Posted by Tom Bowlus | Jan 14, 2020 | Full Reviews, Gear | 0 |
Pat Quilter is a name that many bass players have known for some time. Or at least one of his companies, QSC Audio Products, has been fairly well-known by bass players. Not too long ago, it was commonplace to find bass rigs consisting of a dedicated rackmount bass preamp, paired up with a high-output QSC power amp. These amps were designed primarily for PA use, but bass players flocked to them, as we need the extra juice to keep up with tube-driven guitar rigs (and it didn’t hurt that those QSC amps were lightweight, but very powerful, class-D models). I gigged with a PLX3002 for years, myself.
Fast forward a few years, and bass players are getting to know Pat for his full last name, not just the Q. Quilter Labs, LLC was formed by Pat – and long-time QSC collaborators, Christopher Parks and Robert Becker – in 2011, and the company initially focused on solid-state, but “tube-sounding,” guitar amplification products. Things went well for the new company, but things got a lot more interesting for us low-enders when Quilter Labs decided to enter the bass amplification market. We saw our first glimpse of a new bass amp – the Bass Block 800 – at the 2016 Summer NAMM Show. We were intrigued by the innovative, minimalist preamp, but we were also blown away by the power and headroom of this little powerhouse. We were told that in addition to this dedicated bass head, a line of bass cabs was nearly ready to go, as well. Needless to say, we were all very excited to see what Quilter had in store for us bass players.
Moving up to 2019, and Quilter Labs now offers two models of the Bass Block head – the original BB800 and the newly introduced BB802 – and not one, but two lines of bass cabs. The first line of cabs to hit the market was the Bassliner series, consisting of four models: 1×12, 1×12 wedge, 2×10, and 2×10 wedge. The latest bass enclosures to be introduced are the BassDock 10 and BassDock 12. I am very pleased to say that we have all of these killer products in for review, and we are going to throw down with the whole darned line of bass amplification products! Well, not counting the InterBass amp pedal, which we already reviewed…
Looking at the broad range of products from Quilter Labs, one common trend becomes obvious. Each product seems to be (comfortably) just big enough to do what it was designed to do, but no bigger. Likewise, each product seems to be just complex enough to do what it was designed to do, but no more complex. It seems like products aren’t smaller or simpler for the sake of being smaller or simpler. Rather, they seem to scream, “Why be any bigger or more complex?” There is a noticeable lack of redundant controls. There is a certain “industrial cuteness” to the designs. But can they perform, as well? Let’s find out…
The Bass Block 800 (BB800) certainly made waves when it first hit the market, and it’s easy to see why. For players who have been told for years that we need at least five of six bands of EQ (preferably parametric), it is borderline inconceivable that a bass head would have only two tone controls: Depth and Contour. Even the names of these controls seem mysterious and occult, but in a stroke of brilliance, Quilter added four neat little graphics beneath the knobs (and two more graphics on top, at the “noon” setting). Each graphic was a visual representation of what happened to the frequency response curve when you turned the knob one way or the other (with the noon setting being “flat”). What a great idea!
Another unique labeling approach was to print output wattage numbers around the Master volume knob, ranging from 0w (all the way off), to 40w (knob at 10 o’clock), 160w (knob at noon), 400w (knob at 2 o’clock), and finally 800w (all the way up). To my mind, this seemed like a great way to demonstrate the taper of the volume pot, but like anything new or unconventional, this labelling stirred some debate on the interwebs. I like it, though.
The remaining features on the front panel include separate ¼” unbalanced inputs for Passive and Active (-10dB) instruments, a 1/8” stereo headphone out jack (which does not mute the speaker output), a Mute button (with LED indicator), the input Gain knob (with multiple indents, similar to the Master volume), an LED for indicating thermal limiting, and the AC Power on/off switch (which I have to say, is nice to have on the front panel).
The minimalist trend continues on the back, with a universal (100-240v) locking IEC power input (which will also accept standard IEC cables), a single Speakon™ output jack, a pair of ¼” speaker output jacks, and both an XLR in and XLR out. The XLR Line In is intended for pairing up another preamp with the BB800’s output section, and it bypasses the Gain and EQ controls. Thermal limiting and short circuit protection are still in effect, though, and the Master volume still controls the output. The XLR Line Out is “quasi-balanced,” and while not a traditional DI, it can be used to daisy chain multiple amps. Quilter includes a well-padded carrying case for the Bass Block 800 head. The 802 takes a slightly larger case, which can be purchased separately for $39.00.
The Bass Block 802 (BB802) takes much of what made the BB800 a success, and adds some refinement and familiarity to the controls, without adding a lot more complexity. Looking at the front panel, the ¼” jacks have been moved to the bottom of the panel, with six knobs across the top, slanted portion of the front panel. First off, we once again have the Gain knob (this time, without detents), then a new 4-band EQ section consisting of Depth (+/- 15dB at 100Hz), Woof (+/- 10dB at 300Hz), Bark (+/- 10dB at 1kHz), and Snap (+/- 15dB at 2kHz), followed by the Master volume (also sans detents), which now has labels only for 0w, 160w, and 800w. The four ¼” jacks consist of Input (with a mini-toggle switch for active/passive which also doubles as the mute switch), FX Send and Return, and Sig Out (with a mini-toggle switch for Pre/Line or Post/H-Phone). There is no XLR output on the BB802, so if you want to send a signal to the front of house, you would set the switch to Pre/Line, which yields a +4dB balanced ¼” output, which is not affected by the Master volume settings. LED’s for mute status and thermal limiting indication are also on the front panel, as is the AC Power switch.
You will notice that while the front panel of the BB802 is a touch more busy than the BB800, the back panel of the 802 is actually slightly more spartan than its brother. The universal, locking IEC power input remains the same, but we now have two of the handy Speakon and ¼” combo speaker outputs, along with a Line In which accommodates both ¼” and XLR inputs. The overall dimensions of the two heads and capabilities of the output sections are identical. Quilter rates the output power for each head as 800w into 4 ohms, and 450w into 8 ohms. They also rate it for 250w into 16 ohms, but that is not a practical alternative for most bass players.
Not only does the 802 (which costs $50 more than the 800) represent an alternative front end to the Bass Block head, it also reflects a number of incremental tweaks which were in large part a response to feedback solicited from users of the BB800. For instance, while some folks liked the indents on the Gain and Master knobs (as found on the BB800), because it helped them quickly set the overall volume to repeated settings, others felt that the indents were preventing them from dialing in the exact right settings on the Gain/Master knobs. Other players wanted two Speakon outputs. Yet others wanted an effects loop. I think it is great that Pat and the team at Quilter Labs are interested in what players have to say and then actually make changes to their products to accommodate some of that feedback. Sure, you can’t please everyone, and not all players are 100% happy with some of the changes (some bemoan the lack of a balanced XLR output, for instance), but this leaves room for additional tweaks in the future, perhaps?
Like the Bass Block heads, the BassDock series of enclosures – which, somewhat confusingly, includes both the Bassliner cabs and the newer BassDock 10 and BassDock 12 cabs – seems to focus on being big enough to do the job, but no bigger. Another feature to the entire line is the ability to easily “dock” one of the Bass Block heads with any one of the cabinets to make a “combo.” The Bassliner cabs were the first to hit the market, and they feature Eminence Kappalite neodymium-based drivers for the 12’s and Deltalite II’s for the 10’s, combined with BGH25 compression drivers. There are two configurations (1×12 and 2×10), with each one being available as a ported, non-slanted “bottom” cab style (denoted by the “c” at the end of the model name), or as a sealed, slanted wedge or “top” cab style (denoted by the “w” at the end of the model name). Both 1×12 versions sell for $899, while both 2×10 Bassliners cost $949, each. All of the Bassliner cabs are 8 ohms and rated to handle 450 watts.
Between these four cabs, you have a pretty wide variety of combinations. In addition to the expected 1x12w (or 2x10w) “top” combined with a matching “bottom,” you can mix and match configurations (1x12w on top of 2x10c, or 2x10w on top of 1x12c), or you can run two (or three) “bottom” cabs. Unofficially, Quilter has indicated (unofficially) that both Bass Block heads will drive a 2.67-ohm load (though they are only officially rated to 4 ohms), so a three-cab stack is potentially an option (though this may be a challenge with the 802, as you only have two speaker outputs, and each cab has only a single, ¼” jack). I must admit, it does seem a bit unusual that Quilter decided to roll with just a single ¼” input jack on these cabs. More typical in the industry would be two Speakon jacks, which would facilitate “daisy chaining” multiple cabs. [Pat Quilter note: “Speakon cables are too big to allow the amps to dock in our more compact cabs, so we went with quarter-inch connectors.”]
The “dock” feature is on the back of the enclosure. The heads are oriented with the controls facing up, and there are round indents for the feet of the head to fit into. The simple process of attaching the head to the cab involves just two thumb screws on an aluminum plate which holds the head snugly against the cab. The combination of the indents for the feet and the pressure from the plate is simple, but very effective. In general, this dock system works well, though I do have a couple of reservations. First, the orientation of the controls facing up on the back of the cab can take a little getting used to, and depending on the height of your stack of cabs, it may or may not be convenient (as compared to having the head sit on top of the cab). My second reservation is that with the smaller cabs (notably, the BassDock 10), when the Bass Block is in the dock, the back panel is very close to the bottom panel, and – especially in the case of the BD10 – if you don’t have right-angle cables, you may not be able to plug in your speaker cables. Fortunately, Quilter does include an 18-gauge ¼” speaker cable – with dual right-angle ends – with each cab. You definitely need to plug the IEC power cable in before docking the amp, and even then, you have to kind of mash it in there. A custom-fitted nylon slip cover is also included with each BassDock cab. [Pat Quilter note: “Agreed, the fit is tight on the 10-inch and it is best to pre-plug the AC cord, as noted.”]
The BassDock 10 (BD10) and BassDock 12 (BD12) are the latest bass enclosures from Quilter. They feature ferrite-based Eminence drivers (and the same BGH25 compression driver), which means that while they do weigh a bit more, it is not by much. They are both rear-ported (slot port near the bottom of the back panel). The BD10 ($499) and BD12 ($549) are both 8-ohm cabs and are each rated to handle 400 watts. The neodymium drivers in the Bassliner cabs make them more expensive, and it may be easy to presume that they are the “premium” Quilter bass cabs, and the BD10 and BD12 are the “economy” Quilter bass cabs. I don’t see them that way, myself, and I definitely believe that Quilter doesn’t, either. The BD10 and BD12 offer a compelling alternative to the Bassliners, with somewhat more warm, organic (but still articulate) tone, whereas the Bassliners are a tad more clear and accurate, and have a slightly extended usable frequency range. Neither is really better than the other, in my book; just two different options.
Speaking of weight, while the ferrite drivers are of course heavier than the neos, the overall weights of all of these cabs are quite manageable. The Bassliner 1x12w is the lightest of them all, tipping the scales at 29.8 lbs, with the 1x12c at 33.6 lbs; the Bassliner 2x10w weighs right at 30 lbs, and the 2x10c is 32.5 lbs. By contrast, the BD10 weighs only 30.9 lbs, and the BD12 is the heaviest offering, at 37 lbs. As you can see, none of these are going to break your back, and the BD10/12, especially, won’t break your bank, either.
One of Pat Quilter’s goals with the Quilter Labs brand has been to show that some of the character and “feel” associated with tube amps can be accomplished using solid-state designs. This is due in large part to how the amp handles clipping/limiting. The Bass Block heads certainly incorporate these design goals and have some very interesting limiting going on behind the scenes. When we first started testing these amps, I had some discussions with Pat about their approach to limiting and THD+N. Here are some of the insights he shared with me:
–The THD behavior through the preamp is quite complex, as it goes into limiting at about 75% of maximum power, and its behavior is part of the “mojo.”
–Above 100Hz, the preamp uses a conventional fast acting limiter that kicks in at about 75% of maximum power and as you continue to push the input level, the output slowly creeps up to the clipping point with a characteristic 1-2% THD increase.
–There is a transition region around 100Hz, below which the preamp limiting is done by a different type of limiter that avoids all “choking and gagging” and therefore displays excellent dynamic response for the lowest tones. THD in this region can slowly increase to 10% or more below clip, but it is processed separately from the signals above 100Hz, so it adds some “grunt” or a sense of “effort” without intermodulating with the upper register.
–The result is a system that can be pushed hard without gagging or choking, but still delivers a sense of “peak effort” that adds significantly to the impression of headroom and never feels like it’s “pushing back” on the bass player’s dynamics. The rest of the Bass Block 802 comprises fairly routine improvements and feature upgrades, but this dynamic processing system is largely responsible for the favorable response to our bass amps.
–I need hardly add that turning the Master down causes all this limiting to occur at lower levels, which can be used to limit power to smaller speakers as well as for experimenting with the effects of pushing well into limiting. One notable effect of the limiting system is that you can turn the Depth up to get deep throbbing tones that would normally bottom out, or at least “choke” pretty quickly, but due to the separate LF limiter, the upper harmonics still power through unimpeded, causing the bass to become more “forward” as you play harder.
As our conversation continued, I asked Pat to share a bit more about his multi-band approach to limiting:
The basic 2-band limiter processing is similar on both Bass Blocks, and I do assume that its success explains why our 800-watt amplifier seems to sound bigger than many others, at least according to our users who have switched to Quilter. Some kind of limiting is typical in bass heads to prevent gross bottoming out, but in many cases, players report that it seems to fight them just when they need maximum thrust. I came of musical age during the heady days of the late sixties when the mission was to “rock out” as much as possible – hopefully without losing control or having your gear fail. We can meet that challenge much better these days but it’s still like designing a good race car – it shouldn’t undermine the driver with pitfalls or “bad habits,” but it should still let the driver push it to the limit and maybe a little beyond without suddenly giving way.
On the topic of any technology or spec changes, other than the front end, between the BB800 and the BB802, Pat claims that the “noise floor is reduced about 8dB, which is notably better than the Bass Block 800.” He also added:
Class-D distortion (measurable by inserting signals into the XLR, which bypasses the preamp and its limiting system) is reduced about 50% and you will be able to see it run right up to clipping, exceeding 450w at 8 ohms and 850wW at 4 ohms. This illustrates the true “under the hood” output power, which should be best-in-class, and does not depend on maintaining an exact AC voltage setting.
In addition to asking about the Bass Block heads, I also inquired as to the design goals for the Bassliner and BassDock cabs.
My goal with the Bassliner series was to move the maximum amount of air, using the lightest, longest-throw, touring-grade drivers available, taking full advantage of the Bass Block 800’s power envelope. “Twice the sound in half the size and weight.” We succeeded, but the price was admittedly rather top-of-the-market. The Gen 2 BassDock series are more cubical, for better space utilization, and while the drivers are not as exotic as the neo-magnet Bassliner speakers, we worked closely with Eminence to dial in the voicing. The cabinet designs worked out well and they ended up with a somewhat warmer tone, while still moving plenty of air – even with the small 10-inch cube. They are easy to like, easy to move, and the price is more competitive.
I had been in possession of a BB800 for some time before the 802 was announced, and I was well-accustomed with the tone stack on the 800. The 4-band EQ on the 802 seems very straightforward, and I had a decent idea of how it would perform just by looking at the front panel. Needless to say, though, I was itching to get the two heads side-by-side to see how they compare in real world practice and gigging.
Let’s dig into the BB800’s unique 2-knob tone section, first. The Depth control is certainly the easiest to understand (courtesy of those sweet little graphics). Quilter describes the Depth control as “a highly selective low frequency boost/cut that acts only on the lowest half of the bass guitar’s range.” They do not publish the center frequency of this control, but I suspect it is in the 80Hz range. It is worth noting that the overall performance of the tone stack is interactive with the limiting function, discussed above. The manual continues, “If pushed into limiting, the overtones and higher notes will ‘catch up’ with the bass foundation, preserving dynamics and attack without bottoming out.” In practice, I did notice that the boost function on the Depth control remains useful, even at higher volumes, and it does remain musically useful. With many other amps, boosting lower frequencies at higher volumes can lead to farting out or clipping, so there does appear to be something to this Quilter limiting thing.
The second tone control on the BB800 – the Contour knob – take a bit more time to fully appreciate. Quilter describes the Contour control as follows: “Turning to the left introduces a mid scoop that produces a crisp snappy tone. Turning to the right progressively reduces treble for a rounded vintage tone.” The treble roll-off function certainly does predictably roll off highs (as I have come to expect from active “treble” cuts), though I must say that if I am playing a bass with a passive tone control, this is my preferred tool for dialing in a more “rounded vintage tone.” The mid-cut function is also fairly straightforward and certainly does what it claims. Once again, Quilter does not specify the frequency center for this cut, and how well this control might work for you will definitely vary, based upon the tonal properties of your related gear and your subjective tone goals. In general, though, I would think that this mid scoop would be attractive to most players dialing in a great slap tone, or even fingerstyle, but looking for a bit more snap and clarity.
Looking at the graphics for the BB800 tone stack, you can easily see how to cut bass, boost bass, cut mids and cut highs. You may ask yourself, “Can I boost mids?” and/or “Can I boost highs?” The answer is “Yes, you can!” To boost mids, simply cut lows, cut highs, and turn up Gain or Master. To boost highs, simply cut lows, scoop the mids, and turn up Gain or Master. I keep finding myself using words like “straightforward” or “simple” to describe the individual functions of the BB800 tone stack, but I do have to admit that when I first plugged into the 800, I was a little confused and even intimidated by the tone stack. It seems that many players felt the same way, at first. This is a simple function of the BB800 presenting us with a novel approach to tone control. As you can see, when you step back and look at what those controls are doing, it actually is fairly simple and straightforward.
Moving on to the BB802, the tone stack it is technically more complex than that of the BB800, but because it is so similar to what bass players have seen in other products, it seems less intimidating. This tone stack was certainly a response to players who either tried the BB800 and were not comfortable with the tone stack, or – more likely – players who looked at the BB800, and were confused, without even trying it. As with most such EQs, I find that on the mid controls, the cut function is more useful/musical than the boost function. This may be personal to my tastes, but I do feel that our ears are more sensitive to midrange frequencies and I also feel that we are more sensitive to boosts, as opposed to cutting frequencies. Accordingly, it came as no surprise that I found that I enjoyed the results of a little to a lot of cut on both the Woof and Bark controls, but if I boosted either of them more than a little, things got outside of my comfort zone. Again, your mileage may vary. I’m sure some folks love to boost the mids, or may need to do so, depending upon their related gear.
With regard to the Depth and Snap controls, I found musical results from a broad range of both boost and cut. The boost function on the 802’s Depth control seems to be relatively similar to that of the 800’s Depth control. However, although I did outline how to achieve a high frequency boost with the 800, cranking up the Snap control on the 802 most definitely allows for a higher degree of relative boost for the high end. Better yet, even when boosted all the way, the overall tone did not get thin or shrill when I turned up the Snap knob. Nice! One additional comment on the two midrange controls; while I do find that the 300Hz center on the Woof control is pretty useful, I have to say that the 1kHz center on the Bark knob is a little higher than I’d prefer. The magic is in the midrange, and there is a lot going on between 200Hz and 900Hz for electric bass. I think that if the center on the Bark was dropped even just a little bit, to 750-800Hz, it might be even more useful.
Okay, so we’ve talked a bit about how the BB800 ($649) and BB802 ($699) relate to and differ from each other, but how do they stack up to other brands? It bears noting that when set “flat,” the BB800 and BB802 sound and behave virtually identically, so the following comparisons apply equally to both of them, as the listening tests were done with all of the amps set to their “neutral” EQ settings. Sticking with competing amps also rated at 800 watts (into 4 ohms), I compared the Quilter amps to the Mesa/Boogie Subway D-800 ($899), Genzler Magellan MG-800 ($799), and Phil Jones Bass BP-800 ($799.99). This is some stiff competition, and all three of these heads enjoy a strong, and well-earned, reputation. The other three brands use the same ICEpower output module (700ASC) commonly used in the industry, while the Quilter heads use their own proprietary output sections. For most of the direct comparisons, I used the BB802, though I did switch to the BB800 every now and then.
Of all the amps tested, the D-800 is most warm/round, though it is still a clear and articulate bass head. By comparison, the Bass Blocks have more sparkle up high, and seem move “lively,” overall. The D-800 seems a bit more controlled, focused, and snappy. Moving on the Genzler, the MG-800 is definitely more similar to the Quilters than is the Mesa/Boogie. The MG-800 is just a tad darker, and once again, the BB’s seem very slightly more “lively.” Both brands seem to be fairly accurate in terms of reproducing the tone of the instrument, and both have great balance from top to bottom. In similar fashion, the BP-800 is also a bit more controlled-sounding and slightly darker than the Quilters, whereas the BB’s sound more dynamic, more bright, and more lively. I don’t commonly use that word – “lively” – in my bass amp reviews, but I kept finding it in my listening notes. Notes really seem to “leap” or “spring” out of the Quilter heads. The response is very quick and dynamic. This does mean that they are not very forgiving of sloppy technique, but I do like the immediacy of the amplified note. I feel that the Quilter heads stand up quite nicely to these competitors, and when you factor in that all three of them cost at least $100 more than the BB800/802, this speaks very well to what Quilter is doing with these amps.
I don’t think I have ever had the opportunity before to review a company’s entire line of bass enclosures in one review. This did require a significant amount of time and effort, but it did give me a great perspective – both macro and micro – on what Quilter Labs is trying to accomplish with these enclosures. For the Bassliners, several design goals are evident. Light weight, accurate response, and high power handling are obvious goals, as evidenced by the choice of drivers/components. Another obvious choice was to give the player the ability to create their own “combo” using whatever cab they preferred. Less obvious, but in some ways more intriguing, was the choice to offer each cab configuration (1×12 and 2×10) as a ported, “straight” (or “bottom”) enclosure, and as a sealed, “slanted” (or “top”) enclosure. The two “bottom” cabs have more internal volume (and ports), and as such, they offer more (and deeper) low end output. The two sealed, “top” cabs have a tighter, more controlled response, and they bring more clarity and articulation to your ears, considering that the compression drivers are tilted back.
Focusing on the driver configurations, the 1×12’s are a little more balanced, especially through the mids, and the 2×10’s are a little punchier. Stacking the matching bottom and top cabs really makes these differences stand out. However, I strongly preferred the mix-and-match (2x10c bottom with 1x12w top, and 1x12c bottom with 2x10w top). The 2x10c/1x12w is my favorite setup, as it sounds more full down low and seems to be the most balanced. By comparison, the 1x12c/2x10w is super articulate, but somewhat harsh compared to the 2x10c/1x12w stack.
As previously mentioned, the BD10 and BD12 employ ferrite-based drivers, and have a slightly different vibe than the neo Bassliners. That being said, I was surprised at the overall similarities between the two lines. Comparing the BD12 and the Bassliner 1x12c, they both definitely have a “Quilter tone” to them. The overall volume is similar between the two, and the BD12 is more warm and a bit more present in the low to middle mids. The Bassliner is a tad more clear, refined, and balanced, and it is perhaps a touch deeper than the BD12. Comparing the BD10 to the BD12, the BD10 doesn’t have as much low end output, though the highest highs are quite similar between the two. The BD10 has a tad more upper-mid fill, and the low to middle mids are more present on the BD12 – which is louder, “bigger,” and more balanced, overall.
While I did have great results with stacking the Bassliner cabs, I have to caution against stacking the BassDock cabs – at least against stacking the BD12 and BD10. There appears to be some strong phase cancellation going on when you stack them, and the low end really drops out. Just driving a single BD12 sounds much bigger/deeper than driving a BD12/BD10 stack. Most likely, this would not be a problem when stacking two of the same cabs (two BD12’s or two BD10’s), but I cannot recommend the BD12/BD10 stack. Each cab sounds great when used on its own, though. [Pat Quilter note: “They SHOULD have summed without phase cancellation – I hope neither is miswired (positive input should result in ‘out’ cone motion). Still, not a big problem, overall – sometimes the different frequency curves can interact unexpectedly.”]
To put the performance of the Quilter cabs into context, I compared them against some solid performers from other brands. Putting the Bassliner 1x12c ($899) against the Genzler BA12-3 ($879), the Genzler is more full and punchy, and it sounds a little thicker through the mids. The Bassliner, by comparison, is slightly more clear and articulate. The overall volume is similar, and I can definitely dial in “my tone” on either cab. For the Bassliner 2x10c ($949), I threw it in the ring with the Mesa/Boogie Subway 2×10 ($999). These two cabs sound much more similar than I had expected. The Subway has a touch more going on in the upper mids, and sounds a little bigger/deeper down low. The Quilter is a bit tighter and slightly more clear, overall, and has a very “quick” response to the deepest notes. Once again, these two cabs are “super close, overall” according to my listening notes.
I didn’t want to leave the BD10 ($499) out of the fun, so I broke out a Trace Elliot ELF 1×10 ($299.99) – which, admittedly, does have some differences, using a neodymium driver and not having a tweeter/horn. The ELF is a little darker and slightly more mid-focused, and the BD10 is a little more open and slightly louder, with slightly bigger lows. You can definitely hear the extended highs from the compression driver. I found myself really enjoying just playing through the BD10. It is very impressive what this cab can do on its own.
Considering that I have had the Bassliner cabs and the BB800 for a good bit longer than the newer Quilter Labs products, I have more gig experience with the “older” gear. For the first gig, I brought three of the cabs – 2x10c, 1x12c, and 2x10w on top – which ended up being overkill (for a smaller, indoor gig). Since then, I’ve gigged mostly with the 1x12c/2x10w stack, though I think I would likely bring three cabs for a larger, outside gig. I find that the tone of these cabs with the BB800 set “flat” gets me the kind of tone I am after – balanced, full, powerful, and accurate enough to let the individual tone of my various instruments shine through – and the volume, dynamics, and headroom has never left me wanting.
When the BB802, BD12 and BD10 arrived, I had an outdoor gig later that same week, and I couldn’t wait to get them out to the show. Prior to the gig, I had played the BD10 and BD12 (one at a time), and was impressed by the fullness and volume, so I was certain that the two would kill it on the gig.
Unfortunately, as I previously mentioned, there is some definite phase-cancellation (or something similar) going on – though I had not realized this at the time. I had presumed that the loss of low end was mostly a factor of being on an open, outdoor stage, with little boundary reinforcement. I did crank the Depth knob on the BB802, and I was initially surprised that it didn’t seem to boost the lows as much as I had expected. Once I figured out what was going on with the cancellation stuff, though, it makes sense. In hindsight, I could have probably turned one cab 90 degrees and been fine. Since then, I have mostly used the BD12 and BD10 as standalone cabs, and they sound great in such roles.
It is worth noting that the BB800 also works very well as a standalone power amp. I have used it on several gigs as a power amp only, utilizing the XLR line in. One setup I really loved was a Trace Elliot Transit-B floor preamp, into the Line In on the BB800, pushing a pair of Trace Elliot ELF 2×8’s (which are rated for 400w, each). The BB800 definitely makes for a convenient, portable power amp – which also happens to have a preamp section available, should you want/need it!
I feel like I keep saying this, but it really is a great time to be a bass player. We have more options for high-quality, kick ass gear than ever before. These offerings from Quilter Labs are certainly proof of this statement. When I saw the prototype for the BB800, it was tempting to view it as a cute, quirky little head which might appeal to a niche market. But I knew the reputation of the man behind the brand, and I suspected that it might actually be something brilliant. In addition to running rackmount QSC amps in my bass rigs for years, I also own a full active (powered) QSC PA. Knowing what his amps could do, I was intrigued to see how Pat Quilter would adapt his power modules in the context of a bass head. Needless to say, he knocked it out of the park.
Both the BB800 and BB802 offer amazing performance at a phenomenal price point. They are compact, lightweight, and very sturdy. If you don’t like the controls on one, you will probably dig the other. On the cab front, the Bassliners are top-notch cabs that compete with the best in the business, and the BassDock cabs offer compelling performance and much of that “Quilter tone” in more affordable packages. I love the fact that their bass amplification offerings are not cookie cutter copies of products already on the market, but rather innovative designs which perform as well as anything out there. It is a great time to be a bass player, indeed.
Low: Dynamic and snappy, plenty full Mids: Fairly well-balanced, clear and articulate Highs: Clear and lively
The BB800 is natively very dynamic, clear, and lively. It also packs plenty of punch, and has a full, balanced tone. The tone controls take some getting used to, but you can dial in a wide range of usable tones once you get to know it.
Low: Dynamic and snappy, plenty full Mids: Fairly well-balanced, clear and articulate; can dial in a decent range of usable mids Highs: Very clear and lively
The BB802 brings all that the BB800 puts on the table, plus the ability to dial in brighter highs and more control over the midrange.
Lows: Tight and controlled Mids: Slightly warm/punchy, but great articulation Highs: Not super extended, but clear
The BD10 has excellent clarity and articulation within its frequency range, which is not quite as extended as the other Quilter cabs. Surprising volume and “room-filling” abilities for its size.
Lows: Full and warm, but fairly tight Mids: Slightly warm/punchy, strong presence in low to middle mids Highs: Not super extended, but clear
A somewhat more vintage tone than the Bassliner cabs, the BD12 functions well as a standalone cab, with a slightly more warm and organic tone, but not the same level of refinement and clarity found in the Bassliners.
Quilter Labs Bassliner 1x12c
Lows: Tight and controlled Mids: Nicely balanced, clear Highs: Articulate and clear
The Bassliner 1x12c definitely works well with one of the Bassliner wedge cabs on top, but it is also a great standalone cab in its own right. Very balanced performance from top to bottom, with deep lows, full mids, and clear highs. Not as punchy as the 2x10c.
Quilter Labs Bassliner 1x12w
Lows: Tight and controlled Mids: Nicely balanced, clear Highs: Articulate and clear
The Bassliner 1x12w functions fairly well as a standalone cab, but really shines when paired up with tone of the ported “bottom” cabs (especially the 2x10c). Great balance and articulation from the middle of the mids up through the highs.
Quilter Labs Bassliner 2X10c
Lows: Big and deep; full, but controlled Mids: Open, lively and punchy Highs: Clear and articulate
The Bassliner 2x10c definitely works well with one of the Bassliner wedge cabs on top, but it is also a great standalone cab in its own right. Very balanced performance from top to bottom, with deep lows, punchy mids, and clear highs.
Quilter Labs Bassliner 2X10w
Lows: Tight and controlled Mids: Fairly balanced, clear, punchy Highs: Very articulate and clear
The Bassliner 2x10w functions fairly well as a standalone cab, but really shines when paired up with tone of the ported “bottom” cabs (especially the 1x12c). Clarity and articulation are top notch, but it does not produce the biggest/deepest lows very well, on its own.
Click here to read the Technical Review for Quilter Labs Bass Block 800
Click here to read the Technical Review for Quilter Labs Bass Block 802
Click here to read the Technical Review for Quilter Labs BassDock 10 and BassDock 12
Click here to read the Technical Review for Quilter Labs Bassliner Bass Cabs
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Editor-in-Chief, Tom Bowlus, surprised his parents by riding home from grade school on his 10-speed with an upright bass. Thus began a life-long love of all things bass… After writing reviews in 18 issues of Guitar World’s Bass Guitar Magazine, Tom founded Bass Gear Magazine in 2007. If there is one thing Tom loves more than playing all kinds of cool bass gear, it’s telling people about cool bass gear!
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