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Redline Bass Amps | |
As featured in the October, 1997
Bassist Magazine.
"As an all-rounder, this rig is about as good as it gets..."
It's strange, but the Carvin name is rarely foremost in the mind when considering a new bass stack, yet their products carry considerable weight in guitar and PA circles. Perhaps that lack of association with the bass world is about to change. Bassist has just taken delivery of the RL610 rig from West Coast Wire & Wood, the new UK distributors; and what an interesting set-up
it's turned out to be. Although it's not the biggest rig around, it certainly qualifies as one of the big guns. Like hi-fi separates, a rig is made up of whatever you want to put together, but for review purposes we have the R600 amp head (an effective valve/solid-state hybrid), connected to RL210 and RL115 cabinets. This produces a medium-sized stack with good sounds and a powerful delivery that still manages to fall into the self-transporting category.
POWER UP
As amp heads go, the hybrid R600 has a lot to offer, including stereo capabilities. From past experience, this implies a lot of features. On first sight, the front panel appears overly complicated, but with this sort of power, control is everything. On the front panel, the related controls are grouped together: the Input section has separate sockets for Passive and Active basses, using Gain to set the level, and Blend for the mix of valve sound (from a Sovtek 12AX7), with a Clip LED to signify signal overload. Three push switches give an instant Pre-Shape slant to the sound in the Low, Mid and Hi regions, and individually or combined these are a good starting point to set the EQ. In this Main EQ section are controls for Low and High, plus a pair for Mid Sweep to select a desired Frequency with corresponding degree of Gain. For precise soundshaping, there's a 9-band Graphic EQ which can be switched from the front panel or by footswitch (optional). LEDs indicate main EQ and Effects Loop use.
The final section is for Power Amp Control, with individual volume controls for both amp sections (and ideal for mixing when bi-amping) and a master Volume for the final level. The headphone socket doubles as a tuner outlet.
LOOKING BACK
At the rear, there's a standard pair of Speaker Output jacks, marked Low and High Frequencies for biamping. Standard Effects Loop and Footswitch sockets are also here, with Pre-Amp Out and Stereo Return sockets providing link points for Stereo effects or external amp facilities (in bi-amp mode these sockets also split into separate Low and Hi frequencies). The Pre Amp XLR socket can be configured for a clean signal from the bass or with the effects and pre-amp sounds mixed in, there's also a ground lift switch to prevent unwanted noise. Although not as busy as some amps of a similar spec, this rear panel has all the necessary link-ups and more. The manual has clear diagrams to help you make the most of what is to hand.
RL2l0T & RL115 CABINETS
Both cabinets are well-built and not as weighty as they might appear - a major plus if you transport your own gear. Both cabs have front porting, metal grilles, side handles and corner protectors, as well as a pair of jack sockets for connecting back to the amplifier or to extra speakers. Like the amp head, they are neatly covered in Carvin's new Duratuff flock-like finish. The 2x10" unit has the welcome addition of a high frequency 'Red Eye' compression horn for punch and clarity. The 1 x15" is a powerful 500 watt beast, capable of handling the majority of the amplifier's output, unaided. When used in a bi-amp or full range configuration along with the 2x10", it produces a superior depth of tone and a great deal more delivery.
FULLY RIGGED
With so much to take on board, it takes a while to find your way around, but in reality it's all pretty common sense stuff to seasoned users. If that isn't you, take it a stage at a time and the results will be rewarding. The Noise Gate is superb and very quick to respond; Compression works equally effectively. The pre-shape facility also proved particularly effective at the low end, providing a huge boost in the sub-frequencies. The top end is more subtle in operation, a sensible and practical approach, and working in biamp mode with the tonal ranges split into their frequencies and cabs, produces a clean and powerful sound. If you want a heavier rock sound, then using the rig in full range unleashes a full-bodied delivery that's very impressive. The ability to switch the graphic in and out is neat if you use two different basses on stage or want two different sounds from your bass - much appreciated.
HOW DOES IT RATE?
As an all-rounder, this rig is about as good as it gets. The ten-inchers and the horn give it the edge, while the fifteen adds substance for a well-balanced and responsive tone. The amp gives a serious injection of power and could probably feed a speaker rig twice this size, but this is as good a place to start for some serious bass sounds. The amp is a bit confusing at first, some experimentation is recommended. But if portability, power headroom and reliability are high on your shopping list, then this rig is definitely worth investigating. I would have loved another pair of speakers to really do justice to the amp, but I'm not sure my neighbours would agree. Good to see Carvin taking bass amplification so seriously.
As featured in the March, 1999
Bassics Magazine.
CARVIN R1000
Players I know who have bought Carvin basses rave about both the Instruments and the customer service. You'd think that with personal recommendations from ' our own kind, we'd see more Carvin equipment ripping up band stages, But bassists are a skeptical lot and want the assurances that only our very own educated ears can provide. If you didn't know, Carvin sells their musical equipment directly to the player, which keeps prices down. They understand skepticism, so they even offer a 10-day, no-questions-asked, full money-back guarantee. An unseen benefit of this (although Carvin Is gracious enough not to point it out) is that of shielding us from the pointed-toothed jaws of music store salesmen. Even so, many of us (you know who you are) are extremely hesitant-if not downright resistant-to purchasing equipment this way. Well, if you're one of the people still unwilling to take the Carvin direct-order plunge (and you still know who you are), you may be missing out on some incredible gear. The Carvin Red Line Series II Stereo Bass Amps are offered In two flavors: the R600 and the R1000. Specs and features are the same for each, with the exception of output power: 300/300w @ 2 ohms (600w bridged @ 4 ohms) for the R600, and 500/500w @ 2 ohms (1000w bridged @ 4 ohms) for the R1000. The R1000 Is the subject of our scrutiny. On its face, the R1000 is not an Inexpensive amp. At a direct selling price of $649.95 it's not exactly a casual purchase.
Comparing features, power, construction
and sound with other amps, however, It becomes clear that the Redline 1000 is
an incredible bargain. The feature list is long, so take a deep breath: Separate
inputs for passive and active instruments; gain attenuation pot with clip light;
3 EQ filters for pre-shaping tone; 3-band main equalization with shelving EQ for
low and high frequencies, +/-12db @ 8OHz and 8kHz and +/-12dB semi-parametric
midrange (sweepable from 200Hz to 2kHz); 9-band graphic EQ with panel-mounted
(or optional footswitch- controllable) bypass switch; compressor with adjustable
threshold and ratio; noise gate with adjustable threshold; 12dB/octave 2-way crossover,
adjustable from 200Hz to 2kHz; bi- amplification/full range switch; individual
level control for each of 2 separate power amps.There is also a master volume
for the whole maguffin and a stereo output Jack for headphones as well (wasn't
that thoughtful-Carvin even considered domestic tranquility in their design),
Sound like a lot? That's just the front paneltake another breath, jog around back
and here's what you'll find: separate jacks for effects loop send/retum; balanced
XLR preamp out with switches for pre- or postEQ/FX and ground lift (your sound
man will love you); sends/returns for each of the 2 power amps (this becomes high
and low frequencies in biamp mode); bridge switch to run the power amps in bridged
mode (Yowza! 1000 watts at 4 ohms!); 1/4" speaker outputs for stereo/bi-amp and
additional 1/4" speaker outputs for bridge mode; circuit breaker (no fuse); three-inch
cooling fan. Additionally, there is a jack for an optional footswitch to turn
on/off the EQ and FX loop. Size is a small 2 rack spaces (3.5 inches high; 19
inches wide) with 10 inches of depth. Weight is a low 36 lbs. The evaluation unit
came with the optional Duratuff II covered cabinet.
PLAYING IMPRESSIONS
The amp was tested bi-amplified (using Carvin's RL115 single 15- inch enclosure for low end and RL 210T double-10" with tweeter for highs) and full range (using two 400/single tweeter enclosures). The amp positively sang in both arrangements. The R1000 is quite a ride, featuring both tube and solid state preamplification. The solid state sound is very sweet-the tone is full and crystal clear without being harsh. The tube section, though, with its 12AX7 tube, is a real standout. Gone is any muddiness that might be associated with vintage bass tube amps, instead offering a depth In the low end that doesn't get lost in the mix. Couple this with the huge amount of power on tap and there's a "push" In the low end that fills out any ensemble. Factor in the blend control between solid state and tube preamps, and the sounds available at the turn of the wrist are complex, distinct and usable. I could have played for days just with this. In the R1000, Carvin seems to have created an amp melding the best of old (er, vintage) tube technology with modern sonic clarity. Timbre alteration is likewise agreeable --between the preshape filters, 3-band main EQ and the graphic there's not a lot you can't do. Personally, I'd like to have seen another parametric midrange band in the main EQ controls, but that's me. The compressor is very nice---even at full squash it sounds musical. But the overall gain characteristics of the amp are so good that there're gobs of sustain, without resorting to compression. The crossover is more than adequate, with no apparent frequency dip at the x-over point. The noise gate is extremely fast and effective. Individual volume controls for each amplifier on the front panel allow Instant balancing of biamped or stereo signals. And the headphone Jack is such a nice touch, don't you think? My only gripe is with a small part of Carvin's warranty: they guarantee professional series equipment against failure for 1 year, but the purchaser has to pay all shipping charges. Since there's no such thing as a local dealer (unless you live In southern California) it'd be nice if Carvin would absorb the shipping cost if the problem turns out to be a defective item. The R1000 package as a whole Is very well thought out and extremely practical. My usual rack weighs in at around 75 lbs; the R1000 does nearly everything the rack does at 1/2 the weight, 1/3 the size and 1/4 the cost. Not much has been left out of the R1000. Tone shaping in three places, Input level control, compression, a noise gate for those pesky effects, configurable balanced XLR direct out with ground lift (to compensate for the natty club wiring performed by the owner's alcoholic brother-in-law), effects loop, patching galore, headphone out and enough Clean power to make a politician Impotent-and you can tote it with one hand! The list of things this amp has and does for the price Is amazing, but as always it comes down to sound, Yes, this is fantastic---clean, deep, clear, punchy, LOUD and versatile-excellent for about any playing situation. If you don't believe me, It's easy to find out for yourself. Try one. And if you don't like it, return it. Carvin wouldn't have It any other way..