A+ CabZone Bass is a special version of CabZone X with preloaded bass firmware. This is a cabinet emulator based on Impulse Response Convolution technology, which gives the most realistic and deep sound, while retaining the character and unique features of the cabinet and microphone used in the recording of the impulse. The device was developed based on the wishes of users and the initial concept of a simple and convenient device for playing and recording without the use of bulky cabinets and a complex path.

Adapted for use with bass, the CabZone Bass version is the part of the sonic chain responsible for the final sound of your instrument. The device is designed to replace a bunch of final amplifier, cabinet and microphone. Direct connection to any receiver (remote control, card, headphones or monitors) will allow you to save the required sound timbre and easily reproduce it in almost any conditions, without thinking about what amplifier and cabinet will be provided at the concert, and whether there is a microphone suitable for these purposes .

The interface of CabZone Bass is still simple, but significantly enhanced compared to CabZone LE.

First of all, the CabZone Bass has a full balanced XLR output with ground lift capability, which will come in handy in live performances. With this feature, you no longer need to think about the need to use a separate DI box for signal transmission over long distances.

An important innovation is the availability of a set of 10 types of final amplifiers, which significantly expand the possibilities of selecting the desired tone. Now the device has the ability to emulate not only the accurate response of a pure power amplifier, but also to add the characteristic distortion of the dynamic range and frequency response of "overclocked" amplifiers of various types, as well as adjust the gain of the amp by the input signal level.

CabZone Bass received a more advanced headphone amplifier, an updated universal power supply (can be powered by Power Bank battery chargers), an extended dynamic range and an improved signal-to-noise ratio. Downloading impulses is now via USB, and there is no need to purchase a microSD card. The device has got a durable aluminum case with recessed handles. And all this without a significant increase in size!

CabZone Bass Key Features

Simple and intuitive interface without the need to connect external devices to control the main functions.

Ten built-in impulses (Shift Line Bass IR Pack) available on one interface knob.

Ability to load third-party pulses via Micro-USB interface to the built-in flash memory.

Ten built-in bass amplifiers.

High sound quality and signal-to-noise ratio throughout the entire path.

A raw THRU signal output for feeding a signal to another processing chain.

Fully balanced XLR output and Ground Lift switch to eliminate ground loops.

AUX input for headphone output only.

High-quality headphone amplifier on a separate output (for quiet practice or monitoring).

The ability to use all outputs of the device simultaneously and connect up to 4 signal receivers.

Input overload indicator.

Compact and well-thought-out socket layout: all audio connectors and controls for their functions are located on one side.

Small dimensions and controls recessed into the case, allowing you to place the device in any pedalboard (including under the pedalboard, without the risk of knocking down the settings).

Universal power supply in the range from 9 to 12 volts DC and relatively low consumption for digital devices (150-200 mA); the possibility of autonomous operation powered by USB, including from Power Bank.

Open architecture for writing your own programs and downloading them via a standard Micro-USB interface.
Switching
IN - input for connecting a signal source (with the ability to adjust the input signal with the PAD switch).

THRU - unprocessed output, duplicates the signal from the IN jack.

OUT - mono output of the processed signal (for connecting to a line, sound card, remote control or active speakers).

AUX - input for connecting an external signal source (the signal from this input goes only to headphones).

PHONES - headphone output.

BALANCED OUT - balanced output (with the possibility of breaking the ground with the GND switch).

POWER IN - socket for connecting a 9-12 V DC power supply.
Micro-USB - a connector for connecting the device to a computer in order to download pulses and updates. It can also be used to power the device from USB, including from Power Bank.
Control and indication

CAB - impulse selection.

VOLUME - Adjusts the volume of the OUT and PHONES outputs. The volume of the balanced output is not adjustable and is always at maximum.

AMP - Select the power amplifier emulation.

PAD - input sensitivity switch:

INST - instrumental level (0 dB, input impedance 500 kOhm);

LINE

level (-6 dB, input impedance 20 kΩ).

GND is a switch that eliminates the negative effects of the "ground loop" effect that often occurs when using a balanced connection. In the lower position, the “ground” of the cabsim and the signal receiver are combined, in the upper position they are broken. The optimal switch position is selected “by ear”: by a minimum of 50 Hz background and harmonics.
The LED displays the operating mode of the device. In standard mode, the LED is green, when connected to USB - blue. The LED also indicates input overload: glows yellow (if this happens, reduce the input signal level).

The bypass button is not provided. The bypass is digital and allows you to turn off the sections of the device individually:

The CAB knob in the OFF position disables the convolution section.

The AMP knob in the OFF position disables the power amp section.
The CAB and AMP knobs in the OFF position turn off both sections and pass the signal from the input to all outputs, while the volume can be adjusted with the VOLUME knob.
CAB handle and built-in impulses

The CAB knob has 11 positions and is responsible for selecting the impulse and turning off the impulse convolution section. The Bass firmware replaces the impulses in the CabZone X with 10 bass impulses from the Bass IR Pack.

Eleven default CAB handle positions:

OFF — impulse convolution (IR) is disabled.
The first group of files - three variations of cabinets with four ten-inch speakers.

01 - EBS PL 410.
02 - Hartke XL410.
03 - TC Electronic BC410.
The second group is tags. Fifteen-inch mids keep a lot of people awake, and we've rounded up three great options!

04 - Ampeg Heritage B15.
05 - Sunn 200s.
06 - Mesa RR215.
An 8 by 10 wardrobe stands apart.

07 - Ampeg SVT-810E.
Three "experimental" impulses. You can do a lot with impulses. And what we did is: Impulses 08-10 use the guitar cabinet speakers to respond to the mids and treble, but the lows are straight. Or rather, not quite straight, but the way they usually do in the studio. Soft cutoff below 40Hz and almost direct response up to 1000Hz. In fact, an impulse is the sum of a low-frequency DI signal and a guitar cabinet, but perfectly aligned in phase, and therefore without problems with missing notes.

08 - ElectroVoice EVM12L.
09 - Orange PPC212 bass edition.
10 - Celestion V30 bass edition.
AMP knob (terminal amplifiers)

The AMP knob has 11 positions and is responsible for selecting the final amplifier emulation and turning off this section.

Eleven positions of the AMP handle:

OFF - The final amplifier section is disabled.
A - Neutral Bass. The cleanest and loudest neutral power amplifier. It has a characteristic soft roll-off at the end of the range (-1 dB in the upper and lower frequencies), which occurs due to the design limitation of the output transformer. The interpretation of the dynamic range works so that there is no feeling of compression of the signal, but it sounds closer and richer. This terminal is almost impossible to overload with an input signal. It is recommended for use to obtain the purest sound. This terminal is not a complete analogue of the neutral terminal in the standard delivery of the device.
B-Deep Bass. Clean and loud final amplifier with characteristic bass and treble correction. It has a slight rise in the region of 55 Hz and 10 kHz, which will be appreciated by lovers of modern styles. The "outlined" edges of the frequency range allow you to add "readability". Dynamic range interpretation works similarly to Neutral Bass, and it's also almost impossible to overload this model with an input signal.
C - 6L6 Bass. Classic American amplification, which underlies the whole variety of modern solutions. Virtual Push Pool (Class AB) on 6L6 tubes adapted for bass amps. Almost as direct throughout the operating range as Neutral Bass, but with character. It does not remain crystal clear at all volumes, but it is precisely this shortcoming that makes it one of the elements of the bass path. The original signal is saturated with both even and odd harmonics in the lower part of the frequency range. Low frequencies have a barely noticeable rise around 100 Hz. There are also smooth rolloffs at 20Hz and 18kHz. The dynamic range of these amps is funny in that they show nuances even in quieter sounds, and we tried to bring that into the model. Perhaps this preset is for those who want to give the sound "roundness" without introducing significant distortion.
D - 6L6 Deep Bass. It has the same virtual push-pull characteristics on 6L6 tubes as the 6L6 Bass, but differs in frequency equalization. The soft rise of low frequencies around 40 Hz and 15 kHz gives the sound more volume and favorably emphasizes the edges of the frequency range. This amplifier does not remain crystal clear at all volumes: the original signal is saturated with both even and odd harmonics in the lower and upper frequency range. The dynamic curve has the same characteristics as the 6L6 Bass.
E - 6550 Bass. Amplifier emulation, which are based on beam tetrodes of impressive size with a characteristic clear response to low frequencies. The 6550 tubes have found their way into both guitar and hi-fi applications, but in our case it's not a crystal sound, but Thor's hammer! The amplifier has a characteristic soft clipping of the dynamic range with harmonic distortion in the bass and lower mids. Clean and open highs and slightly raised lows around 40 Hz. In our opinion, this is the most balanced virtual amp for all styles.
F - KT88 Bass. British variation of amplifiers built on beam tetrodes KT88 (similar to 6550). Tight bass and harmonic-rich low-mids, combined with soft highs, neatly shape the sound. There is no overly emphasized clanging, and most of all this model is suitable for rock classics. Saturation with harmonics is soft, but quite noticeable. The dynamic range is more open than the previous model. In contrast to the 6550 Bass, this model has a fairly significant drop in ultra-low frequencies, while frequencies around 100 Hz are emphasized.
G - EL34 Bass M. A continuation of the British bass influence: the EL34 push-pull tube amp built on the same foundation as the guitar sound. It has a rise in low frequencies around 80 Hz and a rather sharp decline below 40 Hz (this deprives it of unnecessary subharmonics and makes the main operating range more readable). Saturation with harmonics is quite substantial throughout the spectrum, with audible distortion in the mids. At the same time, the dynamic range is not distorted too much, and the virtual speaker responds well to the dynamics. The greater the amplitude of the signal comes to the input, the more clearly the distortion is heard. This virtual "British" does a great job with classic rock - just warm it up with a preamp gain or add a +4-6 dB boost to the loop.
H - EL34 Bass O. Another version of British bass amplifiers on EL34 tubes. This version has a more "open" low end (no ultra-low rolloff) with a boost around 60 Hz, as well as a soft high end roll-off. The virtual tip has a sharper dynamic curve and significantly "compresses" the signal. Unlike the previous model, the EL34 Bass O is more suitable for aggressive styles with tight overdrive. Saturation with harmonics occurs throughout the entire range, it is especially noticeable in the lower middle. Responds well to gain acceleration both in the preamp and in the preamp loop.
I - KT66 Bass Overloaded. A version of the virtual driver on KT66 tubes driven to the limit. Imagine a tube bass monster with the master volume set to maximum. This model is just about such a mode of operation. Compression with active attack, even harmonics with a smooth rise to the lower frequencies. The model is set to medium damping, which adds air to the low frequencies. The higher the volume, the more compressed and overdriven the output will be. This virtual amp is designed for dirty styles and is great at high gains and handles fuzz very well. The frequency response has a slight but noticeable distortion in low frequencies.
J - 6550 Bass Overloaded. Unlike the 6550 Bass model, this amp simulates the monster mode of operation on four of these tubes driven beyond the ratings. Very strange features appear in it: a roar appears in the lower middle and aggressive upper frequencies. It is enough to add the classic "rat", and you can play doom in headphones without rivers of blood from your ears. Yes, perhaps this is the least common of the presented models of terminals, but we simply could not do without it. This version, in contrast to the one presented in the standard firmware, has a more pronounced low-frequency component and a slightly different “overclocking” setting, more adapted to work with bass.