Recorded with Yamaha BB1025X using PreSonus FireStudio and PreSonus Studio One 3.
Clip 1: Octabass placed before Bass Big Muff. Normal volume at 2 o’clock, tone at 1 o’clock, octave at noon, range switched to low.
Clip 2: Normal volume at noon, tone at 11 o’clock, octave at 10 o’clock, range switched to high.
RatingsQuilter Labs Bass Block 802Pros:Compact. Sounds great. Plays well with others. Cons: An XLR out might make engineers happier. Street: $699 Quilter Labs Bass Block 802 quilterlabs.com | Tones:  Ease of Use: Build/Design: Value: |
Quilter Labs BassDock 12 Pros:Tight sounding cab. Ingenious amp chamber. Cons: Shaving off a couple of pounds would have been nice. Street: $549 Quilter Labs BassDock 12 quilterlabs.com | Tones: Versatility: Build/Design:  Value: |
Quilter Labs has a solid history of building great-sounding class-D amps that somehow capture tube characteristics, and in turn, have made their presence known on big stages the world over. The company’s innovation continues with the introduction of two new bass products we had the opportunity to check out: the Bass Block 802 and the BassDock 12.
Not Granny’s Quilt
The Bass Block 802 is a step up from Quilter’s 800 model, which is a no-frills class-D amp built for basic bass-universe domination. The 802 takes this platform a step or two higher with more user-friendly features and more control over the overall bass signal and path.
The first thing I noticed about the Bass Block 802 is the weight. At a scant 3 3/4 pounds, this little guy has a lot going for it. The Bass Block 802 offers 800 watts (at 4 ohms) of class-D power, and its front panel houses a 4-band EQ, effects loop, and a 3-way passive/active/mute toggle switch. There’s also a line-out jack that’s switchable between a post-master headphone out for silent practice or a pre-master out when playing live. Quilter designed the line out to work with a TRS cable (essentially the same connection as an XLR) in the pre position, and did so with the intention of working better with their cabs.
The back panel of the Bass Block 802 is very straightforward. There is a locking IEC power cord, which can be helpful in preventing accidental unseating. There are a pair of dual Speakon combo jacks, which are compatible with just about every bass cab out there, and an XLR in. (Remember: The balanced 1/4" line out is on the front panel.) The amp also features a redesigned fan for quieter use.
It seems that a lot of small bass amps are running with similar features these days, relying on the tone to really set the amp apart, which is why we’re here, right? Moving air and having a few knobs just won’t cut it anymore. Quilter’s guitar-tone reputation is far-reaching, and I looked forward to hearing if the same could be said for the 802.
New Kid on the Block
I plugged a passive ’60s Fender Jazz bass into the Bass Block 802, which was paired with the Quilter BassDock 12. I set the four EQ controls to noon and got to work. With the EQ flat, my bass sounded great through the amp, which provided a true representation of the Jazz. Although I wouldn’t normally totally dime out an amplifier, I went loud with the Quilter combination, and the amp and cab really held their own with the gain at ten. There was very little breakup at this setting, which is a testament to an improved signal-to-noise ratio.
I was able to shape my Jazz into a variety of tonally different and exciting landscapes with the 802’s 4-band EQ. The low and high EQs (labeled “depth” and “snap,” respectively) offer 15 dB of cut or boost, while the middle EQs (“woof” and “bark”) provide 10 dB of cut or boost. The depth control is just that, with the control set for 100 Hz. This 100 Hz dial is the magical control for engineers, since cutting this will help clean up a muddy bass signal in a mix. Small cuts and boosts with the depth control were quite useful without even moving any of the other EQ controls from flat. In fact, I found just enough bump and bite simultaneously to make this a “forever” setting.
When I was running down the other EQ controls, I was impressed with not only the clarity and tone, but also the overall usefulness of how each frequency paired with the initial tone of the amp. The typical smiley face EQ (boosting 100 Hz and 2k, while rolling off 300 Hz and 1k) gave my bass a lot of sparkle and just the right amount of low end, also making this setting one of my favorites.
I also went the opposite tonal direction by rolling off the depth and snap controls to about 10 o’clock, and boosting the woof (300 Hz) and bark (1k) dials to about 3 o’clock. This setting added a great mid bite to the tone without being overbearing or harsh. If you need to cut through a mix, this is where you’ll want to be.
Dock and Roll
When is a combo amp notreally a combo amp? Well, when the amp can be lifted away from its home to be used in other applications. Picture this: The BassDock 12 is a brilliant way to store and transport your class-D micro head (it’s not just limited to Quilter). With a simple screw-turn, the amp can be removed and taken wherever needed. To be able to carry a studio-quality preamp with you for recording, rehearsing, or practicing is a huge selling point of this setup.
But don’t let the innovative design of the BassDock 12 trick you into thinking it’s the main selling point. The BassDock 12 is a powerful cabinet that offers both a compact footprint and earth-rumbling goodness. And this cab—which boasts a 12" Eminence speaker and Eminence horn—has the same build quality of the Bass Block 802. It clocks in around 37 pounds, so it is a bit weightier than some other 1x12 cabs out there. I liked the overall tone of the cabinet, which allowed the bass to be represented well while moving a lot of air. I would have liked to have seen a Speakon connector in addition to the 1/4" jack, but this is just personal preference.
The Verdict
The role of the bass amp has been moving and shaking the past few years. Not that long ago it was big amps and lots of speakers before trends moved to automated digital DIs, and then the class-D amps showed up and gave us restored hope that we can have amps onstage again. Independently, the Bass Block 802 and the BassDock 12 are both fine pieces of gear. If you have a cab you like, then grab the Bass Block 802 and move some masses. It’s feature-packed, sounds great, and is easy on your load in. If you have a micro amp you dig and it can fit in the dock of the BassDock 12, then pair them up and get rocking. Or, you could get really efficient and grab the pair, which are simply made for each other.
Duane Betts enjoys a control set modification that was preferred by his father, the late, legendary Dickey Betts.
Guest Picker - Duane Betts
Betts’ 1961 ES-335 has its toggle and volume-dial positions switched.
A: My favorite mod is the one on my 1961 Gibson ES-335. The toggle switch and neck volume knob positions have been switched so the volume knob is more accessible for volume swells using your pinky finger. This is something my dad had done when he obtained the guitar in the ’90s as he loved using the volume swell effect.
A pedal primed for vintage fuzz sounds.
Obsession: My current obsession is this DanDrive Secret Machine fuzz that JD Simo gave me a few years ago. I don’t use fuzz often but I’ve loved it as a way to change things up and give the listener something fresh. My normal tone is very natural with the amp turned up. This is just a great fuzz tone that gives me a new angle that I really enjoy pursuing both live and in the studio.
Reader of the Month - Steve Nowicki
A: A push/pull knob for humbucker coil split. It’s a sneaky little mod I throw on my tone pots. You won’t get amazing Strat tone, but the ability to instantly swap between Les Paul chunk and Fender twang during a jam opens a ton of possibilities tonally. Plus, no extra switches or routing needed—even though it’s fun to hack guitars apart.
Obsession: The EVH 5150 Iconic EL34 amp. Owning an 80-watt half-stack in a Brooklyn apartment might be overkill, but damn this amp is awesome. It delivers insane amounts of gain and distortion, yet every little nuance of your playing comes through crystal clear. I pair it with a Bugera Power Soak so I can crank the head and get that warm “Brown Sound” tone at lower volumes.
John Bohlinger - Nashville Correspondent
John Bohlinger and his Lukather-ized Strat.
A: I’ve hacked up a bunch of guitars over the years, but my favorite mod remains the highly intrusive, expensive, and quixotic B-bender install. It is the equivalent of open heart surgery, and there’s no going back—but the first time you play the Clarence White “You Ain’t Goin’ Nowhere” intro right, it’s totally worth it.
John at work. When it comes to mods, he know the drill!
Obsession: I recently filmed a PG video where we swapped pickups in my ’90s Strat with an EMG Lukather set. I never thought I’d go active, but what gets me is how smoothly the volume and tone work. I’m rethinking all my gear biases. Like maybe there’s been some progress since 1957.
Jon Levy - Publisher
Let it bleed: Jon dials back the treble on his Tele.
A: Installing a treble bleed on my volume pots has changed how I play electric guitar. Previously, I never dialed back my volume knob because it dulled my sound. Now I can fine-tune loudness and gain while retaining tone—it’s a game changer. I still swap pickups and hardware, but one mod always comes first: the humble treble bleed.
Did you know both John Paul Jones and Jimmy Page played on Shirley Bassey’s iconic recording of “Goldfinger?”
Obsession: John Paul Jones. I’ve always loved his bass (and other instrumental contributions) with Led Zeppelin. But after seeing the Zep documentary [Becoming Led Zeppelin] I searched his session work from 1964–1968, which includes Shirley Bassey, Lulu, Donovan and more. What an amazingly versatile and talented artist he is!
“I am thrilled to announce the launch of The Collection: Kirk Hammett. I’ve worked diligently on this curated collection of vintage and modern guitars for the book. I feel the book captures the rich history and artistry behind each of these unique and rare instruments. Every picture tells a story and thanks to Ross Halfin and his exceptional photography, every picture in this book is worth a million words! This book could not be possible without the help of Gibson, so I’d like to thank them for making my passion for Greeny, and guitars a reality. I hope all of you enjoy this journey as much as I did.”
“It’s exciting the time has come to release The Collection: Kirk Hammett by Gibson,” adds Cesar Gueikian, President and CEO of Gibson. “We have been working on this project with Kirk for years now, and I had the opportunity to work closely with Kirk on the composition of the collection for the book. It was a thrill to put this together and it took a village to get it done! I hope everyone appreciates the work that went into this book and enjoys every story behind the guitars.”
The Collection: Kirk Hammett, Custom Edition is limited to just 300 numbered copies signed by KIRK HAMMETT and comes in a huge 19 x 14.5” (490 x 370mm) presentation box featuring custom artwork and an outstanding case candy package. In addition to the large-format 17 x 12” (432 x 310mm) hardcover version of the book with a stunning lenticular cover, the boxset includes a frameable 16 x 11.6” (407 x 295mm) art print of a Ross Halfin portrait of KIRK HAMMETT signed by both Halfin and the Metallica guitarist. Other case candy includes an Axe Heaven miniature replica of Hammett’s 1979 Gibson Flying V with case and stand, an exclusive pick tin complete with six Dunlop® Kirk Hammett signature Jazz III guitar picks, and a Gibson Publishing Certificate of Authenticity.
Explore The Collection: Kirk Hammett book HERE.
