckie and The Guide Trio Unveil New Album Planter of Seeds,
to be released on June 7, 2024
Planter of Seeds is bassist/composer Jake Leckie’s third release as a bandleader and explores what beauty can come tomorrow from the seeds we plant today.
What are we putting in the ground? What are we building? What is the village we want to bring our children up in? At the core of the ensemble is The Guide Trio, his working band with guitarist Nadav Peled and drummer Beth Goodfellow, who played on Leckie’s second album, The Guide, a rootsy funky acoustic analog folk-jazz recording released on Ropeadope records in 2022. For Planter of Seeds, the ensemble is augmented by Cathlene Pineda (piano), Randal Fisher (tenor saxophone), and Darius Christian (trombone), who infuse freedom and soul into the already tightly established ensemble.
Eight original compositions were pristinely recorded live off the floor of Studio 3 at East West Studios in Hollywood CA, and mastered by A.T. Michael MacDonald. The cover art is by internationally acclaimed visual artist Wayne White. Whereas his previous work has been compared to Charles Mingus, and Keith Jarrett’s American Quartet with Charlie Haden, Leckie’s new collection sits comfortably between the funky odd time signatures of the Dave Holland Quintet and the modern folk-jazz of the Brian Blade Fellowship Band with a respectful nod towards the late 1950s classic recordings of Ahmad Jamal and Miles Davis.
The title track, “Planter of Seeds,” is dedicated to a close family friend, who was originally from Trinidad, and whenever she visited family or friends at their homes, without anyone knowing, she would plant seeds she kept in her pocket in their gardens, so the next season beautiful flowers would pop up. It was a small altruistic anonymous act of kindness that brought just a little more beauty into the world. The rhythm is a tribute to Ahmad Jamal, who we also lost around the same time, and whose theme song Poinciana is about a tree from the Caribbean.
“Big Sur Jade” was written on a trip Leckie took with his wife to Big Sur, CA, and is a celebration of his family and community. This swinging 5/4 blues opens with an unaccompanied bass solo, and gives an opportunity for each of the musicians to share their improvisational voices. “Clear Skies” is a cathartic up-tempo release of collective creative energies in fiery improvisational freedom. “The Aquatic Uncle” features Randal Fisher’s saxophone and is named after an Italo Calvino short story which contemplates if one can embrace the new ways while being in tune with tradition. In ancient times, before a rudder, the Starboard side of the ship was where it was steered from with a steering oar. In this meditative quartet performance, the bass is like the steering oar of the ensemble: it can control the direction of the music, and when things begin to unravel or become unhinged, a simple pedal note keeps everything grounded.
The two trio tunes on the album are proof that the establishment of his consistent working band The Guide Trio has been a fruitful collaboration. “Santa Teresa”, a bouncy samba-blues in ? time, embodies the winding streets and stairways of the bohemian neighborhood in Rio de Janeiro it is named for. The swampy drum feel on “String Song” pays homage to Levon Helm of The Band, a group where you can’t always tell who wrote the song or who the bandleader is, proving that the sum is greater than the individual parts. Early jazz reflected egalitarianism in collective improvisation, and this group dynamic is an expression of that kind of inclusivity and democracy.
“The Daughters of the Moon” rounds out the album, putting book ends on the naturalist themes. This composition is named after magical surrealist Italo Calvino’s short story about consumerism, in which a mythical modern society that values only buying shiny new things throws away the moon like it is a piece of garbage and the daughters of the moon save it and resurrect it. It’s an eco-feminist take on how women are going to save the world. Pineda’s piano outro is a hauntingly beautiful lunar voyage, blinding us with love. Leckie dedicates this song to his daughter: “My hope is that my daughter becomes a daughter of the moon, helping to make the world a more beautiful and verdant place to live.”
Bass CDs
Debut Album: Nate Sabat, Bass Fiddler
In a thrilling solo debut, bassist Nate Sabat combines instrumental virtuosity with a songwriter’s heart on Bass Fiddler…
The upright bass and the human voice. Two essential musical instruments, one with roots in 15th century Europe, the other as old as humanity itself.
On Bass Fiddler (Adhyâropa Records ÂR00057), the debut album from Brooklyn-based singer-songwriter and bass virtuoso Nate Sabat, the scope is narrowed down a bit. Drawing from the rich and thriving tradition of American folk music, Sabat delivers expertly crafted original songs and choice covers with the upright bass as his lone tool for accompaniment.
The concept was born a decade ago when Sabat began studying with the legendary old-time fiddler Bruce Molsky at Berklee College of Music. “One of Bruce’s specialties is singing and playing fiddle at the same time. The second I heard it I was hooked,” recalls Sabat. “I thought, how can I do this on the bass?” From there, he was off to the races, arranging original and traditional material with Molsky as his guide. “Fast forward to 2020, and I — like so many other musicians — was thinking of how to best spend my time. I sat down with the goal of writing some new songs and arranging some new covers, and an entire record came out.” When the time came to make the album, it was evident that Molsky would be the ideal producer. Sabat asked him if he’d be interested, and luckily he was. “What an inspiration to work with an artist like Nate,” says Molsky. “Right at the beginning, he came to this project with a strong, personal and unique vision. Plus he had the guts to try for a complete and compelling cycle of music with nothing but a bass and a voice. You’ll hear right away that it’s engaging, sometimes serious, sometimes fun, and beautifully thought out from top to bottom.”
While this record is, at its core, a folk music album, Sabat uses the term broadly. Some tracks lean more rock (‘In the Shade’), some more pop (‘White Marble’, ‘Rabid Thoughts’), some more jazz (‘Fade Away’), but the setting ties them all together. “There’s something inherently folksy about a musician singing songs with their instrument, no matter the influences behind the compositions themselves,” Sabat notes. To be sure, there are plenty of folk songs (‘Louise’ ‘Sometimes’, ‘Eli’) and fiddling (‘Year of the Ox’) to be had here — the folk music fan won’t go hungry. There’s a healthy dose of bluegrass too (‘Orphan Annie’, ‘Lonesome Night’), clean and simple, the way Mr. Bill Monroe intended.
All in all, this album shines a light on an instrument that often goes overlooked in the folk music world, enveloping the listener in its myriad sounds, textures, and colors. “There’s nothing I love more than playing the upright bass,” exclaims Sabat. “My hope is that listeners take the time to sit with this album front to back — I want them to take in the full scope of the work. I have a feeling they’ll hear something they haven’t heard before.”
Available online at natesabat.bandcamp.com/album/walking-away
Interview With Bassist Erick “Jesus” Coomes
Working-Class Zeros: Episode #2 – Financial Elements of Working Musicians
Tour Touch Base (Bass) with Ian Allison
New Gear: Spector Woodstock Custom Collection Volume II
