Ampeg BA-210SP

I have owned this amp about two years, now; bought it new. I have found it to be a good practice amp and adequate (see below) for performances up to a point. I originally was seeking the non-SP model because I did not expect to use the built-in digital effects and did not want something else that could break. I ended up getting this because the non-SP was hard to find locally, and I got the same price I would have gotten with the other model, so why not? The amp has held up well. I played around with the special effects but frankly haven't found a use for them. Maybe I'll find some special gig where they'll come in handy... With my minimal noodling around I did not find the effects as versatile or good-sounding as my outboard effects. For example, I use a distortion pedal rather than the built-in effects.
Amp has active and passive inputs, preamp volume, lo, mid, and treble controls, a "style" switch with 5 positions (I think this is just a horn attenuator), three controls for the SP section that I never use, a headphone jack, a footswitch jack (the included footswitch can be programmed to toggle between effects - I've never used it), CD input, power amp volume, direct out XLR connector, and power switch.

I use this with a G&L ASAT bass or a Warwick fretless Corvette. I really like this amp. BUT I would classify it as a crossover between a practice amp and a performance amp. I play in the pit band for local broadway shows and the occasional rock band. It's got just enough oomph to fill a small theater for shows, but it's not quite enough to hold its own for live rock performance, even in small venues. I find it really doesn't have the bottom end fullness I want for rock, so I recently got a 4x10 and head setup when I need that bottom end for rock (also Ampeg - I'm kind of brand loyal). Still, I use the 210 often because it's so portable. I think the sound is pretty flexible for a range of styles. I usually run the mid and treble at the flat settings, and the bass with slight boost to fatten the bottom. It seems that the volume does not increase dramatcally in the 6-10 range, and I usually plug my active electronics bass into the passive (non-padded) input to get enough push from this amp. Maybe the G&L doesn't put out as strong a signal as some active basses, I'm not sure. I have no problems with distortion of the preamp this way, but this may not be the case for your setup. In a quiet room there's some hiss from the amp, but it has never been a problem in live performances. I compared this to models from Crate and Fender at the time - I think it's more sturdy and has a warmer sound than the Crate (which sounded sterile to me), and I also liked the sound better than the equivalent Fender, though the Fender was a close second.

With two years of gentle but regular use, it has held up well. I've rolled across sidewalks, door thresholds, etc. and in and out of my truck, and it's held up well. After a few months some of the screws for the amplifier chassis and the handles got a bit loose. I tightened them all up and have not had a problem since. The castors are sturdy but I wish they were a bit larger for easier rolling - I guess I could just replace them if it really annoyed me. Solid plywood, metal corners and very sturdy side handles help make this a pretty durable unit. There is a top handle that has a vinyl covered strap held with two modest screws. I fully expected it to rip out sometime when I lift this 60+ lb amp with it, but so far no problems. It's nice to have all three handles to muscle this box in and out of cars.

I have not had any reason for service on this amp.

I really like this amp and feel it is a good all-around amp for small gigs, rehearsals, and practice. It is heavy for a practice amp but very easy to move around and far more satisfying than little 15-100 watt jobs. Beats the hell out of some little 8" toy box. I like and use the CD inputs - note that they go direct to the power amp, so watch the volume settings! I like having the direct out XLR connector to hook to a house system, the headphone jack, and the 3-band eq. If you do live rock or other genres where you need a full bottom and need to get the sound out over drums, you will find yourself eventually wishing for a 4x10 or other bigger rig. I wish it had an effects loop, a preamp out and/or an aux speaker out from the power amp, but these are not major flaws for my use.

This is an update to my review of the BA-210SP from 11/17/2005. I got my B-100R this week and thought a subjective comparison might be useful.

The B-100R has a single 15" speaker, no horn and is 100w solid state. With all effects turned off, and EQ knobs set flat, the two amps are quite different tonally:

The BA-210SP, with its 2 10" speakers tends to hit quicker and carry more high-mids and high overtones. This might be considered by some as a more "precise" tone; maybe useful for jazz and funk geeks, especially playing in a slap/pop style. The B-100R, with its 15" speaker tends to sound rounder and warmer, at the expense of sounding like the highs are more rolled off and not as precise. The trade-off is that the low bass notes are pretty rock solid.

The above is intended to be a pretty factual description of the contrasts. Subjectively, I think I like the warmer tone overall, and especially the much more solid low-end of the B-100R compared to the tone of the BA-210SP. To be fair though, I had my brother come over and play both of them back to back with both my Warwick Corvette 2004 LTD (J and Humbucker) and Ibanez RKB900 (P/J) through both amps. He told me while I was writing this update that the "new" amp (B-100R) is "crap", and I should send it back.

Trying to get him to quantify this assessment (which, for my brother is quite an exercise - doh!), he said he thought the BA-210SP produced more usable volume, and moved more air, as well as had a better slap/pop tone, which is his preferred playing style. I'll give him the latter, because the BA-210SP's horn definitely produces a crisper high end for popping the D and G strings, although I think the low-end is comparatively weaker. I think because the duration of a pop on the low strings is so short, it's hard to discern that it's kind of flubby, but I definitely notice when I pluck sustained notes that the B-100R is more solid on the E string, especially with the flatwounds on my Ibanez P/J, and doesn't fart out like the BA-210SP. I'll be darned if I agree about the usable volume thing though. The BA-210SP, having three drivers instead of one, and 220w, should produce significantly more volume than the B-100R with a single driver and 100w. However, I think that what I have subjectively determined is that the BA-210SP isn't capable of using all of its volume before sounding ugly, whereas the B-100R seems to be. This may be helped some by the B-100R's gain knob and handy clipping light which allows for the input gain to be adjusted properly. In terms of absolute sound pressure, when each amp is turned up as loud as it can go before breaking up, I think the B-100R is producing at least as much sound pressure and maybe more. Having said that, I still think the B-100R would be hard pressed to cover much more than a small club gig unamplified (depending on style, of course).

Sooooo, to wrap this up. The BA-210SP is possibly a better funk/jazz amp, where better mid-highs and highs are required, the B-100R is almost surely better for vintage sounds and rock & roll that requires pounding lows. To my ears, the tone of the B-100R is more appealling, but as demonstrated by my brother's testing this may be a matter of personal taste. If I were gigging, I think either could be used into a PA successfully, the BA-210SP would be questionable unamplified over a loud drummer, while the B-100R might do a little better.

Admitting that my previous rating for the BA-210SP may have been colored some by my personal tastes, I'll improve the Overall Rating from a 4 to a 6. I can't do any better than this in good conscience though.

Digital multi-effects, 220w solid state, 2x10 plus a horn. Big honking combo chassis with sturdy side handles and castors. Should be fairly portable. Purchased second-hand in nearly-new condition, the amp is supposedly 1 yr old, making it about a 2004. Used at home, I'm a (fairly serious) hobbyist, with a little expendable money and I like music toys. I don't play out at all.

Features I Like: Style control, which is shared between several BA models, including the BA-112 I also own.

Features Needed: Could sure use an attenuator for the horn, it can generate a fair bit of hiss at low volume and idle. Some more descriptive lableling on the multi-effects dial would be useful; currently you select by numbers 1-16 (not very intuitive, compared with say Line6 products, and really kind of inexcusable).

Used with a Warwick Corvette Ltd 2004 and Ibanez RKB900, both 4 stringers. The Warwick uses the factory J and Soapbar MEC pickups, and the Ibanez came factory with Duncan BassLines QuarterPounders in a P/J configuration. I'm a novice bass player, but a long-time guitar and home digital studio guy, so my bass playing is mostly limited to the lines in the songs I play most on my guitars: Classic rock, Texas blues, a little hard rock. I try to fake my way through some funk lines and slap bass (poorly). I've played both finger style and with a plectrum through this amp.

As mentioned before the horn produces a little hiss at idle, but it's not really noticeable while playing. The idle horn hiss seems to be a bit worse when the effects level is up, so it helps when not using an effect (position 0) to drop the effects level to 0 also.

The amp tone, to my ear is pretty limited, and average; pretty much the same as my Ampeg BA-112, just moves a little more air. Not as lively as a good tube amp. The "SVT" effect adds some mild gain to the signal, but I haven't been able to make up my mind if I like it. I'd say it's "OK" for a variation, and not having owned an SVT, I'm not qualified to say whether it's an accurate simulation or not.

One particular problem I've noticed is that the usable volume isn't that great. Being 220w vs the 50w of my BA-112, I would've expected the BA-210SP to have produced significantly higher sounds levels and held together better on the lowest notes at volume. Unfortunately, even though I can feel it moving more air I don't get the sense of a better thump on the low notes and I'd be dubious about whether I'd be heard over a drummer. The low end tends to get unreasonably flubby at what I would consider enough volume to play a small club gig. My Ibanez, in particular, using the P pickup and flatwounds just wreaks havoc on this amp. And bear in mind that these are 4 stringers. I don't think this amp would do well with a low B.

With all the effects and volume rolled off, trying for a clean tone, I'll credit the amp with maintaining a pretty good clean tone at moderately high volume settings, low-E flubbiness not withstanding.

The digital effects themselves are pretty much a novelty act, and interesting for about 15 mins. The reverb is somewhat usable, but a little metallic. The chorus is also halfway decent. The SVT effect may do it for you, and maybe not. Other than those, I could do without the rest of them. The auto-wah is horrible. Effects geeks may want to look for higher-quality outboard effects units.

I don't play out, all my gear is played in my home and babied.

Never dealt with Customer Support at Ampeg.

If this amp were stolen, no way would I replace it with another. I honestly like Ampeg gear, but this is not what I would consider more than a medioce unit. I could have just kept on playing my BA-112 and enjoyed it just as much. I have an Ampeg B-100R coming, which is only 100w, but has a 15. Maybe that'll be more to my liking. I'll post an update to add a comparison of these later.

If it's a toss-up between this amp and another, the fact that it has built in effects should not be a deciding factor in its favor. It's not an out and out bad amp, I guess I just expected more from an Ampeg. Probably fine for student musicians, but too costly for that purpose. Cheap for a performing musician, but not loud enough for unamplified gigs (so maybe that point answers itself: Use the PA) and the tone is average (no real fix for that).

Originally, I wanted the standard model w/o the digital effects - EXCEPT I discovered the SVT setting,(#12). Does it really sound like a big tube amp? Well, not really - but close.
If you work w/ the input gain along w/ the level for the SVT setting - you can get a really big sound. Even @ very low volumes. This amp can't compete again Marshall half stacks, but for most clubs gigs it's as much power as you'll ever need. I play it w/ a Fender Jazz bass, tons of punch. I use Ernie Ball flats both two-finger style and w/ a pick.
Weighs about 80lbs. Three handles and the pop-in casters are helpful.
I've been playing bass for 23 years. Have played dozens of different amps over the years. This seems to be a good one. And no quality problems so far. Seems to be a pretty tough amp.

This is the sp model that has the effects I'd rather have the tuner. I don't use the effects.

The amp has some unusual features that really took me by supprise. The volume and levels are limiters.
The preamp volume limits the input signal to the preamp.
the post amp volume limits the signal going into the poweramp.

For my bass the volume on 6 is the same as full blast. To get more volume you have to send it more signal. Its really not loud enough with a passive bass. A bass with emgs and hot electronics would be fine. If I have to I'll use a pedal to give it more volume.

I like the casters. It has side and top handles.

Holy cow this amp sound good! I played every bass at guitar center on this amp and it makes them all sound incredible.

The horn really makes the highs sound good. The high eq is usable all the way to 10. This is impressive to me. Many amps only sound good with just the right eq.

There is a hiss that I notice in the practice room but it's not noticeable on a job.

I would take it on a job with out a backup. No problems yet.

I love the tone of this amp so much that I'd get another if I lost it despite the things I don't like about it.

It sounds that good. I was thrilled to find one used in mint condition.

Made in 2003 (about), this combo not only has a good EQ setup but it also has a 9 way preset-sounds knob, very handy. On top of that you get multiple digital effects.

It was the basic sound that sold this amp to me. Up loud it does not go all harsh and middly, like many expensive combos do. It suits my little Fender mustang, played with fingers or pick, very well indeed.
The amp has a full tonal range but to be honest, I tend to use only 1 0r 2 most of the time and let my fingers do the talking. I'm not much for effects on bass but the sub-octave and auto-wah are fun play around with.

It sold alright, heavy but manageable. No problems yet.

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Unlike most similar sized and powered combos, the Ampeg stays classy at high volumes. I did not think two tens could sound so full and warm, when cranked up. Good old Ampeg.

This is a great amp for just about anyone. The EQ presets are very useful and when combined with the 3-band rotary EQ, your tones are almost limitless. The XLR is useful, but as another reviewer noted, it can be noisy. A few useful features Ampeg left out are an external speaker jack and a level control for the piezo tweeter. The headphone jack is great. There are some very useful effects;however, some are absolutely worthless.

I have used several basses w/ this amp (StingRay, Spector NS-2, Dean 12ver, Yamaha 350F, Kubicki X-Factor, several Jazz basses, Dean B2 among others...). They all sounded great through the Ampeg. This is a well-rounded amp--useful for all styles of music for small-medium venues. I've even used it for outdoor gigs and it was great.

I have not had a problem.

Haven't had to deal with them since I bought it almost 4 years ago.

I've been playing bass for over 15 years. This is a great amp.

I purchased this amp in late 2002. It has a 3 band eq and a tone control with 5 options that go from more trebley to more bassy. It has 16 built in effects with a foot switch that you can program 4 effects into. This amp has 2 10 inch speakers and a piezzo tweeter. It has a volume and a level control which can get really loud. Never had a problem getting loud enough. I play in a pop-rock band. It has wheels, a handle on top, and handles on the sides which make it very easy to get around. It has a balanced xlr out but I have found it to be a very live signal if plugging into a pa. The only bad feature on this amp is the power cable comes out of the back of the amp and the protective covering is wearing a whole where it goes into the amp from moving it around. There is a space in the back of the amp where the power cable could have come down into so it wasnt sticking directly out. Oh well.

I use a violin bass that is a hollow body. Its a Hofner copy. I get an extremley round sound with lots of bottom end. It offers a wide variety of effects which I never really use, but they sound really cool. It has a total of 16 effects that can be controlled by the footswitch. It definately offers a good, clean, loud sound for gigs. I never have a problem being heard with the band.

I've never had a single problem with this amp. I use for at home, band practice, and on many gigs and it keeps on thumping. No backup needed. It is a very sturdy amp.

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I have been playing bass for almost 2 years. I really like this amp alot. It is very dependable and has a good sound. For me, I dont use the effects, but there are some good sounds included in it. I know another guy that uses the exact same amp to play in a rock band and he is happy with his also. I have heard there band play out and I had no problems hearing the bass.

I bought this amp a couple of months ago with money I wasn't supposed to have, but I bought it anyway because I "needed" it. It is very versatile, with 3 bands of EQ, which goes even deeper because of 5 EQ styles you can pick from, 1 (good for fat, warm sounds) to 5 (more trebley), and a separate volume and level control, for more precise loudness! This thing gets loud (two 10"speakers with MASSIVE magnets, and it has 16 digital effects that are fully programmable, from chorus, to wah, to synths and an SVT warmth that really kicks. It also comes with a four-way programmable footswitch. I use this amp for band practice and will use it for gigs when the time comes, and its great for Metal and taking it on the road. It's got four casters, side handles, and a top handle, but weighs in at 76 lbs.

I play a Crate Electra (P-bass style) *cough/hack* and I couldn't believe how good it sounded with this MONSTA. I played an EB S.U.B. and it was frickin SWEET (hopefully I'll pick one up soon!). It's great for live settings and pisses the neighbors off, even on level 2!!! Plus, 16 digital effects to choose from gives you so much more you can do with your sound! This amp is KILLER!

It's a tough amp. I almost dropped it once, but I saved my baby. Everytime I use it, the sound feels like it ripens more and more, so I know that in ten years, it will be sounding better than it does right now.

Well I've been playing for about 2 and a half years with really shitty amps, and my best friend in Phoenix said I deserved to treat myself to a real amp, so I f'in did it! I don't regret it, it's perfect. All I wish I had now was that EB to plug into it. I guess I also wish it wasn't as heavy, since I'm a smaller guy with a bad back and no roadies, loading it in a or truck is a pain, but a small price to pay for awesome versatality and sound!