Amplification is important, but how important is it, and how much are we willing to spend to get our beloved maple thru-neck wonders to howl to their creative passionate and illustrious glory?
Ric N. Backer wrote:So, fellow Rickenbrothers and sisters, how many of you are going to line up and spend the required $4K to make your bird sing?
Especially since you mentioned my user name, If I was going spend $4K on any amp like that, it better be the sweetest sounding thing ever in the world and they'd better be able to hear me playing as far away as the moon!
Ric N. Backer wrote:So, fellow Rickenbrothers and sisters, how many of you are going to line up and spend the required $4K to make your bird sing?
Especially since you mentioned my user name, If I was going spend $4K on any amp like that, it better be the sweetest sounding thing ever in the world and they'd better be able to hear me playing as far away as the moon!
A legendary amp to be sure, and quite possibly one of the sweetest amps you are ever likely to hear, but as far as hearing you on the dark side of the moon? Doubtful, especially at a mere 30w output. imho, one of the finest recording amps ever, but it would be hard pressed to keep up with most players in a modern rehearsal or live setting.
dricard wrote:no way. I'd rather buy an inoperable beat up flip top and have it rebuilt, but that's just my POV
I hear ya, as much as I love the flip tops, they want just alittle to much for this little gem, its rediculous the priceing of things anymore, sure although they may be nice, but thier not that nice and worth the asking price..
I always loved my old B-15N (late 1960's model), but my gut feeling is that it's probably not the best amp for a typical Rickenbacker player and the sound they are after. "Chime" isn't really the first thing that comes to mind when I think of the B-15N. It's more of a jazz thumper type of sound in my experience - it was nice for recording, nice for small clubs, but not really enough for larger rooms back in the days when instruments weren't sent into the PA system. I eventually switched to an Acoustic head and Sunn 18" folded horn cabinets, even though we were a folk rock band and didn't get that loud, because my B-15 couldn't cut it.
A really primo old B-15N will go for something in the $2500-$3K range on eBay. If you're lucky, you might even get one of the original double-baffle models or one that's been refurbed by the amp's designer. Great amps, but I can't see paying $4K for one.
As classic as the B15 is, if I am going to pay $4000 for an amp (and I am NOT going to), I want to at least play my bass through it to see if the sound and tone suit me.
For gigging, I use an Ampeg B2RE thru a 2X10 and a 1X15 with a Line-6 Pod. It's got a classic, but slightly more aggressive tone with the V63 for doing stuff like STP and Soundgarden. At home I go for a more vintage tone using a 4001 thru an Ampeg V4-B and either a 2X10 or 1X15.
IMO, Ricks and Ampegs go together like Beer and Wings!
I just don't see the practical application of this for $4K unless you've got dough to burn and you're going to use it for recording. I'm much more w/ Ronbo and Teeder on this one. My SVT 3 Pro w/ 4x10 for gigs and '75 SVT w/ HLF for home is just fine - and collectively all far less than $4K LOL.
teeder wrote:I'd like to give an SVT 3 Pro and the HLF cab a try one of these days.
It's an outstanding combo. The HLF goes down to 28Hz and I rarely set the bass knob on the amp past the twelve o'clock setting. My only complaint is that despite being on wheels the HLF is a little heavy for transporting to gigs. I've been using the 410HE instead (also on wheels) because it's a lot lighter, and since I typically run through the house via XLR from the back of the 3 Pro (post EQ of course), the HE is fine for stage volume (though it does need a little bass boost).
