This bass rig contributes big power in a lightweight form.
It’s called Occam’s razor—the simplest
solution to a problem tends to be the best.
It’s a good route for choosing a bass rig, too.
Add too many features and you have a better
chance of doing damage to your tone. In fact,
the longer I’ve played bass, the less I twiddle
with an amp’s knobs. When I do decide to
twiddle something, I’ll do it in moderation.
The rig reviewed here does a good job of
following the Occam’s razor principle. You
might remember the Kustom bass amps,
ubiquitous in the ’60s and ’70s with their
legendary tuck ’n’ roll auto upholstery, that
were offered in an array of sparkly colors
and decked out with chrome ports and a
cool script-like name badge. The appointments
may have been fancy looking, but
Kustom bass amps were downright humble
when it came to knobs. This new Kustom
bass rig retains that simplicity while knocking
down the weight considerably—thanks
to the use of some newer technologies.
The KXB500:
A Tidy, Basic Package
The first key technology contributing to
big power in a lightweight form is the use
of a class D power amp. The KXB500 uses
a Bang & Olufsen ICEpower module that
puts out 500 watts RMS at 4 Ω —all in
a package measuring a mere 12" wide, 8"
deep, and 2.5" high.
Despite its diminutive stature, the
KXB500 has all the features the average
bassist needs—Occam’s razor in action.
On the front panel sits one Input jack, one
input Gain control, a 3-band EQ, and a
Master volume. Kustom includes a push-pull
switch on the Midrange knob that toggles
its center frequencies between 500 Hz
and 700 Hz, both useful for bass, though
a little close together. The front panel also
includes a handy Mute switch (with a red
light that flashes when engaged), a 1/8"
Aux In jack (for practicing along with your
iPod), and a similarly-sized Headphone jack.
The Bass control offers +/-20 dB at 40
Hz, right at the bottom of the E string’s
range. On the high end, the Treble control
has the same amount of control at 20 kHz,
adding snap to your slap. In between, the
Midrange knob allows up to +/-12 dB of
scoop or presence.
On the back of the KXB500, there’s a socket
for a removable power cord, a pair of output
jacks (speakON and 1/4"), and an XLR DI
out that’s switchable pre/post with ground lift
and level controls. There is also a Tuner Out
jack, effects loop Send/Receive jacks, and a
Footswitch jack for both the mute and effects
loops. Everything a bassist needs is there.
Plugging in, I found it a simple task to
get a good basic sound by centering the easy-viewing
EQ knobs, turning the input Gain
up to around noon, and adjusting the Master
to taste. I found that the EQ knobs had plenty
of sound-shaping ability, with tonal centers
at musically pleasant frequencies. It would
have been nice, though, to have center detents
on the three tone controls. The input impedance,
at 690k Ω, is a little low for acoustic
piezo-based pickups, but should be fine for
magnetic pickups on electric basses.
Though the Master control seemed to
get loud a little quicker than I’d prefer,
Kustom states they used an input stage that
could accommodate a very wide range of
input signals, allowing for clean tones and
still having enough gain to overdrive the
system. All said, it was still easy to adjust to
my desired level, and I found the KXB500
to have a neutral voice—one that would
be useful for a lot of musical situations.
Kustom does include rack ears if you’re so
inclined, but keep in mind that a rack case
would likely weigh more than the amp itself.
Deep End DE115NEO Cab: Yet
Another Tidy, Basic Package
This Kustom Deep End Neo cab is both
lightweight and compact, thanks in part to the
Eminence neodymium magnet speaker that
weighs far less than a conventional ceramic
magnet design. The use of plywood over particleboard
also keeps the weight in check, especially
by going with rear ports that eliminate
about 6" or so of height necessary for front
shelf porting. This cab ends up a little smaller
than many others with a 15" speaker, measuring
24" high, 20" wide and 16" deep.
The DE115NEO uses an 8 Ω speaker,
which allows the amp to put out 300
watts RMS. A second Deep End 115 Neo
would be needed to reach the amp’s full
power. The jack plate’s connections had a
somewhat unusual configuration, though,
with two 1/4" jacks and one speakON jack.
Compared to a 1/4" jack, speakONs offer a
much more secure and reliable connection,
which is especially good for high-power
bass amps like the KXB500. Because the
head and cab each have only one speakON
jack, it’s not possible to hook up a second
cab with speakON cables for both.
The cabinet’s sound was round and full,
with a focused bottom and clean attack, yet
not edgy. The piezo horn has a simple on/
off switch. If you want a little string noise
and bite in your sound, turn on the horn. If
you’re more of an old-school player, turn off
the horn for a rounder and well-defined tone.
If there was one thing I would change about
this cab, it would be raising the side handles a
touch higher—I kept reaching for a handle that
wasn’t there, and when I did find the handle,
the balance was not ideal. I should add that the
handles are plenty sturdy. They have metal grip
bars attached to the cab, with machine screws
and T-nuts for extra dependability. I also would
have liked the cab to have sockets or interlocking
corners on top for stacking a second cab.
I first tried this rig with my trusty P
bass, outfitted with a Duncan Quarter
Pound pickup. With the tone knobs set
flat, the sound was clear, punchy, and
round, and I didn’t sense any boominess.
It pushed out plenty of volume and
should be fine for moderate-level gigs. I
then tried a G&L 5-string. Once again,
the rig provided a sound that instilled
confidence, handling the low B string well
at moderate volume—I didn’t try to push
the rig to the point of distortion, but
again, it put out a lot of volume.
The Verdict
In all, this affordable rig is nothing fancy in
terms of features, but it gets the job done
and does it well. The build seemed sturdy
and should stand up to regular gigging with
a reasonable amount of care. If you poke
around the web, you’ll be hard-pressed to
find many other amps with this power level
priced under $400. Likewise, few bass cabs
under 40 pounds with an Eminence neodymium
speaker check in at $300, making
this rig a good value all the way around.
Buy if...
you want a big sound from a simple, sturdy package that’s easy to lug around.
Skip if...
you like a bass rig with heft and lots of bells and whistles.
Rating...
Street $399.99 (KXB500); $299.99 (DE115NEO) - Kustom Amplification - kustom.com |
Metalocalypse creator Brendon Small has been a lifetime devotee and thrash-metal expert, so we invited him to help us break down what makes Slayer so great.
Slayer guitarists Kerry King and Jeff Hanneman formed the original searing 6-string front line of the most brutal band in the land. Together, they created an aggressive mood of malcontent with high-velocity thrash riffs and screeching solos that’ll slice your speaker cones. The only way to create a band more brutal than Slayer would be to animate them, and that’s exactly what Metalocalypse (and Home Movies) creator Brendon Small did.
From his first listen, Small has been a lifetime devotee and thrash-metal expert, so we invited him to help us break down what makes Slayer so great. Together, we dissect King and Hanneman’s guitar styles and list their angriest, most brutal songs, as well as those that create a mood of general horribleness.
This episode is sponsored by EMG Pickups.
Use code EMG100 for 15% off at checkout!
Learn more: emgpickups.com
The legendary German hard-rock guitarist deconstructs his expressive playing approach and recounts critical moments from his historic career.
This episode has three main ingredients: Shifty, Schenker, and shredding. What more do you need?
Chris Shiflett sits down with Michael Schenker, the German rock-guitar icon who helped launch his older brother Rudolf Schenker’s now-legendary band, Scorpions. Schenker was just 11 when he played his first gig with the band, and recorded on their debut LP, Lonesome Crow, when he was 16. He’s been playing a Gibson Flying V since those early days, so its only natural that both he and Shifty bust out the Vs for this occasion.
While gigging with Scorpions in Germany, Schenker met and was poached by British rockers UFO, with whom he recorded five studio records and one live release. (Schenker’s new record, released on September 20, celebrates this pivotal era with reworkings of the material from these albums with a cavalcade of high-profile guests like Axl Rose, Slash, Dee Snider, Adrian Vandenberg, and more.) On 1978’s Obsession, his last studio full-length with the band, Schenker cut the solo on “Only You Can Rock Me,” which Shifty thinks carries some of the greatest rock guitar tone of all time. Schenker details his approach to his other solos, but note-for-note recall isn’t always in the cards—he plays from a place of deep expression, which he says makes it difficult to replicate his leads.
Tune in to learn how the Flying V impacted Schenker’s vibrato, the German parallel to Page, Beck, and Clapton, and the twists and turns of his career from Scorpions, UFO, and MSG to brushes with the Rolling Stones.
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editor: Addison Sauvan
Graphic Design: Megan Pralle
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
Katana-Mini X is designed to deliver acclaimed Katana tones in a fun and inspiring amp for daily practice and jamming.
Evolving on the features of the popular Katana-Mini model, it offers six versatile analog sound options, two simultaneous effects, and a robust cabinet for a bigger and fuller guitar experience. Katana-Mini X also provides many enhancements to energize playing sessions, including an onboard tuner, front-facing panel controls, an internal rechargeable battery, and onboard Bluetooth for streaming music from a smartphone.
While its footprint is small, the Katana-Mini X sound is anything but. The multi-stage analog gain circuit features a sophisticated, detailed design that produces highly expressive tones with immersive depth and dimension, supported by a sturdy wood cabinet and custom 5-inch speaker for a satisfying feel and rich low-end response. The no-compromise BOSS Tube Logic design approach offers full-bodied sounds for every genre, including searing high-gain solo sounds and tight metal rhythm tones dripping with saturation and harmonic complexity.
Katana-Mini X features versatile amp characters derived from the stage-class Katana amp series. Clean, Crunch, and Brown amp types are available, each with a tonal variation accessible with a panel switch. One variation is an uncolored clean sound for using Katana-Mini X with an acoustic-electric guitar or bass. Katana-Mini X comes packed with powerful tools to take music sessions to the next level. The onboard rechargeable battery provides easy mobility, while built-in Bluetooth lets users jam with music from a mobile device and use the amp as a portable speaker for casual music playback.
For quiet playing, it’s possible to plug in headphones and enjoy high-quality tones with built-in cabinet simulation and stereo effects. Katana-Mini X features a traditional analog tone stack for natural sound shaping using familiar bass, mid, and treble controls. MOD/FX and REV/DLY sections are also on hand, each with a diverse range of Boss effects and fast sound tweaks via single-knob controls that adjust multiple parameters at once. Both sections can be used simultaneously, letting players create combinations such as tremolo and spring reverb, phaser and delay, and many others.
Availability & Pricing The new BOSS Katana-Mini X will be available for purchase at authorized U.S. Boss retailers in December for $149.99. For the full press kit, including hi-res images, specs, and more, click here. To learn more about the Katana-Mini X Guitar Amplifier, visit www.boss.info.
Snark releases its most compact model ever: the Crazy Little Thing rechargeable clip-on headstock tuner.
Offering precise tuning accuracy and a super bright display screen, the Crazy Little Thing is approximately the size of your guitar pick – easy to use, unobtrusive and utterly dependable.
Housed in a sturdy shell, the Crazy Little Thing can be rotated for easy viewing from any angle, and its amazingly bright display makes it perfect for the sunniest outdoor stages or the darkest indoor studios. You can clip it to the front of your headstock or on the back of your headstock for extra-discreet usage – and you can easily adjust the display to accommodate your preference.
As the newest addition to Snark’s innovative line of headstock tuners, the Crazy Little Thing is rechargeable (no batteries!) and comes with a USB-C cable/adapter for easy charging. Its display screen includes a battery gauge, so you can easily tell when it’s time to recharge.
The Crazy Little Thing’s highly responsive tuning sensor works great with a broad range of instruments, including electric and acoustic guitar, bass, ukulele, mandolin and more. It also offers adjustable pitch calibration: its default reference pitch is A440, but also offers pitch calibration at 432Hz and 442 Hz.
Snark’s Crazy Little Thing rechargeable headstock tuner carries a street price of $21.99. For more information visit snarktuners.com.