Bass Amps

Bass amplifier: power comes from the depths

The double bass has always played an important role in the popular music of the 20th century. From the left hand of the boogie woogie on the piano, the double bass quickly emancipated itself as the instrument of choice for the deep foundation of contemporary music. From dance music to jazz, the bass was the link between rhythm and harmony. And since the vibrations of the low notes require a large amplitude in order to propagate for physical reasons, acoustic basses quickly reached their limits at the ever-growing events. Especially when rock'n'roll emerged, double bass players without amplification quickly became soundless extras. Yet the bass was an important success factor for the well-selling recordings, as it was what gave this music its pulse and danceability.

Part of the solution to the ‘bass problem’ was provided by Leo Fender in 1951 with the invention of the Precision Bass, which he also provided a solution for electric amplification with combo amplifiers (amplifier and loudspeaker in one housing) such as the Fender Bassman. From then on, many bassists and guitarists were able to use the light and loud electric bass and amplifier with the Precision Bass for recordings and live performances and contribute to its spread. Because low frequencies need power, and this no longer came from transport and playing technique, but from the electrical amplification of the signal provided by the electromagnetic pickup.

Looking into the tube

The tube was just as important a component as the corresponding loudspeaker. Both had been tried and tested in radio technology for many years. From the diode to the pentode, from the preamplifier to the mighty power amplifier - with the glowing glass bulbs, a new star was born in the rock'n'roll circus. Alongside Fender, Ampeg (the name is derived from the ‘amplified peg’ of an early electric double bass) also became a protagonist of the scene. With the B15, Ampeg launched a combo amplifier on the market in 1960 which, with approx. 25W tube power and a 15" bass speaker, quickly found its way into many recording studios and, usually together with a Fender Precision Bass, can be heard on countless recordings of the 60s and 70s (e.g. Motown).

But the B15 was not the only amp from Ampeg. In 1969, the Ampeg SVT (‘Super Valve Technology’), a true tube monster with 300 watts of power, was added to the American company's portfolio. Although a combo amplifier with transistor technology had already been launched on the market in 1966 with the BT15, the SVT powerhouse was a pure tube circuit and was primarily intended for larger stages. It is also a top unit (‘bass head’) for which an additional cabinet with speakers is required. Ampeg offered and still offers the right playing partner with the iconic SVT810. The so-called ‘refrigerator’ is reminiscent of this in terms of size and weight and is still a reference in terms of bass amplifiers today.

The American company Acoustic launched the Acoustic 360 on the market in 1967. The 200 watt transistor top was offered with corresponding bass speakers. The result was not much smaller than the SVT configuration mentioned above. But no less iconic either. First and foremost, Jaco Pastorius should be mentioned as a prominent user of Acoustic amps.

The 80s - Gallien Krueger, Trace Elliot and many more

In the 70s and 80s, more and more brands such as Peavey, Gallien Krueger, Trace Elliot and others came onto the scene, dedicating themselves intensively or even exclusively to the subject of bass amplifiers and, relying entirely on transistor technology, pushed forward a larger selection of corresponding tops and bass cabinets. Each of these brands succeeded in establishing a particular sound. While Ampeg came across as ‘tubey’ and rocky, Gallien Krueger went in a more centre-emphasised direction, taking into account the new, emancipated role of the electric bass. The same applies to Trace Elliot, whose ‘fast’ 8" and 10" loudspeakers and powerful bass amplifiers with large graphic EQs soon found prominent followers such as slap legend Mark King. More and more speakers were offered in different sizes, especially 10" and 15" speakers, and so the bassist looking for amplification could put together his own customised setup.

At that time, combinations of powerful tops and bass guitar amps were the most popular type of bass amplifier. Due to their often lower power, combo amps were mainly used for practising at home or for band rehearsals. On the other side of the spectrum, there were even more specialised solutions. In the 1990s in particular, preamps and power amps were increasingly seen on stage as separate components in 19" racks suitable for road use, also in tube technology and therefore correspondingly complex and heavy. Bass preamps, such as the successful Ampeg SVP, were also very popular in recording studios. There were really all kinds of bass amplifiers at this time. From compact combo amps for practising to sophisticated rack solutions with separate preamps and power amps on the world's biggest stages.

Bass amplification - a question of class

A true revolution in audio technology began in the 2000s. It would go on to change sound reinforcement technology in particular but also instrument amplification and personal audio to this day. The most obvious and impressive aspect was the drastic reduction in the size and weight of PA and bass amplifiers. Strictly speaking, there were two important innovations: One was the advent of Class D amplifier technology, and the other was the proliferation of lightweight neodymium magnets in loudspeakers. The new amplifier technology only recognises two switching states for transistors: maximum conduction and maximum isolation. This was achieved through the use of pulse duration modulation (PDM) or pulse width modulation (PWM), which converts the audio signal into short pulses. If a low-pass filter is then connected behind the output stage, the result is a very neutral-sounding amplifier with hardly any power loss. This technology is often incorrectly labelled as ‘digital’. Very small and lightweight amplifiers can be realised with these low-loss circuits. Low frequencies require a lot of power, which could now be realised in combination with the new lightweight loudspeakers in small and surprisingly light combos, tops and speakers. The Italian company MarkBass recognised the potential early on and consistently began to offer a whole range of bass amplifiers and speakers. Their neutral, modern sound immediately found many fans. An amplifier in the 300 watt class suddenly no longer weighed 30 or 15 kg, but only 3 kg and also fitted into a gig bag. A 4x10" bass cabinet shrank from 40 kg to around half that weight. Naturally, many manufacturers followed this trend.

It has never been so easy to sound fat: Our bass amplifiers

Tube amplifiers still exist, of course. Their special character allows them to survive in the market of small and lightweight powerhouses. But it is becoming increasingly difficult in the truest sense of the word. In-ear monitoring and authentic-sounding floor pedals often replace the bass amp completely. That's why a bass amp has to be light and versatile. Today, even band amps can be easily transported from home to rehearsal or gig thanks to their compact dimensions and low weight. And a real electric bass amplifier that moves the air is simply fun and gives a good playing feel.

Want to buy powerful bass amplifiers? W-Music Distribution offers a large selection! (Bass Amplifiers | Amplifiers | W-Music Distribution). The Phil Jones amps and cabs are ultra-compact and sound extremely mature. From the small 70 watt combo (Phil Jones Bass BG-75 Double Four - Bass Combo, 70 Watt - Black), which also offers features such as an AUX input for connecting external audio sources, making practising extremely efficient, to the 800 watt top unit (Phil Jones Bass BP-800 Compact Bass Amp Head - Bass Amp, 800 Watt) with matching cabinets, such as the unique 9x5" solution (Phil Jones Bass C9 - Compact 9 Bass Cabinet, 9x5", 900 Watt - Black), Phil Jones fulfils the highest demands in terms of equipment and sound. Whether you're a beginner or a pro, if you're looking for a bass guitar amplifier, you'll find the perfect solution for your sound here. The variety of bass guitar amplifiers ensures that every musician will find the right sound for their style.

Of course you will also find the first-class bass amps and cabs from Warwick here. The wide product range extends from super-compact (Warwick BC 20 - 8 / 20 Watt Bass Combo - EU Version) to powerful combo amps (Warwick BC 150 - 15 / 150 Watt Bass Combo - EU Version), and with the Gnome series also professional solutions that are as powerful as they are compact. The Gnome i Pro (Warwick Gnome i Pro 600W Digital Pocket Amp w/ USB Interface 230 Volt) offers a powerful 600 watt power amplifier as well as a headphone output and an integrated USB interface for super easy recording with the best sound! The matching Gnome bass speakers are the perfect playing partners, and with a choice of 8", 10" or 12" custom Warwick speakers, they generate powerful pressure with maximum portability. This is also ensured by unique solutions such as the dual-function bass reflex port. It is not only the important opening for sound waves, but also the carrying handle. (Warwick Gnome Pro CAB 12/4 - Compact Bass Cabinet, 1x12", 300 Watt). Whether practice combo, tour solution or all in one: choose the right bass guitar amplifier for you at W-Music Distribution today. Take your playing to the next level with a high-quality bass guitar amplifier!