Gear Reviews
Review: Mesa Boogie Subway TT-800 Bass Amplifier
Mesa Boogie Subway TT-800 Bass Amplifier review…
I have had the good fortune to review several of Mesa Boogie’s offerings in recent years, going back to their M6 Carbine head several years ago. More recently, I reviewed the WD-800 head, from the popular Subway series and Subway 2×12 cabinet. One thing is for sure, Mesa has been at it for a long time, and it shows. Every time I play one of their heads or cabinets, I think to myself, “yep, this is pretty much just what I hoped it would be.” I guess it’s reasonable to expect such results from a company that’s been at the forefront of the industry for as long as they have. With all of their products, there is just something about the form factor, build quality, and performance that feels like the cumulative outcome of decades of top-notch design and manufacturing. When I got the opportunity to check out their newest amp and flagship of the Subway Series, the TT-800, needless to say, I jumped at the chance.
The Subway TT-800 is an exciting amalgam of two of Mesa’s most iconic products, both modern-day and that of yesteryear.
It is a two-channel bass amp, and while channel 2’s preamplifier is based on the ever-popular and great sounding Subway D-800 amplifier, channel 1 borrows from the formidable and iconic Bass 400+ of the late ’80s. Long ago, the tank-like Bass 400+ was the pinnacle of cutting edge electric bass amplification, pairing a high power tube amplifier with sophisticated tone-shaping and EQ. It was seen on stage with countless bass icons and was lauded by players and techs alike for its killer tone, massive payload, and roadworthy dependability. When Mesa said they were building a Class D, two-channel amplifier that incorporates some of the design and tonal elements of the Bass 400+, I wondered how they could go wrong. The answer, of course, is that they haven’t—the TT-800 fires on all cylinders, delivering exceptional tone shaping, flexibility, and performance.
I will go over the controls and features of the amp here, but it should be noted that Mesa’s owner’s manual for the TT-800 is full of great information, including background info on the design goals of the amp and some excellent suggestions for best results. It is also well written and easy to digest, which is not something that you can say for many amplifier product manuals. The TT-800’s owner’s manual could, and should be the benchmark for bass gear owner manuals. You can find a copy online here.
On the front panel, from left to right, you’ll find a single ¼” input jack, a Mute switch, a High/Low Gain switch (for tailoring the input level to your desired gain preferences), along with Deep and Bright switches for global tone shaping. From there, the signal splits into channel 1 and channel 2, which you can select via the small switch on the far right-hand side (or the optional footswitch, which offers a Mute and Channel Select controls). Both channels provide independent Input Gain controls and Mesa’s Variable High Pass Filter (HPF), from their D-800+ head. The HPF allows you to dial out the deep, subsonic, rumbly lows that can muddy up your stage sound, and make your amp and cab work overtime to produce frequencies that are below the usable range for bass guitar. In the last ten or so years, bass players seem to have discovered what pro audio and live sound engineers have known for decades: that carving out unusably subsonic low end can drastically help make your bass sound tighter, fuller and punchier, in a mix. It’s great to see this essential tone shaping tool make it onto the front panel of an amplifier!
From there, the tone controls, while similar, depart from one another. Channel 1 (the 400+ channel) is designed as an “old school” sound, with an all-tube gain stage that feeds a traditional Mesa-style tone stack with Bass and Treble controls, and a Mid-control with “Mid-Shift” voicing knob, allowing for more broad midrange shaping. Channel 2 (The Subway channel) is inspired by the highly popular Subway series of amps (D-800, D-800+, and WD-800) and includes the High Pass Filtering control as well as traditional Bass and Treble and a semi-parametric midrange section that lets you boost/cut a user-selectable midrange frequency, for more precise midrange sculpting.
Both channels boast independent effects loops that can be used as “power amp inputs,” bypassing the amplifier’s preamps and tone controls for each channel on the TT-800, allowing the amplifier to function as a stripped-down power amp. Both channels feed the amp’s Master Section, which includes a two-way switch, to toggle between the “Boogie” channel and the “Subway” channel, and Mesa’s brand new Output Overdrive Symmetry control. This unique and super cool feature allows for fine tailoring of how the amp clips as it reaches the ceiling of its output capacity and is more noticeable at louder volume levels. Essentially, as you turn the knob clockwise from zero, you are decreasing the symmetry of the output overdrive, making it less tight and clean, with more tube-like reactivity. The TT-800 also incorporates Mesa’s Power Amp Damping technology that the WD-800 made popular, affecting how the amplifier behaves in its output section, resulting in a perception of “tighter vs. looser” tone. Amplifiers with higher damping factor are thought to have a more controlled and linear sound, akin to how we tend to think of solid-state amps. Lower damping factor makes the amplifier feel a little looser with more “bloom” to their sound, kind of how we’re used to thinking about most tube amps. On the WD-800, users have a 3 position knob to set the damping factor, but on the TT, the damping factor is set automatically by the position of the impedance selector on the back of the amp, which should be set according to the total impedance load (2, 4, or 8 ohms) of the cabs connected to the amplifier.
Moving on to the rear of the Subway TT-800, one is impressed by the sheer connectivity and signal routing flexibility.
Not one but two tube-driven XLR DI outputs are present, one that taps the signal after the bright and deep switches and the tube-driven gain stage, but before channel EQ. The other DI uses the finished signal with all of the bells and whistles, including the FX loops. The amp automatically switches the DI feed from Boogie to Subway, depending on which channel is in use. Both DI outputs feature switches for ground lift and mic/line level. Each channel has its own discrete ¼” effects loop, and the TT has ¼” jacks for headphone output, footswitch (optional), Aux-in, and Tuner output. Topping off the broad feature set is a super handy USB output for powering a device, which is handy if your tablet or phone is as old and always on its last couple percent as mine seem to be. The aforementioned 3-way impedance selector allows you to run the amp optimally at 2, 4, or 8 ohms.
All in all, the TT-800 is a LOT of amp in a small, well-designed package.
Not only is the build quality exemplary, with very high-end fit and finish, but it seems that Mesa was able to pack a ton of features and flexibility into the TT without it feeling cramped or claustrophobic. The two channels offer a lot of value; it’s kind of like having two amps in one. For someone like me, who more often than not brings more than 1 bass to the gig, I could see using the two channels to dial in two different basses. Then between songs, you grab the other bass, flip the channel switch (or stomp on the footswitch), and you’re good to go. I would be delighted to run my P bass through the warm, tubey Boogie channel, and running my 70’s Jazz through the Subway channel’s more direct and articulate voicing. For others, having the ability to switch on the fly between a clean channel and a dirty channel with great EQ may be highly enticing.
Overall I was more than impressed with the sound and performance of the TT-800. The amp’s voicings on either channel with everything set at noon is excellent, with a warm, articulate punch that sounded stellar, even at high volume. Once you start fiddling with the EQ, it opens up a world of versatility, and it’s hard to imagine someone not being able to find a sound they love from this amp. The Subway TT-800 comes with a fitted Mesa padded amp bag and retails for $1,099.00
Mesa Boogie Subway Ultra-Lite 2×15 Vertical Bass Cabinet
Mesa was kind enough to send their big dog, the Subway Ultra-Lite 2×15 Vertical Bass Cabinet, along with the TT-800 for review.
As always, I’m a big fan of Mesa’s fit and finish. Their gear exudes a high-quality feel and has a roadworthiness that a lot of other equipment doesn’t quite inspire. What really blew me away about the 2×15 Vertical was how light it is. I mean, I know “Ultra-Lite” is in the name, but remarkably, this is a 2×15 cab that I can lift with one hand. It does come with tilt-back casters for easy transport, but boy does it feel like a godsend when you’re hoisting it into the back of your SUV after a 4-hour gig. Sound-wise, the 2×15 sounds big, bold, and full, but not flabby or floppy whatsoever, as some 15″ loaded cabs can tend to sound. It stays firm and controlled even at high volume, and the tweeter offers plenty of snap and high end for when needed. On the back, dual combo jacks (Speakon that also accept ¼”) are a welcome sight, and an attenuator allows you to dial in or out the amount of tweeter in your sound. There’s not much to criticize about this cabinet; it’s lightweight and easy maneuverability make it a strong contender. I thought the 2×15 paired beautifully with the TT-800 and made for one impressive, versatile, and killer sounding rig. The Ultra-Lite 2×15 Vertical comes with a fitted slipcover and retails for $1,599.00.
For more information on the Subway TT-800 and Subway Ultra-Lite Bass Cab, visit online at mesaboogie.com
Mesa/Boogie Subway WD-800 Head and Subway 2X12 Vertical Cabinet Review
David C Gross has been the bassist for a lot of folks. He has written 14 bass books and 3 instructional videos, hosts “The Notes From An Artist Radio Show” on www.cygnusradio.com Monday nights 8 PM EDT, and the “Notes From An Artist” podcast available on iTunes, Spotify and all podcast platforms.
NFAA brings you behind the scenes with individuals who forged a timeless musical canon – spanning rock, jazz, funk, blues, folk, country, and permutations thereof. Listen to stories and anecdotes hitherto untold and relive more than a few chronicles that have become lore with a fresh vision. It’s the soundtrack of our lives. Celebrate the past, live in the present, and anticipate the future – take Notes From An Artist
You can contact David @ www.thebassguitarchannel.com/contact for more information regarding his online lessons and world-renown correspondence course.
A review of the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
Disclaimer: This pedal was kindly provided by Joyo for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.
Introduction: The Joyo Gloam is a sub-octave fuzz pedal specifically designed for bass players, combining modern sub-octave effects with rich fuzz tones. With two independently controlled circuits, the Gloam aims to provide a versatile range of sounds, from deep, aggressive fuzz to Moog-like synth effects. This review will explore the Gloam’s specifications, controls, and overall performance, highlighting both its strengths and areas for improvement.
Specifications:
- Dimensions: 130 * 110 * 50 mm
- Weight: 403g
- Working Voltage: DC 9V
- Controls: The Joyo Gloam features a comprehensive control set designed to provide bassists with a wide range of tonal options:
- Dry Tone: Adjusts the tone of the clean signal.
- Dry Volume: Controls the volume of the clean signal.
- Sub Octave Volume: Adjusts the volume of the sub octave signal.
- Gain: Controls the amount of gain in the fuzz circuit.
- Fuzz: Adjusts the intensity of the fuzz effect.
- Bass: Controls the bass frequencies in the fuzz circuit.
- Treble: Adjusts the treble frequencies in the fuzz circuit.
- Fuzz Mode Switch: Switches between two different fuzz modes.
- Dry Tone Frequency Switch: Selects between two different frequency points for the dry tone.
Performance: The Joyo Gloam excels in its dual-circuit design, offering both a sub octave and a fuzz channel that can be controlled individually. However, it’s important to note that the octaver cannot be used without the fuzz circuit activated; the only way to solo the octaver is by turning down the fuzz while both channels are engaged.
Fuzz Circuit: The fuzz circuit includes standard controls such as gain, volume, bass, and treble, along with a fuzz mode switch that toggles between two distinct fuzz modes. While one of the fuzz modes is highly usable and delivers a rich, aggressive tone, the other mode falls short and is less practical for most applications.
Octaver Circuit: The octaver circuit features controls for sub octave volume, clean volume, and clean tone, along with a dry tone frequency switch that provides two different frequency options. This allows for significant tonal versatility, enabling bassists to fine-tune their sound to match their preferences. Despite its limitation of being tied to the fuzz circuit, the octaver produces a deep, balanced sound that stands out.
Combined Effect: When used together, the fuzz and octaver circuits create a wide range of sounds, from classic, aggressive fuzz to synth-like tones reminiscent of a Moog synthesizer. This combination makes the Gloam a powerful tool for bassists seeking to experiment with their sound and achieve unique, textured tones.
Pros:
- Versatile Controls: Extensive control options for both fuzz and octaver circuits.
- Rich Tones: Delivers deep, aggressive fuzz and balanced octaver sounds.
- Sturdy Construction: Durable build quality ensures reliability.
- Wide Range of Sounds: Capable of producing everything from classic fuzz to synth-like effects.
Cons:
- Unusable Fuzz Mode: One of the fuzz modes is less practical.
- Dependent Octaver: Octaver cannot be used independently of the fuzz circuit.
Conclusion: In conclusion, the Joyo Gloam sub-octave fuzz pedal offers a versatile and powerful option for bassists looking to expand their tonal palette. Despite some flaws, the Gloam delivers impressive sounds and flexibility. Its combination of rich fuzz and deep octaver tones, coupled with a sturdy construction, makes it a valuable addition to any bassist’s pedalboard. For those seeking a modern bass distortion with the added depth of sub-octave effects, the Joyo Gloam is a compelling choice for a very compelling price.
Visit online at joyoaudio.com/product/281.html
Disclaimer: This pedal was kindly provided by Joyo for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.
Introduction:
The Joyo Monomyth bass preamp pedal is designed to offer bassists a comprehensive range of tonal options, combining modern features with practical functionality. With independent channels for EQ and overdrive, as well as useful additions like a cab sim and DI output, the Monomyth aims to be a versatile tool for both live performances and studio sessions. This review will delve into the pedal’s specifications, controls, and overall performance to determine if it lives up to its promise of delivering quality and flexibility at an affordable price.
Specifications:
– Dimensions: 130 * 110 * 50 mm
– Weight: 442g
– Working Voltage: DC 9V
Controls:
The Joyo Monomyth is equipped with a comprehensive set of controls designed to provide maximum tonal flexibility:
– Voice: Adjusts the character of the overdrive, from distortion to fuzz.
– Blend: Balances the dry and effected signals, crucial for maintaining low-end presence.
– Level: Sets the overall output volume.
– Drive: Controls the amount of gain in the overdrive channel.
– Treble Boost: Enhances high and mid frequencies for clarity in complex passages.
– Gain Boost: Adds extra gain, particularly effective at low gain settings to enhance the low e.
– EQ Function Controls: Features a 6-band graphic EQ plus a master control for precise nal shaping.
– Ground Lift Switch: Helps eliminate ground loop noise.
– Cab Sim Switch: Activates a simulated 8×10″ cab sound.
– LED Light Control: Customizes the pedal’s ambient lighting.
Performance:
The Joyo Monomyth shines in its dual-channel design, offering both a transparent EQ channel and a versatile overdrive channel. The 6-band EQ allows for detailed tonal adjustments, preserving the natural character of your bass while providing ample flexibility. The voice control mimics the functionality of the Darkglass Alpha Omega, shifting from distortion to fuzz, with a sweet spot around the middle for balanced tones.
The blend control is essential for retaining the low end when using distortion, ensuring your bass remains powerful and clear. The treble and gain boosts, available on the overdrive channel, further enhance the pedal’s versatility, making it suitable for everything from subtle drive to full-blown fuzz.
Outputs are plentiful, with a DI and XLR out for direct recording or ampless setups, and a headphone out for convenient practice sessions. The cab sim switch adds a realistic 8×10″ cab sound, enhancing the Monomyth’s utility in live and studio environments.
Pros:
– Versatile Control Set: Offers a wide range of tones, from clean to fuzz.
– Blend Control: Maintains low-end presence.
– Robust Outputs: DI, XLR, and headphone outs make it adaptable for various setups.
– Affordable: Provides high-end functionality at a budget-friendly price.
– Sturdy Construction: Durable build quality ensures reliability.
Cons:
– Plastic Knobs: May feel less premium compared to metal controls.
– Boosts Limited to Overdrive Channel: Treble and gain boosts do not affect the EQ channel.
– Cab Sim only on the XLR out: how cool would it be to also have it on the headphone out?
Conclusion:
In conclusion, the Joyo Monomyth stands out as a versatile and powerful bass preamp pedal, offering a range of features that cater to both traditional and modern bassists. Its dual-channel design, comprehensive control set, and robust output options make it a valuable tool for achieving a wide spectrum of tones, from clean and warm to heavily distorted. For bassists seeking flexibility, reliability, and excellent value, the Joyo Monomyth is a top contender.
For more information, visit online at joyoaudio.com/product/267.html
Review of the Joyo Double Thruster…
Disclaimer: This pedal was kindly provided by Joyo for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.
Introduction: When it comes to bass distortion, finding a pedal that delivers a wide spectrum of tones while maintaining the essential low end can be challenging. The Joyo Double Thruster, a modern bass distortion pedal designed to cater to the diverse needs of bassists was a pleasant surprise that we had the opportunity to review. From subtle overdrive to full-on fuzz, the Double Thruster delivers with versatility and affordability.
Specs: The Joyo Double Thruster is compact yet robust, making it ideal for both stage and studio use. Here are its key specifications:
Dimensions: 109 * 72 * 48 mm
Weight: 250g
Working Voltage: DC 9V
Controls: The Double Thruster features a comprehensive control set that allows for precise tonal sculpting:
Tone: Adjusts the overall tonal character of the distortion.
Blend: Critical for bassists, this control blends the dry signal with the distorted signal, ensuring the low end remains intact.
Volume: Sets the output level of the pedal.
Gain: Controls the amount of distortion, from mild overdrive to full fuzz.
Gain Boost Switch: Provides a noticeable boost, especially at lower gain settings, enhancing the low end and adding depth to the tone.
Mid Boost Switch: Boosts mid frequencies, helping the sound cut through the mix with greater clarity and definition.
LED Light Control: Customizes the ambient lighting of the pedal.
Performance: The Joyo Double Thruster excels in delivering a range of distortion tones while retaining the essential low end that bassists need. The blend control is particularly useful, allowing users to mix the clean and distorted signals to maintain clarity and punch. The gain boost switch adds a pleasing depth to the low end, especially noticeable at lower gain settings, while also compensating for low end loss at higher gain levels. The mid-boost switch enhances the pedal’s ability to cut through complex mixes, making it ideal for intricate playing.
In terms of versatility, the Double Thruster can emulate a variety of distortion sounds, from subtle warmth to high-mid, djenty grind. This makes it an excellent tool for bassists exploring different genres and styles.
Pros:
- Blend Control: Essential for retaining the low end in a distorted signal.
- Size and Weight: Compact and sturdy design.
- Rugged Construction: Durable build quality.
- Gain and Mid Boosts: Adds versatility and clarity to the tone.
- Affordable Price: Offers excellent value for money.
Cons:
- Plastic Knobs: May feel less premium compared to metal controls.
- Comparison to High-End Pedals: While close, it may not fully match the tone of more expensive pedals like the Darkglass B3K, and that’s ok. The Double Thruster is a great pedal on its own!
Conclusion: In conclusion, the Joyo Double Thruster stands out as a versatile and affordable option for bassists seeking a wide range of distortion tones. Its thoughtful design and comprehensive controls make it a great tool for achieving everything from mild overdrive to full fuzz, all while maintaining the crucial low end. For bassists looking to expand their tonal palette without breaking the bank, the Joyo Double Thruster is a must-have addition to their pedalboard.
Visit online at joyoaudio.com
Minuendo Lossless Earplugs Live 17dB…
Minuendo Lossless Earplugs Live 17dB – Hearing protection has always been front and center on my mind because I love music so much, I cannot imagine my life if I were unable to hear.
You might remember back in 2021, we had a good look at the Minuendo Lossless Earplugs featuring adjustable protection. This system has a lot of very good features but there was always the question of how much sound attenuation to choose.
Now, the great folks at Minuendo have come up with a new version of their earplugs that has a set 17dB noise reduction. You still get a lot of the great features of the adjustables but you just don’t have to think about the specific sound level. In addition, this new version of earplugs comes at a very attractive price point.
For more information, visit online at Minuendo.com
Joyo Tidal Wave Preamp: A Tribute to 90’s Iconic Sounds
Disclaimer: This pedal was kindly provided by Joyo for the purpose of this review. However, this does not influence our opinion or the content of our review. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.
In the realm of bass preamp/DI pedals, capturing the essence of iconic tones from the 90s can often feel like an elusive pursuit. However, the Joyo Tidal Wave Preamp emerges as a great option for bass players seeking to replicate the signature sounds of that era, particularly the revered tech21 SansAmp. With its robust feature set and compact design, the Tidal Wave offers a faithful homage to classic rock tones and low-gain distortions, all while providing modern conveniences for today’s bassist. Let’s delve into why the Joyo Tidal Wave stands out as a versatile and budget-friendly tool for both stage and studio.
Specs:
Measuring at 130 * 110 * 50 mm and weighing 442g, the Joyo Tidal Wave strikes a balance between portability and durability, making it ideal for gigging musicians and studio enthusiasts alike. With a power consumption of just 100 mA and a working voltage of DC 9V, the Tidal Wave ensures reliable performance in a variety of settings.
Controls:
At the heart of the Tidal Wave’s versatility lies its comprehensive control set, allowing bass players to sculpt their tone with precision. Key features include:
– Level: Sets the overall output volume of the pedal.
– Blend: Blends the dry signal with the cab-emulated signal, offering seamless integration of the pedal into any setup.
– Presence: Controls the dynamics of the high upper-mids, crucial for shaping drive tones.
– Drive: Introduces low-gain distortions and classic rock sounds into the clean tone.
– Treble, Middle, and Bass: Provides a 3-band EQ with frequency selectors for bass (40Hz – 80Hz) and mids (500Hz – 1KHz), offering ample control over tonal shaping.
– Middle Shift and Bass Shift: Allows for further fine-tuning of midrange and bass frequencies.
– Ground Lift: Helps eliminate ground loop noise in certain setups.
– DI Attenuation Switch: Adjusts the level of the DI output signal.
– LED Light Switch Control: Allows users to customize the ambient lighting of the pedal.
Performance:
True to its inspiration, the Joyo Tidal Wave excels in delivering classic rock tones and low-gain distortions reminiscent of the tech21 SansAmp. Whether you’re seeking gritty overdriven sounds or pristine clean tones, the Tidal Wave offers unparalleled flexibility and sonic versatility. The inclusion of a headphone out, XLR DI out with cab simulation, and throughout for the original bass sound make the Tidal Wave a versatile tool for both stage and studio applications. From practicing silently with headphones to crafting quality recordings in an ampless setup, the Tidal Wave delivers on all fronts with clarity, definition, and unmistakable character.
Pros:
The Tidal Wave boasts an array of advantages that set it apart from its direct competitors:
– Headphone Out: Transforms the pedal into a convenient practice tool.
– Size and Weight: Compact and lightweight design for easy transportation and setup.
– Rugged Construction: Durable build quality ensures longevity and reliability.
– DI and CabSim: Offers professional-grade direct recording capabilities with authentic cab simulation.
– Familiar Tones: Faithfully replicates the classic rock sounds of the tech21 SansAmp.
Cons:
While the Tidal Wave excels in many aspects, it does have a few drawbacks:
– Plastic Knobs: Knobs may feel less premium compared to pedals with metal controls.
– Cab Simulation Only on XLR Output: Limited cab simulation functionality may require additional routing for certain setups.
Conclusion:
In conclusion, the Joyo Tidal Wave Preamp stands as a testament to the enduring legacy of classic rock tones from the 90s. With its faithful homage to the tech21 SansAmp, comprehensive control set, and modern conveniences like headphone out and XLR DI with cab simulation, the Tidal Wave offers bassists a versatile tool for sculpting their sound with precision and finesse. Whether you’re seeking to replicate iconic tones from the past or forge new sonic territories, the Joyo Tidal Wave Preamp is sure to inspire creativity and elevate your playing to new heights.
Available online at Amazon.com