
Unless you’re in a high-profile band, there’s a good chance you’re on a budget when you’re shopping for a new amp. Here’s a sampler of affordable rigs for low-enders that offer a surprising amount of tone, output, and options for their price.
Working bass players have two great things going for them: They’re bass players and they’re working. The downside is that the per-gig pay may not be able to buy that retirement cabin in Gatlinburg. You know what? It doesn’t matter. Free hot wings and small stages be damned. We want to perform and be heard, and for that we need some amplification. Luckily, today there are lots of low-cost, powerful options available.
Combo bass amps are a fantastic option for working players looking for a balance of price, features, and portability. With class-D technology, today’s combo amps are much lighter and more powerful than in years past, and while we may miss the vibe a tube amp can bring, modern alternatives come closer to their feel and saturation than ever. Designers are keeping players in mind by also offering useful features such as aux inputs and headphone jacks, to make their amps a great option from practice to rehearsal to gig. Are you in NYC and need something small and lightweight for the subway commute to the Bitter End? Is there a guitar player pushing you to be louder? Do you need switchable overdrive? How about the typical size of your gigs? Coffee shops mean less wattage (trust me on this!), but maybe you need an extension cabinet in case you are hitting some small festivals this summer. There is a lot to consider when choosing a modern combo bass amp—and this story doesn’t cover all that’s available—but now let’s look at some practical, affordable, and highly playable options.
Ampeg Rocket Bass RB-210
The Rocket Bass RB-210 from Ampeg is a lightweight, easy-to-use, class-D amp. The little powerhouse has two 10" custom Lavoce speakers, a high-frequency horn, and 500 watts. The RB-210 weighs in at just under 40 pounds, which makes the lower back happy during load out at the end of a long gig. If you feel nostalgic for Ampeg’s signature big-brother amp, the classic SVT, the Rocket Bass features Ampeg’s switchable Super Grit Technology (SGT), designed to add the dirt of a full SVT rig to the bass signal. SGT’s two dials allow the dirt to be piled on or peeled back and for volume adjustments of the overall sound level of the SGT circuit. You can really drive the rig hard without dealing with the refrigerator-like mass and weight of the original SVTs. Ampeg’s Legacy preamp is onboard, as well as their standard ultra-hi and ultra-lo switches to boost the 3-band EQ. This combo also has a 1/4" speaker out (rated 250 watts at 8 ohms), which makes the Rocket Bass a suitable option for those needing the air-moving flexibility of an extension cabinet for bigger gigs. The 1/8" aux in and 1/8" headphone out makes this a great practice amp as well. Vintage Ampeg grille cloth and knobs rounds out the design with a touch of old-school style, all at $649 street. Ampeg.com
Fender Rumble 500
Here’s a punchy option from the company bearing the name of the man who changed the bass forever. We all know about Fender’s basses, and they have been making amps to complement their instruments for almost as long. But the Rumble series is relatively new, having been introduced in 2018. They bring a lot of options in vintage-inspired housing and user-friendly design. There’s big wattage available from the aptly named Rumble 500 ($649 street): 350 watts internal, bumped up to 500 at 4 ohms by adding an external cab. Two 10" Eminence speakers drive this train. This amp was designed for gigs of any size—although its 19" x 4" footprint might challenge some coffeehouse stages—and with another Rumble extension cabinet (a 2x10 streets for $499), it could grow enough for pretty much any stage.
The bevy of features in the Fender Rumble 500 will also help cover just about any situation. Like all Rumbles, it has three EQ voicings (bright, contour, and vintage) built in, which makes quick work of getting good tone. The switchable onboard OD has drive and level controls, with a button for on/off. The compression horn also has an on/off switch, which is a nice feature for the discerning player, and there is a dedicated XLR out for front-of-house. There is also an 1/8" headphone jack for practicings, and like Fender’s Tone Master guitar amp series, it’s a lightweight heavyweight, clocking in at 35 1/2 pounds. Fender.com
Peavey MAX 300
Peavey’s MAX series delivers a lot of punch for the money. The MAX 300 is a 300-watt combo with two premium 10" speakers and Peavey’s clip-limiting DDT speaker protection technology, which guards the speakers from high-output damage and breakup. The MAX uses Peavey’s switchable KOMOS-C low-end enhancement, which enhances harmonics and subharmonics to add tonal character. The enclosures are also tuned and ported. Keeping with our “working bassists” theme, the MAX has an 1/8" aux in and 1/8" headphone out, making this a suitable practice and media option, and has a built-in chromatic tuner with a mute switch, which means one less pedal you have to worry about bringing to the gig.
The tone-shaping section of the MAX has useful options onboard as well. The EQ has low, mid, hi +/-15 controls, as well as a switchable onboard overdrive called TransTube technology. This technology emulates the sound of tube saturation and warmth, pre-gain. You can also use the panel switches to control the contour (mid scoop), the mid shift, and the brightness of your bass signal. The MAX is also constructed with an angled baffle design, which eliminates the need to tilt back your bass amp to better hear it. At $549 street, the MAX weighs in at just under 58 pounds, so bring a roller cart for load out. Peavey.com
Hartke HD500
Hartke’s contribution to the lightweight combo world, at $649 street, is the HD500, a 500-watt class-D amp with a load of features built into its portable frame. The 3-band EQ has +/-15 for each control, giving the player a wide range of options out of the gate. The secret sauce in the EQ section is the shape control, which works a sweepable 20 dB notch filter that allows application from 900 Hz to 100 Hz. This control is switchable.
Several decades ago, the introduction of the all-aluminum Hartke bass speaker turned the bass world on its ear. More recently, Hartke moved the needle yet again with a hybrid speaker, called the HyDrive. The HyDrive series of speakers are constructed of a paper cone on the outer edge for deep frequencies and an aluminum cone on the inside for advanced mid and high projection. The two 10" HyDrive speakers provide the HD500 with rich, resonant tones.
The HD500 also has practical features that working bass players may need. First, the amp weighs in at 35 pounds, which makes it easy for the drummer to carry. The XLR DI keeps setup easy, and the effects loop and 1/8" aux input can help connect all the toys needed for the gig. With a 1/4" headphone out, the HD500 can also be a great practice option. Other assets: a rugged perforated-steel grille and a top-carry strap. Hartke.comBlackstar Unity Bass U250
Blackstar was founded by former Marshall employees, so you know there’s power and crunch at the heart of their aesthetics. Also from the 15" speaker camp, the Blackstar Unity Bass U250 has its own impressive qualities. They are engineered with versatility in mind, so they have plenty of virtues. Like what? Well, there’s 250 watts ripping through three selectable power-amp stages—classic, modern, and flat. Chorus and suboctave effects are built in. Dirt also gets its due, with controllable OD, distortion, and fuzz options. The speaker is an Eminence Opus, and there are three preamp voicings—classic, modern, and flat—as well as an effects loop. If you’re looking for a bigger sonic wallop, there’s an integrated link for a sister-powered cabinet. That’s the Unity U250ACT, which adds an extra 250 watts of power. The U250 also has a 10 dB pad, to best accommodate active and passive instruments. Once again, the goal is a ton of flexibility, but the U250 weighs considerably less than that, at just under 49 pounds. The street tag? It’s $619. Blackstaramps.com
Trace Elliot ELF
First came the 200-watt ELF head, which packed a lot of low-end into a box small enough to ride in a backpack. Its successor, the ELF combo, is also light, at 18 pounds, with a 1x10 speaker that is surprisingly beefy for its size and solo standing. This 200-watter has gain (with a single level LED), tone, and volume knobs, with a 3-band EQ—all along the top—and there’s a 1/4" jack for input and a headphone/line out. In the back, there’s an XLR line out and an additional speaker output. It‘s built for rich and articulate modern bass sounds, but can cover the waterfront handily. With an external cab, it can go toe-to-toe with much weightier amps. P.S.: There‘s a ground lift with the XLR DI out, too. Simple? Effective? You bet. And it fits our affordability profile at $599 street. Traceelliot.com
Bugera BXD15A
At $459 street, the Bugera BXD15A is a bargain that’s designed to compete with the combos of more established amp builders in terms of tone, reliability and price. It’s a 1,000-watt class-D combo—yes, you read that correctly—blending power and portability. Loaded with a 15" aluminum-cone speaker designed by Turbosound, the combination of woof and high-end brilliance projects. But if you’re impressed by the power and air being moved onstage, just wait—there’s more. Bugera has installed a lot of tone shaping controls. The company uses Gryrator circuitry for tube-inspired tone. The 3-band EQ becomes very flexible quickly, thanks to a selectable mid-frequency switch that provides five options. There are also bass and treble boost switches to get exactly the tone sought. The studio-grade compressor on the BXD15A brings a transparent, smoothing effect to peaks in your playing. There is also a feature called the Dynamizer, which splits the signal into two separate paths, compressing one and leaving the other clean.The result is a punchy yet natural tone. And there is a mute switch, an effects loop, and a footswitch control. Plus, the BXD15A weighs just under 48 pounds. Bugera-amps.com
Acoustic B600C
Acoustic Control’s combo series applies features found on larger amps to a smaller scale. The B600C, like all Acoustic combos, has a tilt-back design, which allows players to use the amp like a monitor or a traditional upright amp. The 600C has a formidable 420 watts as a standalone, and hits 600 watts (at 4 ohms) by adding an extension cabinet. This amp is loaded with two 10" custom low-frequency drivers and a piezo horn tweeter.
Tone control is king on this combo. There is a 6-band EQ with an on/off switch, as well as separate low and high EQ controls, with extended super-hi and super-lo switches for top and bottom boosting. With the onboard notch filter, the user has a switchable option to help dial in midrange tones. Need some overdrive on your signal? Acoustic has you covered there, too, with a blendable overdrive circuit that’s footswitch-controlled for the right amount of dirt. Need that signal squashed a little? Don’t sweat. There is also onboard switchable compression, which can help smooth out all the tone alternatives built into this amp. The amp also has a mute switch and -10 dB pad for active basses. There is an effects loop, 1/8" headphone, and 1/8" aux jacks for practice/interface options. The XLR DI will make sound engineers happy with a selectable pre/post control, a level control, and a ground lift. The Acoustic 600C comes in a little heavier on the bathroom scale than most amps in this guide, at 68 pounds. However, the added features may be worth the lifting if you are seeking an amp with a lot of power and pro adaptability. The street price is $599. Acousticcontrolcorp.com
Montana’s own Evel Knievel
If artists aren’t allowed to take risks, and even fail, great art will never be made. Need proof? Check Picasso, Hendrix, Monk, and Led Zeppelin.
In sixth grade, I went to a strict Catholic school. When you have an Italian-Irish mother, that’s just part of the deal. The nuns had the look and temperament of the defensive line of the ’70s Oakland Raiders. Corporal punishment was harsh, swift, and plentiful–particularly toward boys—and we all feared them. All but one second grader. I can’t remember his first name; nobody used it, because his last name was Knievel. His uncle was Evel Knievel, the greatest and perhaps only celebrity ever to come from my home state, Montana. On the playground, we would watch in awe as this wild Knievel kid raced by us, nuns chasing in an awkward, sluggish pursuit as he knocked kids over, dust, books, and gravel flying behind his path of terror. This kid was fearless. It was truly inspiring to watch.
I hadn’t thought about my schoolmate for decades, until recently, when I saw Dave Chappelle talking about a terrible show he had in Detroit where the audience rebelled against him and began chanting, “We want our money back. We want our money back.” Chappelle told the angry mob: “Good people of Detroit. Hear me now. You are never getting your f*****g money back. I’m like Evel Knievel. I get paid for the attempt. I didn’t promise this shit would be good.”
Good art is a gamble. Look at Picasso. In 1907, he spent nearly a year drawing rough sketches and eventually painting his jagged, raw, unpretty Les Demoiselles d’Avignon. Picasso kept Les Demoiselles d’Avignon in his Montmartre, Paris, studio for years after its completion due to the mostly negative reaction of his immediate circle of friends and colleagues. After its first public showing in 1916, critics were hostile. Today, the painting is hailed as a pivotal moment in art history—the first true work of both Cubism and modern art. Many argue that the 20th century began culturally in 1907, with this painting that today hangs in the Museum of Modern Art in New York. Picasso wasn’t paid to make folks comfy; he got bank for shoving boundaries.
Similarly, I remember my sister and I watching a clip of Hendrix’s feedback-drenched “Star-Spangled Banner” at Woodstock. I couldn’t really process it at the time, but I knew I was watching something that had never been done. When he got to the “bombs bursting in air” part, it sounded like a barrage of explosions. Then, he references the mournful military bugle call “Taps,” played on bases at the end of each day and at funerals. My sister was offended. When I asked why, she said it was “unpatriotic.” I watch it now and I see a Black Army veteran who justifiably had a complex relationship with the country he had served. Martin Luther King was assassinated a year earlier, police brutality toward Black citizens was common. Black Americans were disproportionately stuck in low-wage jobs, and unemployment rates for Black workers were roughly double those of white workers. And although Hendrix was discharged, many of his Army buddies were overseas fighting a war they did not understand or support. So, yes, unpatriotic seems appropriate. But Hendrix’s performance was iconic because he dared to try to show his complex feelings through his guitar.“That’s the sweet spot: Fearless doesn’t mean flawless.”
Listen to Led Zeppelin’s groundbreaking “Black Dog.” The B section is so wonky, sticking out like a sore thumb with that weird timing that always feels wrong to me, but it would not be the rock masterpiece it is without that unsettling section. Maybe that’s the sweet spot: Fearless doesn’t mean flawless. Thelonious Monk’s janky genius proves that; those off-kilter notes hit you in the gut, not the head. Beck, Bowie, Coltrane… they didn’t polish away the edges; they leaned into them. That’s what makes you feel like a kid at an amusement park, wide-eyed and along for the ride.
When somebody hires me, they get what they get. I want to nail it, but art is subjective, so my idea of what feels right may not jibe with theirs. Humans are not great at communicating, so often I walk away from sessions and gigs wondering if my contribution was good, great, or garbage. But that’s a stupid question I try not to allow myself to indulge. You can’t do great work playing scared. There are times when music is not creative, just painting by numbers, trying to give the customer what they think they want. I do a lot of that to make a living, but that’s more like being a vending machine spitting out custom orders, not an artist.
Real artists are like that Knievel kid—leaving a trail of chaos, and not apologizing for it. I think artists who do it the best flip the script. Their audience isn’t just a judge, but a co-conspirator in the mess. They’re betting on the artist’s next move, not buying a finished product. They’re paying for the front-row seat to potential, not a flawless show. The paycheck was for the swing, not the home run. If the audience pays for “enjoyment” that turns artists into jukeboxes, not creators… if artists aren’t free to fail… innovation dies.
Stringjoy has introduced the Ariel Posen Signature String Set, a heavy-gauge Nickel Wound set designed in close collaboration with acclaimed slide guitarist and singer-songwriter Ariel Posen.
The Ariel Posen Signature String Set from Stringjoy
Ideal for B Standard, Open C, and other lower tunings, this set offers exceptional tone and feel for players who want to explore new sonic territory while maintaining their guitar's unique voice.
Each string in this set is built with Stringjoy’s trademark quality: wound at tension with high compression winds for maximum output, durability, and smooth playability. The result? Strings that hold up under pressure while delivering a natural, expressive voice—perfect for hybrid playing and expressive slide work.
Ariel Posen Signature Set Specs:
• .014 – .018p – .026w – .038 – .050 – .062
• Wound 3rd string
“If you didn’t know these were 14-62 gauges, you’d swear they were just 11s tuned down,” said Ariel Posen. “They feel like home and preserve the sound of the guitar, even in lower tunings. That’s the biggest thing—it still sounds like guitar.”
“We’ve spent ten years experimenting and testing together to find the right combination,” said Scott Marquart, Stringjoy Founder & President. “This release is more than just a new product—it’s the culmination of a shared journey between friends and musicians. Ariel’s set is uniquely him, and I think players will love how it feels and responds.”
Stringjoy’s Ariel Posen signature string set carry a street price of $13.99. Learn more at at stringjoy.com.
Kemper updated the entire product range introducing the all-new Kemper Profiler MK 2 Series. More Power. More Flexibility.
KEMPER PROFILER - The all-new PROFILER MK 2 Series
Kemper today announces the immediate availability of the all-new KEMPER PROFILER MK 2 Series. Kemper continues to raise the bar with the upcoming Profiler MK 2 Series — a bold evolution of the Profiler lineup (All PROFILERs: Head, Rack, Stage, the Player, and the powered versions), delivering more power, more flexibility, and more creative potential than ever before.
At the heart of the PROFILER MK 2 Series works an upgraded processing engine, unlocking faster performance, with boot times clocking in around 20 seconds, and a host of new features that expand the boundaries of what a modern guitar or bass rig can do.
A New Era of Effects:
20 Blocks in Series, the most powerful effects architecture ever found in a Kemper unit - The PROFILER MK 2 Series now offers seven additional effect blocks, raising the total number of simultaneous audio effect blocks to an incredible 20 — all running with zero added signal latency. It’s like having an entire, fully integrated pedalboard with pedal essentials at your feet — but one that boots in seconds, never needs rewiring, and always remembers your settings.
A new Era of Profiling:
Kemper announces a new profiling technology for the MK 2 series. Availabilty is expected during Summer. Currently in extended testing with some selected third-party profile vendors the new profiling offers:
- More than 100,000 individual frequency points meticulously analyzed for the most precise amp recreation ever achieved.
- Next-Level Speaker & Dynamically adjustable Cabinet Resonance – Capturing the true dynamics of your setup with the longest and most complex impulse responses in the industry.
- Liquid Profiling Technology – Seamlessly integrate the original amp’s gain and tone controls, transforming a single profile into a fully dynamic, living amplifier.
- Unparalleled Precision & Feel – A cutting-edge hybrid approach combining precise, deterministic analog measurement with Kemper’s industry-leading profiling intelligence.
Overview - All that’s new in the PROFILER MK 2 in more Detail:
All-New FX Section – 7 Additional FX Slots - ThePROFILER MK 2-Series introduces an expanded FX section with seven dedicated “pedalboard essential” FX slots, featuring: A new second Noise Gate (Palm Ninja), Compressor, Pure Booster, WahWah, Vintage Chorus, Air Chorus, and Double Tracker.
Adding these to the pre-existing 10 audio blocks, Spectral Noise Gate, Transpose Effect, and Volume Pedal - in total this provides users with 20 simultaneous audio effect blocks, setup gig-ready right out of the box while maintaining full flexibility for customization.
This new layout makes it convenient to cover all the bases and offers 8 flexible FX blocks available for the acclaimed tone shapers and studio-grade unique FX the KEMPER PROFILER is famous for.
Performance Meets Portability - With a smarter internal design and new lightweight aluminum components, the Profiler Stage Mk 2 has shed excess weight — making it even more gig-friendly without sacrificing the tank-like build quality musicians rely on. Whether for touring the world or heading to a local session, this is the most travel-ready full-featured Profiler yet.
Mk 2-ready Player! - For all guitarists and bassists already rocking the compact PROFILER Player, there is good news: it’s been “MK 2”-ready from day one, meaning it’s fully aligned with the power and potential of the new series, and now, on LVL 1 already, it features 16 simultaneous FX in total. This new extended signal flow becomes available for all Player owners as a free update, and yes, it will get Profiling, too. Making the PROFILER Player out of the box the features richest and most professional performance and recording solution - with its travel-friendly footprint and convenient price point!
8-Channel USB Audio Support for the new Mk 2-Series - Native 8-channel USB audio support to all KEMPER PROFILER MK 2 Series units, enabling seamless multitrack recording and reamping directly into your DAW – no external interface required.
Loop Longer, Play Harder - The integrated Looper also gets a serious upgrade. With up to two full minutes of recording time, the MK 2 Series lets you capture extended phrases, build layered soundscapes, or craft entire performances — all on the fly. (Looper available from LVL 3 for the Player)
Speed and Responsiveness Upgrades - Major improvements under the hood. Boot times, preset switching, and UI responsiveness are noticeably faster and smoother, especially in Performance Mode.
Christoph Kemper, Founder & CEO:
“The new PROFILER MK 2-Series makes the PROFILERs feel more like a complete rig than ever before. With instant access to essential FX, full USB audio integration, and improved playability, we’re giving our users a platform that adapts and grows with them.”
Pricing & Availability:
The new KEMPER PROFILER MK 2 Series models are available now from dealers worldwide and directly from the Kemper Online Store. All the new features require a KEMPER PROFILER MK 2 Series device. Visit www.kemper-amps.com for downloads and release notes.
PROFILER Head $1,348.00
PROFILER Rack $1,398.00
PROFILER Stage $1,498.00
PROFILER Player $ 699.00
PROFILER PowerHead $1,798.00
PROFILER PowerRack $1,798.00
PROFILER Remote $ 469.00
At a glance!
The Kemper Profiler MK 2 Series isn’t just about doing more. It’s about doing it better, faster, and without compromise. With unmatched tonal power, surgical precision, and effortless usability, this is the most complete and forward-thinking Profiler platform yet.
The Billy Idol guitarist rides his Knaggs into Nashville.
There’s nothing subtle about Billy Idol, so it tracks that there’d be nothing subtle about the guitars used onstage by his longtime guitarist, Steve Stevens. Famous for his guitar work with Idol and the Grammy-winning symphony of sustain “Top Gun Anthem,” Stevens brought a brigade of eye-popping signature electrics and some choice other jewels out on the road with Idol this spring.
The tour touched down at Bridgestone Arena in downtown Nashville in May, and while Stevens was jetting into town, PG’s John Bohlinger met up with tech and guitar builder Frank Falbo to learn the ins and outs of Stevens’ rig.
Brought to you by D’Addario
Cherry Pie
This cherryburst is one of a score of single-cut Knaggs Steve Stevens signature models in Stevens’ arsenal. He plays with heavier Tortex picks and uses Ernie Ball strings, usually .010–.048s.
More, More, More (Sustain)
This Knaggs Steve Stevens Severn XF, complete with a Sustainiac pickup system, was designed to mimic the look of one of his old guitars, and the stage lights make this finish go insane. It comes out for three to four songs in any given set, including “Rebel Yell.”
Songs from the Sparkle Lounge
This Knaggs Steve Stevens, finished in silver sparkle, is outfitted with a killswitch, push-pull control knobs, and Fishman Fluence pickups. Falbo was on the R&D team that helped design the Fluences.
Other guitars backstage include a red sparkle Knaggs with PAFs, a Godin LGXT with piezo saddles and Seymour Duncan pickups that sends three signals (synth, electric, and piezo), a pair of piezo- and MIDI-equipped Godin nylon-string guitars, a dazzling Gibson Les Paul with stock Gibson pickups, a Suhr T-style electric, and a Ciari Ascender for travel and dressing-room rehearsal.
Tube Heart, Digital Brains
Stevens runs through a pair of Friedman heads—a B100 and Steve Stevens SS100, plus a third backup—with each panned hard to either the left or right. Both signals run through a Neve 8803 rack EQ into two RedSeven Amplification Amp Central Evo loadboxes, and through their impulse response programs to front of house. A Neural Quad Cortex is on hand as a backup and for fly dates.
Steve Stevens’ Pedalboard
Stevens’ pedal playground is masterminded by an RJM Mastermind GT, which lives on its own board alongside a Fractal FM3 MK II. He orchestrates most of the changes himself, but Falbo is ready to flip switches backstage in case Stevens is away from his board for a key moment.
The centre hub, built on a Tone Merchants board, carries a TC Electronic PolyTune2 Noir, Xotic Effects Super Sweet Booster, Vox wah, Ernie Ball volume pedal, Mission Engineering expression pedal, DigiTech Whammy Ricochet, Suhr Discovery, JHS Muffuletta, DigiTech Drop, ISP DECI-MATE, Walrus Voyager, Suhr Koji Comp, Zvex Super Ringtone, DryBell Vibe Machine, and Ammoon EX EQ7. An Ebtech Hum Eliminator, two Strymon Ojais, and a Strymon Zuma keep the wheels greased.
The board to the right carries a Boss RV-500, Fender Smolder Acoustic OD, Lehle Dual Expression, Boss GM-800, Empress Bass Compressor, Grace Design ALiX preamp, Fishman Aura, and a Peterson tuner. Utility boxes include an Ernie Ball Volt and a Radial J48.